率直に my dear, it's not up to much

Pre-開始する，打ち上げる rumours 示唆するd that this was going to be a 災害. Not so much Gone With The 勝利，勝つd as Gone For A Burton, went the whispers.

井戸／弁護士席, it is not やめる the 壊滅的な shipwreck 示唆するd. But 率直に my dears, it'?s a の近くに shave.

The show has been written (words and soupy music) by a Californian health 労働者, Margaret ツバメ, and is just about recognisable as the Margaret Mitchell novel which was turned into the 1939 film with Vivien Leigh and Clark Gable.

Scroll 負かす／撃墜する for more...

Swept off her feet: Jill Paice, who plays Scarlett O'Hara, and Darius Danesh as Rhett Butler

Never having been 完全に 納得させるd by the film, I was 用意が出来ている to be won over by Jill Paice and Darius Danesh, who here play Scarlett O?'Hara and Rhett Butler. And I was, to an extent.

Mr Danesh has a husky bass 発言する／表明する and is dashing, even if, with his mutton chop whiskers and long 脚s, he 似ているs a Victorian villain from a Monty Python sketch.

行方不明になる Paice, blessed with a tiny waist, has a wildness and independence of spirit. She certainly needs the latter to 生き残る Sir Trevor Nunn?'s B-grade direction.

What a mess of 解説，博覧会 the first half hour is. ギャング（団）s of actors wander on and off, then 支援する on as different

characters, then 支援する off, as the scene is 始める，決める, re-始める，決める, then switches yet again as the audience is told that this is north Georgia in 1861. America?s civil war is about to occur.

The O'?Hara's are of Irish 降下／家系... cue the penny whistle and some appalling Oirish from old man

O?'Hara who asks raven-haired Scarlett: ?'Is it crying you are?'?

She'?d have been 正当化するd in replying: 'Yes. Because I can?t take this script and your hamming any more!?'

Things 選ぶ up when Mr Danesh arrives on 行う／開催する／段階 and there is a 誘発する of love 利益／興味 and humour.

But where is the danger? When Rhett and Scarlett finally kissed there was a wolf whistle from one theatregoer and giggles from others. Where is the story'?s raw allure?

There are so many people milling about on 行う／開催する／段階, some of them in ludicrously bad 偽の 耐えるd, that it is hard to concentrate on the lead actors.

You can?'t do a camera の近くに-up on 行う／開催する／段階 as you can in a film.

After 32 minutes an unfortunate torpedo struck Monday?'s show. An unexplained clanking noise started

from the wings and continued for five minutes while the poor cast tried to 圧力（をかける） on with 訴訟／進行s.

Scarlett?'s first fianc? arrived, did his 法廷，裁判所ing, was 受託するd, impregnated her and then died all before the clanking abated.

Oh 井戸／弁護士席.

後退s are like buses. There'?s always another hurtling 負かす／撃墜する the road, as Scarlett O?'Hara finds to

her pretty cost.

The music feels a bit off-the-peg. One of Rhett?'s 早期に songs could be a 拒絶する from Fiddler On The Roof.

Apart from the 決まりきった仕事 allotment of ballads we are given a 売春婦-負かす／撃墜する, a 黒人／ボイコット gospel number, a deathbed

warble from Scarlett?'s friend Melanie (sweetly done by Madeleine Worrall) and a bedtime story from Rhett to his beloved child.

After such a cynically sugary moment it is obvious the little darling is doomed.

Sir Trevor has 報道によれば been chopping away at the script like a Chindit （権力などを）行使するing his panga on ジャングル vegetation but it remains 井戸／弁護士席 over three and a half hours l ong.

Rather than trying to fillet scenes he should maybe just 捨てる several altogether. Some feel farcically condensed.

Wet-as-a-sponge Ashley Wilkes (Edward パン職人-Duly) arrives home from the 前線 for some leave, walks in one door of his house, strolls through the scenery, and vacates by the 支援する door.

?Seems like you just got here,? says his slave, wishing him goodbye. 出口, leave finished. Later, a 語り手 intones: ?And so, 1866 became 1867.? Just like that!

Would that life were so 平易な, eh, Sir Trevor?