Clive Francis is wonderfully dyspeptic as the British major who came here to make this country into something; it's not an outpost of empire, but his home…then he shoots someone.
Michael Coveney, What’s on Stage
Major Rice is played with snarling precision by Clive Francis.
Henry Hitchins, Evening Standard
Yael Farber’s searing production brings Lorraine Hansberry’s unfinished play to life
Hansberry’s characters represent a vast array of humanity. She deeply understands – and demonstrates – that everyone is different, thinks differently, acts differently. Two searing performances dominate: Danny Sapani as Tshembe, an African man who has married a European woman, and Clive Francis as Major Rice. An officious, villainous racist – his character complemented by a moustache and uniform that strongly evoke Nazi iconography – Francis plays Rice with chilling, unrelenting callousness. Yet it is testament to Hansberry’s skill and Francis’s performance that he is still recognisably and believably human.
Tim Bano, The Stage
Hansberry’s play is not flawless, particularly in the somewhat declamatory second act. But Farber’s exquisite production tackles its moral complexities with finely calibrated assurance.
Jane Shilling, The Telegraph
Yaël Farber’s skilful revival makes a powerful case for its importance. The scenes at their old family home have the texture of Greek drama. But the tone grows closer to Chekhov when the action shifts to a modest local hospital founded by missionaries. Hansberry’s scepticism about religious faith is palpable, and Tshembe comments that “Men invoke the device of religion to cloak their conquests.” Yet not everyone needs such a cloak — as proved by ruthless Major Rice, played with snarling precision by Clive Francis.
Henry Hitchins, The Standard
One’s intellectual doubts, however, are overcome by the sensuous sweep of Farber’s production, which deploys a revolving Soutra Gilmour set, the minatory hum of Adam Cork’s sound design, and impressive performances from Gary Beadle and Tunji Kasim as Tshembe’s brothers and from Siân Phillips, Anna Madeley, James Fleet and Clive Francis as contrasting facets of white interventionism. An imperfect play, given a near-perfect production.
Michael Billington, The Guardian