James Harvey

With a curiously deep and narrow auditorium paired with a comparatively tiny stage, any musical would struggle to muster the soul-baring atmosphere required to fill the space. With Rebecca, where a gothic, noir-y atmosphere is really half the charm, the production undoubtedly faced an uphill battle from the start. Unhelpfully, Alejandro Bonatto’s direction mistakenly tries to make the most of the space – the cast semi-regularly enter from the aisles, resulting in a lot of head-turning and neck-straining, which can’t help but feel a little amateurish.