Richard Bratby, The Spectator - 23/07/2022

My colleague Alexandra Coghlan was very impressed by its first outing in 2019, and while the cast has changed, the overall impact is still compelling – whether the atmospheric set (no door in Bluebeard’s castle ever swung open with quite such semi-sentient menace) or lighting designer Malcolm Rippeth’s ongoing game of wits with the fading daylight that streams through the sides of Garsington’s glass-sided theatre.