"Taylor is hypnotic to watch as he potters around his dressing room, performing practised pre-show rituals like unpacking his kettle,
scattering his face powder, unwrapping the tools of his trade from
folded cloth, pulling on his glossy tights.
His account of Thropp’s life as a gay man in the era of police raids
on public toilets is outrageous but the parallel tragedy of lost love
is aching.
The audience is fiercely on his side, drawn into despising the
third-rate show as much as he does and loving this dogged, arch,
comic trouper.
Distant sounds of piano and chorus rehearsing and fragments
of voices and memories flutter in and out.
When Tropp finally dons the Twankey wig, he is utterly transformed,
walking like a dame and speaking like a dame. It is brilliant."
thestage.co.uk

Ten Rillington Place
Oldham Coliseum 2002

"In his last Coliseum production, Kenneth Alan Taylor gives a careful, considered performance as Christie, planning and executing each murder with the dull precision of a man assembling an Airfix model. It's a credible and successful swansong."
manchestereveningnews.co.uk