BRITISH THEATRE GUIDE ***** (CRITICS CHOICE) - A savage satire on the paranoia engendered by the war on terror and the way in which even the most ordinary of people can be drawn in to believing the worst of even those who are closest to them... Very funny but also frightening…The characters are well drawn, in particular the two interrogators, who have just enough of the comic about them to drive the story forward but also sufficient reality to give an air of menace.HAIRLINE ***** (HAIRLINE HIGHLIGHT) - It is not the who, the what or the when that really matters here. Things might be left unexplained or unresolved in parts, but that is the beauty of The Infant. It makes the audience think… An amazing play that verses around the ideas of terrorism, paranoia and war… A perfect balance between horror and dark comedy which very few shows achieve… Beautiful writing, stupendous cast… Their work is astonishingly good. The Infant is excellent in every level, and there are not enough words to praise all of its qualities. One can only hope Oliver Lansley gets the recognition he deserves, and he surrounds himself with the same gifted cast for his new plays. Such a combination can never fail.

METRO **** - Shades of Beckett and Dario Fo pervade this taut, inky-black comedy, whose themes of conspiracy theories and self-fulfilling paranoia assume considerable extra bite amidst current news headlines… The calibre of both writing and performances make this much more than the sum of its parts. In particular, Alexander Gilmour is superb as the lead interrogator, like a younger, more reptilian David Tennant, while author/producer Oliver Lansley’s semi-surreal parody of the methods and language deployed in defence of the realm is as elegant as it’s subversive.

THREE WEEKS **** - Bitingly funny and deeply insightful… Ruthlessly scrutinises the consequences of a "smoke em out" mode of thought and poignantly shows what fear makes of people in times when everybody is potentially guilty. Political without being PC, absurdly comical and brilliantly acted.

THE STAGE - The Infant is a highly assured, well performed absurdist piece with many resonances for today’s climate of fear, suspicion and arbitrary justice… This clever premise develops through interrogations, violence and circular logic into a penetrating look at police paranoia and state-led authoritarianism. Lansley shows himself a gifted playwright and the production serves the piece well… Typical of absurdist drama in its mixture of humour and violence… The vim with which Lansley executes his task is impressive.

FEST **** (CRITIC’S CHOICE) - It is a testament to the all-round excellence of the performance that after only five minutes the entire audience (including the fragile ones) are rapt and laughing out loud. Theological questioning, puerile humour and good old-fashioned story-telling are juggled more than ably by a talented cast as they storm through a witty and intelligent, lightning quick script to a revelatory ending which, when it comes, doesn't disappoint.

THE STAGE - As the name of his company suggests, Oliver Lansley has actually found that winning formula of talent, charm and absolute irreverence - think, really cool top of the class kid. As a result, for the fourth year running, he has a hit show and the audiences doubled with laughter at a drop of a hat… Pacey and clever, innately and ever so subtly reminiscent of Coward.

THREE WEEKS ***** (STAND OUT SHOW) - Oozes cheeky charm but also quiet confidence that humanises religion as a deeply flawed construct, so too further humanising the living, revealing the courage that comes in making independent choices. Why choose God as leader when we can be leaders ourselves?

UK THEATRE WEB **** - From an excellent masked chorus opening, this is a delight in using & abusing theatrical styles with a healthy religious scepticism. The key is the pace – don’t blink or you’ll miss a hilarious line. The laughs come thick, subtle but very, very fast… Be prepared to go back again to catch the gems you missed.’

HAIRLINE **** Over the last few years, Oliver Lansley and Les Enfants Terribles have been building up quite a following with the refreshingly fun and humorous plays and it seems like their latest offering, Immaculate, will garner them even more followers… A tongue-in-cheek look at Western religion and is undoubtedly Lansley’s most rounded, mature work to date… A tightly written extremely funny comedy that will certainly tickle your ribs and brighten up your lunchtime.

METRO - Acclaimed theatre group Les Enfants Terribles returns to the Fringe with a brand new show… The action wouldn’t be out of place in a work of French farce-master Feydeau or legendary English playwright Noel Coward, and has all been executed with the necessary pizzazz to keep the spectator on the edge of his seat…Genuinely a laugh a minute, with some real strokes of comic genius, Immaculate should ensure you forget all your troubles for an hour.

BRITISH THEATRE GUIDE **** - Hilarious. In a Fringe which is filled with comedies, this has to be one of the funniest.

HAIRLINE ***** - Hot from last year’s tour de this wonderful company, under the expert guidance of writer/director Oliver Lansley, has returned with another surefire hit… Definitely one of this year’s ‘must sees’ and, to be frank, Les Enfants Terribles deserve every award going. Our only worry is that this wonderful show will catapult them to stardom and that we won’t be able to see them next year.

EDINBURGH GUIDE ***** - Moments of sheer comic excellence are followed by a poignant silent scene, unravelling the intricacies of inter-relationship rape. Les Enfants Terribles manage to smack such gender issues on the nose, delivering an admirable series of bedtime stories.

THE STAGE - This is a very moving, thought-provoking piece, carefully handled with excellent writing throughout… We should look forward with anticipation to further work from the author.

FEST - Desperately truthful and frequently shocking, an entertaining and often hilarious production from a very promising theatre company.

HAIRLINE ***** (HAIRLINE HIGHLIGHT) - A great example of how multi-media theatre can work… It doesn’t, however, overshadow the sheer presence of Oliver Lansley, our narrator and actor. And what an actor he is. Lansley’s performance is delivered with extreme confidence at breakneck speed, at once deliriously happy, an instant later solemn and tearful. It’s clear he has a whale of a time on stage… takes theatre beyond mere entertainment. There is a sly, modern political undertone throughout, perfect for those who read so joyously into such satire, but the real pleasure of this is in the narration and the performance, which all add up to an amusing, thoughtful, and extremely enjoyable set-piece of theatre.

THE HERALD (WINNER OF HERALD DEVIL AWARD) - Berkoff’s anti-heroes are always a troubled species, and Oliver Lansley as Mike is no exception. His portrayal, however, is exceptional, whether playing it straight as cockney gangsta geezer or in one of his many very physical descents into wailing-rabid-troll (ala Berkoff)… As potent as ever.

THE LIST **** - A big show off of lead actor Oliver Lansley’s versatility. And quite impressive it is too, as is the production as a whole.

COMPANY BIOG