Evening wenches.
They don't deserve you LetUs. 
Review of Don Carlos from The Guardian
Even worse from The Times, copying and pasting because you need to suscribe to read it:
"★☆☆☆☆
Tom Burke is best known for his TV appearances in The Musketeers, War & Peace and Strike, among others. This, though, is the inaugural outing of his new theatre project, a company called Ara, founded with the Israeli director Gadi Roll, aiming to bring an innovative approach to classic drama.
I have no desire to strangle Roll and Burke’s baby at birth, but this staging of Schiller’s hefty 1787 work is not an auspicious start. At once bombastic and punishingly dull, Roll’s production, using Robert David Macdonald’s 1995 translation, is weirdly mechanical and the tone rarely deviates from an onslaught of spittle-flecked shouting. The characters and events of the tragic plot are rendered opaque and monotonous, and if the cast aren’t marching around berating one another like irascible androids, they are flinging themselves melodramatically to their knees. On opening night some punters tittered. Others simply left. It’s numbing, artificial and, worse, futile; when everything is delivered in a yell, nothing means anything.
Schiller’s play, with its echoes of Shakespeare and Hamlet in particular, concerns a love triangle, the power politics of church and state, and a decidedly dysfunctional royal family. Roll and the designer Rosanna Vize set it on a stripped-back stage with abrupt bursts of portentous Muzak and a thicket of bare lights hemming in the black-clad performers.
The Spanish crown prince, Don Carlos (a bratty Samuel Valentine, bawling himself hoarse from the get-go), is in love with his stepmother, Elizabeth of Valois (snarling Kelly Gough). His relationship with his father, King Philip II (Darrell D’Silva), is naturally strained, and while Spain exerts tyranny in its territory in the Netherlands and the Inquisition lurks in the shadows of courtly intrigues, Philip finds in Carlos’s childhood friend, the Marquis of Posa (Burke), the idealism and integrity he believes his son lacks. Posa, meanwhile, is a passionate advocate of free thinking whose loyalties are torn.
The piece could be mined for all manner of 21st-century pertinence to do with corruption, authoritarianism and religious fundamentalism. Instead it drags. D’Silva and Burke, both good actors, flounder, D’Silva’s Philip lumpen and bellowing like a bull, Burke repeatedly twitching his head as if bothered by a wasp. It’s all thoroughly inert and faintly pretentious. However pleasing it might be to see Burke reaffirming his commitment to regional theatre, if Ara is to have a future, it must do better than this."
It's not going down well in some quarters. 
I shall reserve judgement.