Here are some reviews of a few of my plays and scripts
Pig in A Poke, winner Royal Court Young Writers Festival 1991
” Julie Everton’s Pig in a Poke is a Kitchen Sink comedy with a surreal twist. When Angela finds a bleeding pig in the fridge she decides to do the decent thing, and sews Piggy up with blanket stitch. Her mum, whose greatest treat is to watch the galloping gourmet dishing out recipes like pork in a blanket, and dad who works in a slaughter house, remain blithely oblivious to this pig in their midst. Bleeding from many orifices but beguilingly dresses in ear rings and an evening gown, this riveting Ms Piggy delivers a wonderfully camp “Hey Pig Spender” before pigging out on chocolate cake. Everton depicts the parents as leading lives of quiet desperation, who can only communicate through reproach and cliche, but her play exudes theatrical self confidence and her climactic scene where the pig is captured is unforgettable” Ann Mcferrin, The Times
A Place in the Country – Angels on Bicycles TC 1996
[‘A Place in the Country’ ] is a witty, wonderfully written and tender account of one family trying to cope with the confinement of country life…. Everton’s plot unravels slowly shifting from comedy to suspense to tragedy as the Fields’ crisis climaxes and the mystery unfolds.” Tamsin Smith, Brighton Argus.
The Bombing of the Grand Hotel (Wildspark TC) 2015
“Very privileged to watch The Bombing of the Grand Hotel. The most important play to come to Brighton in years”. Brighton Fringe director Julian Caddy in Huffington Post
“There’s explosive stuff at the Cockpit in London where The Bombing of the Grand Hotel tells of the bomb that almost killed Thatcher and its aftermath”. Lyn Gardner, Guardian pick of the week
“The play’s emotional heft comes as, 16 years on from the bombing, Magee and Berry finally meet. There’s warmth and hope aplenty in this keenly observed examination of a truly unique relationship.” David Clack Time Out
“Brighton, where the Conservative Party Conference was in full flow, killing five people. This new play by Julie Everton and Josie Melia charts events leading up to the bombing and the relationship that develops between Magee and Jo Berry, the daughter of one of the victims.
Framed by a non-linear narrative, the action depicts the problems in Northern Ireland and the British response to the bombing with visceral clarity. Bubbling beneath the surface of this conflict, Berry – a fine-tuned performance from Rachel Blackman – attempts to come to terms with her loss, but Magee’s release from prison compels her to address her feelings.
Everton and Melia’s script neatly balances political documentary with the deeply personal story of Berry and Magee’s reconciliation and its repercussions today. In this respect it is the second half, dedicated to Berry meeting Ruairi Conaghan’s enigmatic Magee, that is emotionally more satisfying.
Produced as part of the Cockpit’s Theatre of Ideas initiative, aimed at developing provocative theatre with a socio-political edge, this play will undoubtedly polarise opinion but hopefully raise awareness of the power of personal reconciliation in the peace process.
Crossroads Carlton TV 2003
“Working on the principle that two negatives make a positive, Crossroads’ new incarnation is ludicrous+demented=spectacular. ” Guardian (Watch This)