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The Caretaker: 2010
“Part Alf Garnett-like bigot, part washed-up music hall
comedian, Nicholas Gasson's Davies is magnificent - by turns
coarse, prissy and vindictive.”
Chris Tracy, Eastern Daily Press
“Nicholas Gasson was excellent as the scheming tramp
Davies.”
Liam Murphy, Munster Express
“His famous delusion - that he’ll retrieve his papers from
Sidcup as soon as the weather breaks - took on greater and
greater poignancy every time it was uttered by actor, Nicholas
Gasson, who also did well to illustrate the crushing addiction
that is incessant talking. Many of Davies’s utterances are
redundant but most act to reassert the power balance in his
favour. Gasson had the ability to make us giggle at the most
absurd and to shiver as we noticed the rising undercurrent of
violence.”
Robert Gibson, Hexham Courant
“This was an immensely satisfying production in which the
superb performances were matched by high technical standards. By
far the most effective interpretation of Pinter's work that I
have ever seen.”
Graham Williams, South Wales Evening Post
“Last night's sell-out performance of Pinter's The Caretaker
by London Classic Theatre is a good example of the standard of
drama now on offer...and this superb revival, directed by
Michael Cabot, is the centrepiece of its 10th anniversary year.
The play focuses on Davies, an elderly drifter, played here by
the brilliant Nicholas Gasson.”
Roddy Phillips, Aberdeen Press & Journal
“The tramp Davies who wants to get back to Sidcup to collect
his ‘papers’ is excellently performed by Gasson. At first,
downtrodden by Mick, he manages the transformation to persecutor
very impressively when he learns of Aston’s undefined mental
problems.”
Hugh Homan, The Stage
“Nicholas Gasson encompasses the full range of the
character, from grudging gratitude to overt racism, from
cringing subservience to barely suppressed aggression, and all
this with the barest hint of faded gentrification in his rough
voice.”
Mike Allen, Portsmouth today
“It is strongly cast with Nicholas Gasson dominating.”
Anne-Morley Priestman, Whatsonstage.com ****
“Gasson, in the important central role, captures effectively
his character’s contradictions, moving from pleading to
pridefulness in an instant, rejecting Aston’s offers of a new
pair of shoes, but humbled into surprise when he is told he can
stay in the flat on his own. He is an ambiguous, self-deceiving
character.”
Rachel Andrews, Sunday Business Post
Talking Heads:
"Gasson's sensitive portrayal gets right under the skin of
this affecting man."
Hugh Horman, The Stage
"A graphic portrayal of this troubled man...a most touching
picture of a deep mother/son relationship."
Robin Wright, Theatreworld
"Gasson reflected every nuance of Graham's emotions -
consummate acting."
Gayle Wade, Bury Free Press
The Caretaker:
"Nicholas Gasson leaves a powerful imprint of a devious and
cunning parasite."
Jeremy Brown, The Stage
"In Nicholas Gasson’s hands, Davies is crabby and whining as he
leeches off Aston, and pathetic too, in his obstinate pretence
of a personal history...The cast are superb, and create
skin-crawlingly real characters from Pinter’s rich and elaborate
dialogues."
Emma Slawinski, The Edinburgh Guide
"I’ve seen three very distinguished actors play Davies. Nicholas
Gasson was as good as any of them, especially in conveying the
wheedling circulatory lies which he spins around himself and
others."
Peter Lewis, Hexham Courant
"With his...crippled hands and remarkable facial expressions,
Nicholas Gasson...stole the show."
Lisa Merry, West Sussex County Times
"Nicholas Gasson is an ideal stinking reprobate, chinless,
constantly blinking and open-mouthed." Alan
King, Bristol Evening Post
"...the show was stolen by Davies, the down and out tramp played
by Nicholas Gasson. He stood out for all the right reasons."
James Barnard, Hayfield
Entertaining Mr Sloane:
"Nicholas Gasson's Ed inhabits a world of meetings, cars and
feelings he cannot quite admit to...Thanks to the cast's
perfectly pitched phrasing and timing, the voice of Orton sounds
loud and clear in this excellent, very black and very funny
production."
Victor Hallett, The Stage
Season's Greetings:
"Nicholas Gasson and Lorraine Brunning have moments of
profound impact throughout."
VM, Henley Standard
Someone Who'll Watch Over Me:
"Convincing performances from Christopher Patrick Nolan,
Patrick Poletti & Nicholas Gasson."
Alan Hulme, Manchester Evening News
"Nicholas Gasson, as the bewildered, stiff-upper-lip English
academic...is particularly endearing in his naive innocence."
GH, Leigh Times
"Actors Nicholas Gasson, Christopher Patrick Nolan and Patrick
Poletti work brilliantly together."
Jill Williams, Gloucestershire Echo
Homehelp:
"Outstanding is a favourite of these columns, Nicholas
Gasson as Alan. I have only ever seen him before in classical
plays, in all of which he was excellent. His performance [in
Homehelp] is just as rewarding."
Paul Nelson, Wandsworth Borough News
Much Ado About Nothing:
"If there are medals to be handed out, then they should
surely go to Ann Courtney and Nicholas Gasson who, as Beatrice
and Benedick, fight the good fight between the sexes with all
their might."
The Cornishman
The Tempest:
"Antonio and Sebastian make an admirable pair of mocking
birds. The repartee between the two provides the intelligent
humour with the combination of Nicholas Gasson's sly smile and
Daniel Osgerby's arched brow."
Gary Bird, Theatreworld
"Nicholas Gasson is suitably cynical as Prospero's usurping
brother Antonio."
Neil Dowden, The Stage
Talking Heads:
"Nick Gasson gives a display of technical brilliance in A
Chip in the Sugar. His timing and delivery have all the colour
and spirit of a music hall turn, but, beneath the wit, Bennett's
sense of intimate human tragedy adds a sombre undertone."
Darryl McCarthy, Kentish Times Newspapers
School for Wives:
"No one seizes [the chance to shine] better than the demonic
Nicholas Gasson, who gives central character Arnolphe an air of
increasing derangement and frenzy."
Chris Borg, The Stage
"Some perfect performances. I urge you to see the Arnolphe of
Nicholas Gasson. Confusion and perplexion sit upon his brow
along with the impotence of his situation, to great comic
effect."
Paul Nelson, Wandsworth Borough News
Breaking the Code:
"A mesmerising performance by Nicholas Gasson plotted
Turing's development from early youth to sad suicide with a
sense of realism and without any make-up work to illustrate the
ageing process. He brilliantly captured the child-like innocence
of the man, his speech impediment and other characteristics
which contrasted so oddly with his awesome mental power."
Roy Atterbury, Kentish Times
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