White Christmas, Dominion Theatre **

The cast in White Christmas

Well it wasn't all awful!

The musical adaptation of Irving Berlin's film has finally made it's way to the West End spreading good cheer and peace to all men 8 times a week. Yes it is one dimensional, yes it's too sentimental, sacarin and sweet and yes it has one of the cheesiest plot lines in theatre (that's saying something) but I liked it. Perhaps it's because I saw it on Boxing Day or perhaps Berlin's gift of the melody won me over but I came out with a smile on my face. The ensemble are spectacular with wonderous tap routines and singing up to the same standard as any other show you can see. They are let down, however, by rather unconvincing performances from the leads (Aled Jones was not in this particular performance). The show itself also has one major problem. The producers can clearly not identify the difference between cinema and theatre as the show is trying to be a film just in real life. However, despite these major problems, it does what it has set out to do which is to spread the Christmas spirit to the audience.

Electra, The Old Vic ****

Kristen Scott Thomas in Electra

It is astounding that a show like Electra is not the best show on the cut this season. With productions of Miller and Williams tearing up the West End, this production isn't quite up to the same standard. However, having said that, it's still a remarkable production of Mcguinness' translation of the tragedy by Sophocles. The set is simple but effective and the acting is some of the best around. Kristen Scott Thomas is especially good, with her despair for the death of her father coming across in a way which touches her audience, the same way as Anderson's Blanche and Armitage's Proctor does. The play has stood the test of time and is shown in an almost perfect way. In most years, this show would have an overhaul of awards but I feel that, with so many amazing productions this year, this masterpiece may be forgotten quite quickly.

Memphis, Shaftesbury Theatre ****

The Cast of Memphis the musical

So many of the musicals that come over the pond in theatre's attempt to attract non- middle class, white, balding men to see their shows lose what, in my opinion, is key to theatre. Emotion. The big rock extravaganzas to the pop jukebox musical, these shows have come over here and either succeeded or failed but either way has lost sight of connecting on a deep level with it's audience. Any theatre must have emotion holding it together, whether it is the hatred in The Scottsboro Boys to the pain in Les Mis.This show manages to maintain emotion whilst still being rip- roaringly good fun. Unlike Made in Dagenham, the race issue is portrayed not in a sweetened or preachy sense but through the narrative and high quality music from David Bryan. Occasionaly, the lyrics are slightly too basic and sometimes it can seem to be just a rip- off of Hairspray but I don't mind that as it will live long in the memory far beyond the likes of other new musicals in the west end at the moment. Performance- wise, the actors/ dancers/ singers have such talent with dancing to the standard of Banks and voices that would not be seen out of place in a recording studio. This is a truly remarkable musical which caught me off guard and has the potential to run for a very long time.

Henry IV Part 1, Barbican Centre ***

The Company of Henry IV part 1

 After being left disappointed by Gregory Doran's take on part 2 of the Bard's play, when I got a day ticket to the first part, my expectations were low. Luckily, the Henry IV part 1 is substantially better then part 2. As it is, in my opinion, Shakespeare's best play, it would have taken a truly terrible performance to put me off liking it. There are still the problems that were present in Stratford. I still found Sher's Falstaff to be too smug and dis-likeable for me and the production feels a bit too safe. However, the jokes still made me chuckle even if they were not as big as the Globe's laughs, and the battle is very effective. One thing I noticed as well was Englishby's score which is superb, with the main theme 'Urbs Beatta Jerusalem' sending shivers up my spine. Whilst this is far from perfection, it is quite a bit better than it's second part.

God Bless the Child, Royal Court *****

Amanda Abbington and the children in God Bless the Child

Wow! Just wow!
The Royal Court have done it this time. This play models theatre that is exiting, dynamic and thoughtful. This play is about a primary school class testing a new scheme of learning and a revolution which occurs within the class room. After coming out of Hope on Saturday, I bought the playtext of this play and was instantly amazed by it. Over that weekend, I re- read it four times and then finally managed to grab a ticket for the show on Tuesday. Walking into the theatre was like walking back into primary school.The set wasn't a set. It was a classroom with children playing about and behaving exactly as we behaved 'back in the day'. Then when the action begins, you are totally hooked. Performance wise, everyone is superb. The child cast I saw was the one where Louie was a girl but the idea of having the lead child being played both by a girl and a boy is a superb casting decision. Their stamina is impressive and the fact that they are maintaining such high energy performances this late on in the run is impressive. As far as the adult cast is concerned, Amanda Abbington puts in a performance which is far superior to her boyfriends attempt at Richard III. Ony Uhiara as Ms Newsome reminds me of many of the better primary school teachers I once had and Nikki Amuka- Bird is perfect at showing the conflicted Ms Evitt. Hesmondhalgh is wonderful too as the kind Mrs Bradley. Original plays such as these ought to be replacing durge, such as The Mousetrap, on the west end in order to show off to the world what our country's talent can do.

Hope, Royal Court ****

Tommy Knight and Paul Higgins in Hope

You can't help getting exited when approaching the Royal Court. Despite the only other play I saw there was somewhat of a car crash, there is an energy there of revolution and of a theatre trying to seriously change something. If you have seen any of their micro-plays in collaboration with the Guardian, you will be able to see this. Their political play is especially powerful. This play supports this revolution. In a set up which could be quite tedious (a local council setting a budget. What Fun!), Jack Thorpe's wit and enthusiasm bursts through and, with support from a wonderful cast, gives the play life. It gives an insight into local politics which, in turn, helps us appreciate the work all politicians have to do. It is about the value of trying to do the right thing, even when people disagree with your opinion. When reading Quentin Lett's one star review of the play in the Daily Mail, I thought that this play would be completely liberal and condemning of the conservatives and it is in a way. However, this play leaps to defend all politicians and is complimentary of the Conservative's economic policies which helped us out of the hell- hole which we were in and, whilst it still condemns the handling of budget cuts to different councils, it is far more open minded than Letts gives it credit for. It also confronts how hypocritical the media and general public are, criticizing them for struggling to form the budget then lampooning them when they do suggest where the cuts can be made. The set helps to tell its audience how politics isn't the glamour or style of the UN or Westminster but is made by real people in local, run down places. The play is hopeful and, in my opinion, has potential to be a modern classic.

The Gospel According to the Other Mary, Colliseum ****

The company of The Gospel According to the Other May

I don't think I have ever seen a traditional opera at the ENO. First, a production of the Magic Flute where they made sound and video effects on stage and a raised orchestra pit. Then, a Glass opera with a Sanskrit libretto, no surtitles and giant puppets. Now, John Adams and Peter Sellars give their take on the Passion of Christ and it seems like they have gone out of their way to avoid the common cliches. The main thing to note about this staged oratorio is the lack of Jesus. He is instead portrayed by the dancer Banks (Angel Gabriel) and three countertenors (Seraphim). These four people provide some of the most wonder of the show. Banks seems to have full control of every single muscle in his body and I was transfixed on him whenever he starts moving. The countertenors were also extraordinary. The voice of the countertenor is undoubtedly my favorite as it pierces the air and beguiles you like no other voice can. Therefore, three of them singing with Adam's masterful harmonies is truly wonderful. The rest of the ensemble also give masterful performances with an interesting portrayal of Martha by the contralto Meredith Arwady to the Tenor Russell Thomas giving an impressive performance as the singing Lazarus whilst the dancer Parinay Mehra portraying the same role through dance. The show is perhaps too minimalist for it's own good, with the lack of set or costume perhaps showing the signs of the companies lack of money rather than the daring, extraordinary piece which it most certainly is. The music, whilst far from lyrical, is beautiful and deserves as much exposure as it can. Whilst this staging may not have been essential, the experience of the dancing and music is well worth any money spent to see it.

Made in Dagenham, Adelphi Theatre ***

The company of Made in Dagenham

The issue of equal pay has always been a big and controversial issue. The feminist uprising has been 'rising' now for over a hundred years and we still have not achieved total equality. Neither of these issues will be progressed by Made in Dagenham. Unlike Henry IV at the Donmar, the women in this are either old or the idealized woman. There are no women from the real world in this. This is because that was never  really the point. This musical, whilst I had great fun whilst there, assumes that it's audience does not want to be challenged and just spoon feeds them the 60s charm and delightful music the musical thinks the audience wants. However, down the road at the Garrick, the husband of Isla Blair (Connie) is playing the part of the interlocutor in a musical that seriously challenges it's audience and is just as successful. On the other hand, as a night out, it is an absolute blast. Wit from Richard Bean's book, delicious melodies from David Arnold and fantastic direction from the Almeida's artistic director Rupert Goold. Apart from American Psycho, none of the three have done musicals and have produced a musical sounding and looking like it has been made by true professionals. What is truly astonishing is the set from Bunny Christie that looks like an air-fix model kit and her costume designs really help capture that image of the 1960s. Acting- wise, Arteton does a commendable but hardly memorable job as Rita O'Grady however it is a disappointment compared to her Duchess in the debut of the Wannamaker Playhouse. Furst is the true star of the show, probably best known as the wizard in that Dick and Dom show based in the middle ages, giving a hilarious stereotyped american. Hadfield is great as PM Harold Wilson and the ensemble are impressive too. Whilst I was at first sniffy with this show's message, it's effect on me was equivalent to some of the best musicals I've seen.

The Cherry Orchard, Young Vic **

The Cast of the Cherry Orchard

It has been a blinding season at the Young Vic, with Streetcar just being nominated for a London Evening Standard award along with A View from the Bridge and the Scottsboro Boys, who both in turn have received west end transfers. All of the pieces have been edgy and exhilarating and have challenged its audience. This production, therefore, seems slightly safe and disappointing. The actors were great, with some such as  Hugh Skinner's Simeon giving a great comic role. Having been described as a tragi-comedy, I was expecting for Stephen's adaption to contain more laughs than it did as well as perhaps see through several themes which are picked up for one act and then are not referred to again. Also, through Mitchell's direction of the part of Peter, he is portrayed too much as the one sane man in a house of lunatics. A mixture of Stephen's text and Mitchell's direction shows him to be the man that has all the answers if everyone just listened to him where in fact, he is just as useless as everyone else. This combined with a mixture of needless full- frontal female nudity and a lack of any heart leads to a, frankly, lack- luster production of a true classic.

Great Britain, Theatre Royal Haymarket ***

Lucy Punch in Great Britain

When I first saw the first trailer for Great Britain's west end transfer, I was anxious. I adored the play at the Lytellton, a week after the show was announced. Having seen the show at the Haymarket, I feel that whilst the play is still strong, it has been weakened by changes to both the script and the cast. Lucy Punch gives Paige a "working class" accent which gives the journalist more of a mucky feel. Hippie Piper gave Paige the feel of someone who kept her hands clean and was a slimy character. Punch's interpretation means that no one is particularly surprised by her actions. Her monologues also feel slightly more forced than Piper's effortless display. Oliver Chris' absence is also felt and, whilst Ben Mansfield's performance as DD is good, it is not a patch on the actor currently playing Prince William in King Charles III. There are several scenes cut from the play that was at the National and many o those cuts help the play to maintain focus. However, the one scene which gave the original heart is missing which is a real shame. However, Sully is just as funny as always and the extra YouTube videos were hilarious. Robert Glenister was also brilliantly funny, as was the rest of the cast. Therefore, whilst some grit and punch has gone, it is still an extremely strong and funny take on the phone-hacking scandal.

East is East, Trafalgar Studios ****

The cast of East is East at the Trafalgar Studios

Theatre in the West End is usually performed by and watched by middle class, middle- age, white people and often centres around male characters. How refreshing, therefore, to see two productions in 3 days which bucks that trend. This modern classic about a northern, white woman living in a Pakistani family in Salford 1971 is brought to life by Tom Scott's fantastic designs. The comedy is brilliantly executed by the cast, with the divide between western culture and Pakistani culture provides lots of humour, with sausages and the female anatomy providing the biggest laughs of the evening. However, the character development is so strong that, when the dark events occur in the second half, it is more disturbing than anything that happened in Jamie Lloyd's Richard III. I have found Jane Horrocks annoying in the past, with a slightly wingey accent but in this, she is astonishingly good. The children also are great, showing the split of east and west nicely, with impressive performances from both the inexperienced and experienced actors, one of which (Amit Shah) is particularly recognizable from such shows as Bluestone 42 and Fresh Meat. After a rather dissapointing first production in this revolutionary season, this piece puts Trafalgar Transformed solidly back on track.

Henry IV, Donmar Warehouse ****

The cast of Henry IV at the Donmar Warehouse

The Donmar is undoubtedly the most exiting space in British theatre and all the productions I have seen there have been ambitious, with varying levels of success. Therefore, it is no surprise that Henry IV could not be just played as Henry IV. The result, admittedly not instantly lovable, is a great success. I had not seen Julius Caesar so the prison setting was totally new to me. It set the atmosphere in a way that no other play I've seen has done, with the possible exception of Dominic Dromgoole's plays at the Globe.The part of the play itself is the fact that they develop the lives of the inmate's characters as well as the character's they play. It is set up as a play within a play, with these female convicts putting on a production of Henry IV. The cuts are extensive, with a 6 hours of material cut  into a 2 hour show without an interval. Therefore, most of part 2 is cut in order to cut back to the main story line of choosing between two father figures. It also diverts away from the play,with a last scene which made me cry. Ashley Mcguire's Falstaff, whilst not particularly funny, is a character for whom more pathos can be felt. Erivo as Poins and Douglas is also a notable performance from a truly great actress. The other actors are also fantastic.The Donmar also seem to have prioritized experience over fame, with theatre- virgin Sharon Mooney being given one of the less substantial roles despite being one of the most recognizable faces in the cast. It also good to have normal women playing the roles instead of the 'perfect', idealised woman which is so often the case. For me, this love letter to feminism has met my expectations of what a good Shakespeare play is like, and far exceeded them.

Tenors Unlimited, Churchill Theatre

Tenors Unlimited

Unfortunately, having seen this act, I don't think I can give an unbiased evaluation of their performance. This is primarily because I performed in it as well in their choir. It was an absolute privilege to perform with such talented musicians with a very polished act. From what I saw of  the show, the majority of pieces were delightful to listen to and they are great people to work with. As I said, I can not give a star rating or proper review but I would seriously recommend this group to anyone wanting a fun night out. I don't think we were too bad either.

Comedy of Errors, Theatre by the Lake ***

The set of the Comedy of Errors

When looking at this production of farce and jollity, it is hard not to compare Keswick's production with the one at the globe earlier this year. As you would expect, this production does fall short of the Globe production. The farcical nature of the play is somewhat diminished in Keswick, where comedy is sought in all the wrong places and moments that should be getting belly laughs only result in scattered chuckles throughout the auditorium. There are also some performances that belong in am-dram rather than on, arguably, the finest stage outside the capital. However, despite these errors, the set design is joyous and some performances, especially Lucciana by Jennifer English, that far exceed those at the Globe. One Dromio being on crutches also broke the fourth wall effectively, even if only accidentally. Therefore, whilst several key issues let the piece down, it is still a strong romp which entertains it's audience.

The Scottsboro Boys, Garrick Theatre *****

The Cast of the Scottsboro Boys

This new retelling of the famous case of The Scottsboro Boys has now finally made it's way to the West End and it is no understatement that this is perhaps the best music I've seen in some time. The audience lulled into a false sense of security before being smashed to pieces in no time at all. Kander and Ebb's music is typically creepy, especially 'the electric chair' which is just as creepy as anything from Cabaret. The actors also create a deeply uncomfortable feeling, portraying minstrels performing for its audience. It creates a similar setup to the recently cancelled Exhibit B but, unlike the show depicting human zoos, is probably slightly more direct in it's attack at racism and could never be said to be racist itself, made evident in some of the best closing scenes ever to be portrayed in theatre. Throughout the show,a woman is present, observing the action. However hard I tried, I could find no link until the final scene where everything is answered in such a poignant piece of theatre. It is worth seeing this musicalas it does not rely on a huge set or huge orchestration but is carried through by pure talent.

The Commitments, Palace Theatre ***

The previous cast of the Commitments

 The Commitments is about the formation of a band in 1970s Dublin; how they overcome the gigantic problems facing their lives and carry a band from strength to strength. The programme talks at length about the reasons why The commitments 'take enthusiastically to Soul because they're living in a country that seems to have sold its soul.' To me, it is trying to challenge views, set out something challenging. However, this ambition clearly has failed. Don't get me wrong, it's a fantastic musical with a great set and brilliant singers (especially Deco). However, slight indications like the depth the programme goes into or the lack of a souvenir programme is an indication of a production trying to be something it isn't. If you leave your brain at the door, it is a lot of fun but be warned, if you come expecting what the creative team want to put across, expect to be disappointed.

The Wolf from the Door, Royal Court ***

The cast of the Wolf from the Door

 After the reviews came out for this rather surreal piece from Rory Mullarkey, I was full of dread for to see this piece, not least due to the alert of full- frontal male nudity. Despite this, I left feeling pleasantly surprised. Of course there are serious flaws. The budget seems to have been blown on Anna Chancellor and the huge quantities of food used throughout, the set could be done much better, with scene changes indicated by an LED screen, and the script does require a space which can both be intimate and provide huge spectacle which this theatre cannot pull off well. As well as this, the numerous deaths in the play could have been handle in a better fashion. I was not expecting Titus Andronicus scale gore but just to have a voice over giving stage directions. But on the other hand, this fantasist piece tackles a tricky subject in a rib- tickling manner with a very heartfelt speech given by Chancellor to some civil war reenactors. Pearce Quigley and Lucy Robinson are fantastic as the ensemble with special note to Quigley's taxi driver which gives perhaps the most poignant moment of the play. He is never quite as funny as his Bottom in Midsummers Night Dream last year at the Globe but to be honest, it would have been hard to top that. The two leads also are great, as is expected. Whilst this production will never set the world alight, there is plenty in it to cherish.

Once, Phoenix Theatre **

David Hunter and Jill Winternitz in Once

Coming out of the theatre after seeing Once, I walked down Shaftesbury Avenue, past Les Mis and Curious Incident and then down to Haymarket, where people were coming out of Phantom of the Opera and Great Britain. All in the West End for varying amounts of time but all fantastically popular because on one level or another, they provide the audience with emotional impact. This is the thing I sensed missing from this show. I greatly admire it's ambition. It's set, whilst done similarly and more effectively in Billy Elliot, has a lot of beauty to it and the idea to have mirrors surrounding it, making each detail of these people's lives visible to the audience, is ingenious. The songs, despite my indifference to folk music, are quaint and pretty, although none stick out. The actors/ musicians are fantastic too. However, I could never engage with that main plot line. Two subplots, namely the gay, untalented banker and the housemate looking for a job, interested me far more than what was, frankly, a boring romance drama. Perhaps my view on this piece was slightly tainted by the person in front of me filming throughout but, to be honest, I'm not sure I would have enjoyed it any more if she had not been there at all. It comes to no surprise to me that clearly Once has not been performing well at the Box office and set to close next year.

Side note: With Ronan Keating coming in to play the role of Guy in a few weeks time, I would say that it is highly inappropriate for any celebrity to play one of the main roles in this production. You are seeing the events totaly detached from the situation. This is primarily because you do not find out either of the lead's real names.Therefore, having a celebrity, whether it be Arthur Darvill or Ronan Keating in the role of someone who is supposed to be anonymous defeats the point of this musical as the audience will come in with a biased opinion and a name to Guy or Girl which, whether for better or for worse, distorts the original intentions of the playwright.

Julius Caesar, Shakespeare's Globe ***

The Cast of Julius Caesar

Shakespeare is rarely as fun as this as Dromgoole won me over in the last performance of Caesar and my last Globe production of the season.The show won me over from the start with a puppet show in the groundling's queue giving the background to Shakespeare's errors in the play. This is what Dominic Dromgoole is great at, creating theatre which has atmosphere and excitement. Being the artistic director of the Globe, he understands the Globe the best, making Shakespeare's gaping script errors seem non- existent. Whilst the play has now come to a close, due to cinema screenings next year, I will keep spoilers to a minimum, however, there is a superb interpretation of the text at the end which left me with a huge grin on my face. I don't think Irving's Caesar sets the world alight but the young senate more than make up for it, with Thompson's divisive Anthony played almost perfectly. Having seen the 'Freinds, Romans, Countrymen' soliloquy (not the Carry On one) performed by James McAvoy, I couldn't see Luke Thompson holding a candle to it. Whilst he is not as good, obviously, he still maintains an emotionally driven performance. At times, the pace tended to drop but apart from this, it is certainly a production to remember.

The Trial, Royal Opera House Linsbury Studio ****

Johnny Herford and Nicholas Folwell in the Trial

For my uncle's birthday, I managed to get tickets to the world premiere of Glass' new work. Having been to the insight the night before and having received a sneak preview of Glass' work, the excitement increased. I came away amazed at the feet Glass had seemed to pull off. The plot is about a man named Joseph K who, on his 30th birthday, is arrested on the grounds of which the audience never finds out. He then tries to bribe, sleep and argue his way out court with little success. The score is utterly beautiful, being more melodic than previous compositions and, whilst Hampton's libretto does not always gel with the score, it adapts Kafka's work well. The cast too impress with a spellbinding performance from K who is onstage for almost all of the play. The other singers also have a equally tough job multi- rolling which is pulled off perfectly. However the stand out aspect of this new opera is Michael McCarthy's direction. His minimalist style helps emphasize the absurdity of K's situation with fantastic situations of bathos. In one scene, K gives a speech of the corrupt courts which builds in a climax only to end in the maid having sex with a student which gets the attention. This direction is also evident in the costumes and makeup. As you can see in the photo,only Joseph K is dressed normally and the other singers are dressed in a surrealist manner also displaying the juxtaposition from the seriousness of the situation and eventual denouement of the piece.

Matilda , Cambridge Theatre *****

The cast of Matilda

So many things could have gone wrong when making Matilda into a musical. Despite it's success, a beloved children's classic being adapted into a musical by a man who talks about a critic eating his own face in front of his children. However, the result is just brilliantly, spine tingley good. In fact, it was so good, it gave me a small warmth in my lower intestine. It is the children's show. They are adorable, charming and hilarious and pull off difficult choreography as if it was the most simple thing in the world. It is a masterpiece of the human imagination. This was the second time I have seen this show and was also the second Dahl musical adaptation I had seen. I am going to reassess Charlie and the Chocolate factory but if it had even a tiny proportion of the heart, wit or musicality of Matilda, I may have enjoyed it more. 

Pitcairn, Shakespeare's Globe ***

Pitcairn is a play about the island, based around when the British discovered it and the destruction that ensues. From the writer of Great Britain, One Man Two Gunors and Made in Dagenham the musical, Richard Bean here has gone along a slightly darker twist. There is something inspiring about the writing here. It manages to maintain a level of humour whilst having genuine intrigue. Within the play, there a several divisions that appear; namely class, god, gender and race. One minute the division on the island is due to the gender of the islanders and next they are arguing about God and science with relative ease. The acting is also fantastic, with all the actors putting in equally fantastic performances. No one stands out as being perfect but the play chugs along nicely. The set also works well in juxtaposition to it's venue. Despite all of this, however, when all put together, it doesn't quite work as a whole. I really enjoyed it but I can not say that it holds a candle to Bean's earlier work and will never be as memorable or as exiting as Great Britain.

Comedy of Errors, Shakespeare's Globe ****

Matt Doherty, Matthew Needham (Antipholus of Ephesus), Andy Apollo (Gaoler/Officer), Harry Katsari in 
The Comedy of Errors 

I have always known through word of mouth that Shakespeare's Comedy of Errors was more error than comedy so I was anxious going into Blanche McIntyre's production. I was wrong to be anxious. The atmosphere at the globe was electric perhaps only equalled by Henry IV in 2010 as the actors fell about the stage in a comedic fashion. The farce , in a see how they run fashion, starts with a Dromio trying to get a pair of pants hanging from the roof. This sets the tone for the play. It is a rip roaring, rollicking production with almost everyone, bar Lucianna, giving an above good performance. I would like to see how te good people of Keswick can offer when I go and see this play up there in October.

King Charles III, Whyndham's Theatre ****

Tom Piggot Smith in King Charles III

When this hit first arrived at the Almeida, I was extremely disappointed not to get a ticket. Therefore, I was delighted to get tickets at yet another transfer to the West End for the company.

And I could not have picked a better time to see it. I can not think of a more relevant play than this, immediately after the Scottish referendum and the talk of devolution still strong in the mind, this play directly addresses this question in a dystopian future about the death of our current monarch and the chaos that ensues. It is one of the best written plays to come out of England in the last 20- 30 years with Mike Bartlett giving us perhaps the strongest pieces of verse since Shakespeare. This, in turn, is acted with brilliant performances from Piggot Smith and Oliver Chris, last seen in Great Britain at the National. Actually, King Charles III makes a very strong double billing  with Bean's new comedy, recently transferred to Theatre Royal Haymarket. It both picks up on similar themes and takes them in very different directions. Great Britain talks about the press and their role in privacy whereas, in Bartlett's play, freedom of the press is a very prominent theme. It also is great fun. The audience laughed at the snide comments and in jokes about the royalty. This play, in my opinion, is a play that will be showcased for years and years as some of Britain's greatest pieces alongside Shakespeare's Hamlet and Bennet's The History Boys. If you want to see great writing on show, this is the show for you.

Oliver Chris and Lydia Wilson in Kind Charles III

The Moment Before I am Powerful, Trafalgar Studios (TrafExtras) ****

When getting into the theatre seemed too much for trafalgar studios, with the incompetent staff packing people into the bar and not opening the house until 5:58 for a 6 pm start, I was in a bad mood. However, at 6:15 until 6:40, the finest Shakespeare speeches were performed by some of the best actors in the West End. The performance started with a speech from Hamlet performed by Lauren O' Neil, then followed by Deborah Findlay reprising her performance as Volumnia, giving her soliloquy from Coriolanus, a role she last played at the Donmar during Christmas. These two impressed me the least. I only managed to understand part of what they were saying and could not put together the first part of the narrative. From then on, however, it was all on top form. Papa  Essiedu and Cynthia Erivo (next performing at the Donmar in an all female production of Henry IV) performed their last speeches as the titular roles in Antony and Cleopatra. They were both moving and moved the narrative forward considerably. However, James McAvoy stole the show performing Antony's speech at Caesar's funeral from Julius Caesar. This cleverly followed on from Erivo's soliloquy. It was brilliantly moving and engaging and had the whole audience captivated. It just showed why McAvoy is one of the great British actors.

Doctor Scroggy's War, Shakespeare's Globe ***

 

The other West End piece on World War One which I have seen this year was the tragically awful Versailles by David Gill. So, this Globe production had to be better.

Doctor Scroggy's War is a million times better than that piece about coal distribution yet still felt incomplete. The plot is about a young boy who joins the war, is injured and left in the care of Major Giles Gillies. I found the play itself somewhat too blatant with obvious reverential remarks on the British class system. Brenton's use of asides also seemed slightly out of place. However, the cast more than make up for shoddy script work. Full of Globe veterans, James Garnon steals the show as the plastic surgeon and establishing himself, in my mind at least, as one of the greatest British actors on the stage. His comedy in this and as Caliban in The Tempest as well as his darker side as the cardinal in th Duchess of Malfi. Catherine Bailey also puts in a blinding performance as the live interest of Twigg. However, the pinnacle is Bill Lyons music which was just beautiful from start to finish. So all in all, despite poor script work, the cast and musicians  turn what could be a clunky period piece in the style of Versailles, into a relatively pleasent evening.

Talk Round- Up 2014 So far

Mark Kermode: The Role of Critics, ICA

Francessca Martinez

Kate Aidie

As well as brilliant theatre, London offers amazing events and talks. The national, as I have said before, offer brilliant platforms in which different people talk about their work or offer other points of interest. Francesca Martinez being interviewed by Clive Anderson was my first experience of the National's temporary space. It is very similar to the Donmar, one of my favorite places to experience theatre, and provided a very much more intimate space than the interview with Sam Mendes for Lear. Francessca herself is inspirational. That adjective is a word she discourages for herself but it is true. Her comedy has paved the way for equality for disabled people. Of course you get the Tanni Grey- Thompsons who's role in society is to campaign for equality but there are no disabled people in the public eye except for Martinez and those guys off of the Last Leg. There were only two disappointments in this. First the attendance was truly despicable and secondly Mr Anderson. The obnoxious, pompous pig annoys me deeply and only hindered Martinez's amazing story. I haven't got much to say about Kate Aidie's talk other than that she is a woman who has been everywhere and had lots of interesting stories to tell. But perhaps the most interesting talk was held at the ICA with Mark Kermode (Radio 5 Live, The Observer) hosted a panel of critics to talk about their role in their chosen section of culture. The flappy handed, ranty film critic known for his legendary rant on Sex and the City 2 where he sang the internationalle, led perfectly giving each person equal opportunities to talk about their chosen topic. The radio critic had particularly good insights on her profession and the theatre critic discussed assessing theatre from different cultures. However, what impressed me most was the intelligence of the audience. The QandA section of a talk can be excruciatingly painful but here the questions provoked interesting answers and not one was in any way sniffed at. The whole evening was a delight.

However, the end of this year is set to be some of the best events in some time. Here are just a few:

9th September: Creators of Curious Incident in Conversation, Gielgud Theatre

2nd October: Alan Bennett, Lyttellton

9th October: Insights: The Trial (Phillip Glass and Christopher Hampton interview), Clore Studio

21st October: Richard Eyre, Olivier

4th December: Dame Judi Dench, Lyttellton

12th December: And Evening with Private Eye, Lyttellton

19th December: Theatre Quiz 2014, Olivier

The Crucible, Old Vic *****

Richard Armitage and the cast of the Crucible

From the outset, Miller's Crucible at the Old Vic was clear to be an outstanding piece of theatre. The dark atmosphere was almost tangible during the opening scene. I thought 3hrs 30mins would bore me but I was so riveted that at the end I still wanted to see more. Faber stages it perfectly with lighting which makes the disturbing events seem even more terrifying and, unlike many west end shows, I could not pick one actor who performed less than a five star performance. However, whilst Armitage's Proctor is stunning, it is the Reverand Hale (Adrian Schiller) who really affected me the most. His fall from grace reminded me of Gillian Anderson's Blanche in Streetcar. His performance in the last scene left me with a tear in my eye. Whilst I am not convinced performances in the round work, this is a near- perfect rendition of Miller's classic giving his parable on the Mcarthy era into the modern age.

Curious Incident of the Dog in the Night Time, Gielgud Theatre *****

The Cast of Curious Incident

Having read the book and play text with great admiration, the stage show was obviously the next step.

This show is truly brilliant! The only surprising thing about it is how something this alternative has gained so much public acclaim. I have never seen such a spectacular extravaganza. The last time I saw Graham Butler (Christopher Boone), he was in a groundbreaking yet mediocre production of Henry VI. Here, he puts in a stellar performance. This production truly sets a benchmark for theatre globally and my only regret is that I did not see it sooner,

Wicked, Apollo Victoria ***

The Cast of Wicked

Note: Due to a lack of programmes at the theatre, I do not know the names of any of the actors in the show.

As music theatre is what started me off on my obsession with theatre and the stage, it seems slightly shameful that I have not seen one of the most famous musicals ever. Luckily, thanks to kids go free month, I got the opportunity to go.

The story line is surprisingly deep. It tackles animal rights and racism in a way that engages it's audience. The songs, whilst not my style, are well thought out, however there are very few that progress the plot in any way. Elphaba, naturally was superb and Galinda was reasonably impressive even though some words were not clear. There were great numbers  of references to wizard of Oz if a bit in your face and the ending seemed a bit convoluted. Despite this, I did enjoy myself as, from the response from the audience, did they.

Antony and Cleopatra, Shakespeare's Globe ****

Eve Best and Clive Wood as the titular characters in Antony and Cleopatra

Copyright Manuel Harlan

So far this season at the Globe, they have relied on blood, gore and shocks to interest the audience. Holy Warriors uses overly loud gun sounds and blood capsules every few scenes whilst Titus Andronicus has had people fainting at each performance due to the gore. How refreshing, then, to see the Globe rely on Shakespeare's words to engage the audience. This production of the tragedy could easily climax in a blood fest but it shows a truly great production who would make the Bard's words a priority. This is a true return to form from the Globe as it is productions like this which made me excited about Shakespeare. Eve Best gives a admirable performance as Cleo. This production sidelines physical beauty for a queen with a great personality. Clive Wood is also fantastic as her Antony and the ensemble gives some of the best performances of the year. What this production highlights to me is the atmosphere created with ensemble singing. The Globe should put on more musical pieces here. Jules Maxwell has composed some great accompaniment to the play. This is the best production of the season at the Globe so far.

The Ring Cycle, The Scoop ***

The Cast of The Ring Cycle

One of the many things that astound me about theatre in London is the varying price levels you pay to see it. You can get £5 tickets to the Globe and National to £125 to see the Book of Mormon and Skylight. However, the More London festival has taken it to new extremes by giving us free theatre. Now in it's 12th year, an adaptation of Wagners masterpiece has been transposed to a 4 short plays in the scoop. Whilst by no means great, this performance is astounding in the feat free theatre can achieve. A quote from the Evening Standard said it was "Grittier than the Globe." Now, I'm not sure if they have seen Titus Andronicus there but I can assure you this production or arena can not compete with the West End. When I saw King Lear yesterday I talked of amateur acting, but even the worst of them are like Laurence Olivier to these actors. However, it brings theatre to a whole new audience and for that it must be thanked.

King Lear, Shakespeare's Globe **

Joseph Marcell in King Lear

Having seen this production last year, I was intrigued to what changes they would make to a far from perfect rendition of Shakespeare's great tragedy. However, whilst I was engaged for the best part of it, there was no great change. There was an overhaul in the actors with only Lear, the Fool/ Cordelia and Regan staying in their roles. Apart from Beth Cullinane and Marcell, I found the actors slightly overacted their roles. It just seemed like a student production. They did seem to enjoy the experience of performing at the globe but that  response was not equaled by the audience.

Henry IV Part II, Royal Shakespeare Theatre **

The cast of Henry IV  Part II

Photo by Kwame Lestrade

As I had a week in Stratford, it seemed a good idea to finish what I started at the Globe by seeing part 2 of the Henry IV saga. After the production, everyone was entusiastic about it over different points. My moother was suprised she  could understand the soliloquies; my uncle was impressed by the costumes and my cousin's favorite scene was  Hal and Poins or 'those fit guys' took their tops off. It just shows how Shakespeare can appeal to anyone. For me, whilst this production does not have the life of the Globe production, with Allam giving a better Falstaff than Sher's, it does keep the attention of the audience during the more serious scenes such as the decline of Britton's king which is performed superbly. However, what impressed me most was the set. It is basic with a crack down the middle to emphasise the crack in the kingdom and the rebellion. The main thing that annoyed me was the start where the chorus, Rumour, is in modern day clothes whilst the rest of the show is in period costume! It also gives the programme producers the most contrived piece in a programme that I have ever seen. Overall, this performance has as many things to be enjoyed as to dislike meaning that it never paricularly impressed me. This is not the show to see for a first RSC performance.

A Streetcar Named Desire, Young Vic *****

A Streetcar Named Desire at the Young Vic Theatre. Gillian Anderson as Blanche DuBois, Ben Foster as Stanley

On a whim, I went along to the Young Vic hoping for returns for an addition to my National Theatre Platform with Kate Adie. To my delight, I managed to get front row seats so, after an interesting interview, I was full of  anticipation for the show.

I wasn't dissapointed.

Gillian Anderson's Blanche is the best performance in stage or screen that I have seen in my lifetime. The plunge into insanity is made so real by her physicality in the role. At the end, I defy anyone to look into her eyes and not turn into a blubbering wreck. Some of her actions towards the end triggered laughter from the audience. To me, it signalled a tragic woman destroyed by her own actions. Her supporting cast also don't let her down. Foster brings true menace to Stanley and the sister is played with real compassion. It isn't all perfect. Whilst I found the set design original, at times my view was obscured by it's constant rotation. However, the idea of bringing American classics into the modern world is an inspired idea and should be done more often. At curtain call, I have never seen a reaction from an audience before. The warmth towards Anderson was tangible. I also have never seen an actor more appreciative. It is a spell- binding show.

Holy Warriors, Shakespeare's Globe ***

John Hopkins (Richard the Lionheart)
 Sirine Saba (Berengaria of Navarre/Queen Sibylla)
 Alexander Siddig (Saladin) and Daniel Rabin (King Guy of Jerusalem) in Holy Warriors

 In this new play by David Elridge, he takes us on a journey through 800 years of history and how the crusades have had affected events through time. This visceral piece is delightful the whole way through. It starts with an atmospheric Arabian chant and makes you stand back out of sheer admiration for this piece. As an altar boy, throughout I experienced severe thurible envy (see picture top centre) and multiple scenes, including the opening one, reminded me of the sacred ostent of church. However, the grandure and pomp is also what detracts from this piece. It is so awe- consuming that it is hard to be drawn in and be immersed in the piece. Perhaps it is the fact that 800 years is perhaps too ambitious a time range to capture or whether it is just that the characters are too hard to break into so when they die, little pain is felt by the audience. The premature death in the play, I thought, should have had more impact but instead was just taken in; another piece of information for the audience to digest. However the scale of this production is rarely done by the Globe, except perhaps in Titus Andronicus, so designer Mike Brittonmust be applauded for his fantastic set.

The whole piece is spectacular and is yet another triumph for the Globe and, whilst not emotionally engaging, succeeds in a feat that few people would dare do.

Richard III, Trafalgar Studios ***

Martin Freeman in Richard III at Trafalgar Studios

If you want gore,Titus Andronicus at the Globe is for you. If you want Shakespeare retold in a modern context, you can't get much better than King Lear at the National. For a great Richard III, Mark Rylance's is hard to top. What I am trying to get at is that Jamie Lloyds adaption of this play does not have a USP; a sticking point. Yes, he has put a big star at the helm and has dramatically cut it to make sense to a younger generation but there is nothing particularly dangerous or different about it. Others have criticized the Winter of Discontent theme but I don't mind it. Whilst it does not make dramatic sense, if it wasn't for the sake of it being the only thing anyone in the production seemed to talk about, it would have been glossed over by many of the critics. Freeman himself seems to have developed the typical Shakespearean accent which was quite off-putting but his physicality was excellent. Gina Mckee was superb as always, as was the majority of the cast although the little child who played York overacted hugely and rather amused me when,in the dream sequence, he bumped into a desk. Whilst the deaths, publiscised for being overly gruesome, were pretty ordinary, the lighting was the stand out part of the show. It was stunning how it showed Richard's private and personal life. It is the one thing in this play which is awards- worthy. 

What really excited me, however, was the fact that there was an impromptu question and answer session after the show. Having see Jamie Lloyd at West End Live and much of the cast interviewed across the BBC, I was not expecting anything original but I was wrong. What is so good about these sessions is that, because you have just seen the show, the director and cast do not need to worry about revealing spoilers about the play. This led to some intriguing answers as well as astonishment to hear the schedule for ensemble member Alasdair Buchan who understudies 5 roles. These events, which are intended to go on for multiple dates in the season, are an absolute delight.

Richard III is playing at the Trafalgar Studios until 27th September. 

La Boheme, Royal Opera House *****

Ermonela Jaho and Charles Castronovo in La Bohème at the Royal Opera House

 Photograph: Catherine Ashmore

What can you say about a perfect opera such as this? My second visit to the Royal Opera House has secured my belief that La Boheme is other worldly. The arias are rapid and delightful, the plot romantic yet tragic; the characters funny yet three dimensional and human. Mozart does not even touch Puccini's heights when opera is concerned. This set some feat for the cast to reach.

And my high expectations were exceeded by the sheer quality of the Opera House's production. Whilst the production is now in it's sixtieth year (the show I saw was it's 609th performance), it is still fresh and interesting. The relationship between Rodolpho and Mimi is spine- tingling, with Jaho and Castronovo putting in a belter of a performance. The set showed why this staging is a firm favourite. Every single member of the cast was convincing and, by the end of the show, I was in floods of tears. Utterly remarkable!

Dirty Rotten Scoundrels, Savoy Theatre ***

 

 Katherine Kingsley as Christine Colgate and the Ensemble of Dirty Rotten Scoundrels 

Dirty Rotten Scoundrels have been on an extensive advertising campaign advertising with Robert Lindsay and Rufus Hound at the helm. So when I turned up to the Savoy, it was to my surprise that there was a tiny notice by the entrance to the dress circle saying that neither one of them would be performing. Whilst I had absolutely no problem with this, on the contrary, I love seeing understudies perform as, more often than not, they are vastly superior to the celebrities originally intended for the role. However, I expected for there to be at least a note in the programme or a notice at the start of the show. The general effort the Savoy Theatre put into giving the audience notice of this was appalling. On top of this, throughout the show, stewards were constantly moving in and out of the auditorium completely removing the escapist nature of theatre. Therefore, expectations for the performance were set very low indeed.

The show itself, however, vastly exceeded my expectations.The understudies seemed so natural in their roles and seemed to have a natural rapport with each other. Samantha Bond has been portrayed in the advert as if she is tone deaf but the truth is quite the opposite. She has firm control and can keep a tune quite nicely. Marquez's French accent is amusing but the person who stole the show was Katherine Kingsley. She is a natural at musical theatre. Her songs have elegance and grace and she has charm and style to match. However, it was not all perfect. In the first act, there is a scene with a lady from the ensemble who plays a girl from Oklahoma. Her song seemed like it should have been extremely witty and fun. However, Lizzy Connolly's American accent meant that I could not hear a single word she said. The same was true with some of the other numbers where lack of pronunciation meant that jokes were lost. Another aspect that troubled me was some of the lousy attitudes towards women. Again, in the first act in particular, many of the women were wearing skimpy outfits which was particularly prevalent in 'Great Big Stuff' where the women lifted their legs up to let their already short skirts fall down. The character of Freddy Benson in particular uses a bit of casual sexism which unnerved me. I would not advise taking elderly relatives with you either as some of the innuendos in the show makes quite awkward viewing.

This production was a lot of fun. However, I felt that there was too many concerns with the production and with the theatre itself for me to have a thoroughly pleasant experience.

Great Britain, National Theatre (Lyttelton) *****

Oliver Chris as Donald Doyle Davidson and Billie Piper as Paige Britain in Great Britain

Photo by Johan Pearson 

Satires are rarely performed in London. Thinking back, I think Great Britain is the first one that I have seen. I now am going to search out anything that can be either as fun or as contemporary as this piece at the National. Mirroring the rise and fall of the News of the World, Great Britain follows the life of Paige Britain, news editor at 'the Free Press', and explores the world of hacking and corruption in the media. The strangely familiar plot line is superbly scripted by One Man, Two Guvnors writer Richard Bean and has a strong cast headed by Billie Piper, of Doctor Who fame, who does a sterling job of playing a cutthroat editor. The person who is the main source of laughs is Sulley Kassam,the Police Commissioner, played by Aaron Neil, who brings the house down with the video parodies of his speeches. However, perhaps my favorite character and performance of the show is the Assistant Commissioner, played by Bluestone 42 actor Oliver Chris, who grounds the play into reality and giving it a message and moral value. In general, it is a spine-tinglingly funny with a bite familiar to Private Eye readers. This continues the zizzling year for subsidized theatre.

Great Britain is playing at the National Theatre until 23rd August before transferring to Theatre Royal Haymarket from 10th September.

Tosca, Royal Opera House *****

Bryn Terfel as Scarpia in Tosca

On Thursday, I had my first trip to the Royal Opera House and what an experiance! It is so grand and the buzz created in it was electrifying. On top of this, the opera chosen for my first visit was the opera that convinced me of the power of classical music. Puccini's music  is the best music for anyone starting in opera. Tosca gets the romance and grandure just right.

And this production achieved perfection. Kent's production is so evocative that treads the line between the extraordinary political events going on and a close romance. It has received a lot of criticism over the years, however giving this production five stars only on the merits on its cast. This either shows inconsistency of several reviewers or the snobbery the same reviewers. Having said that, the cast is absolutely superb and, whilst it is slightly unbelievable to understand how a production can leap from two to five stars, the combination of Radvanovsky, Massi and Terfel does prove an unstoppable force. Vissi d'Arte in particular had my hairs on end with rapturous applause. They also made the third act seem good which is also a great feat. In general, one of the best operas performed perfectly. 

P.S: Placido Domingo waved his stick around well.

Stephen Warbeck Ensemble, Sam Wannamaker Playhouse ****

 

The Sam Wannamaker Playhouse

Left slightly cold by the disappointment of The Last Days of Troy, I needed this concert to lift up my hopes for the Globe. Luckily, it did just the job. The theatre itself still takes my breathe away, with a better chance to see all of it's wonders from the pit. Warbeck himself is a genuinely funny man who tied up each piece sublimely with anecdotes and with a genuine sense of camaraderie between the members of the ensemble who enthusiasm for each piece rubbed off on the engaged audience. The pieces themselves evoked many emotions from melancholy in the Wolf Hall pieces to joy in the Two Brothers piece 'To Freedom'. My personal favourite was the Young Doctor's Notebook. This piece, which apparently was critiscised by many, was upbeat, with a Jewish sensibility to it and was generally a pleasure to listen to.The ensemble is extremely talented with special notice to Sarah Homer who did a sterling job on a range of woodwind instruments. Overall, a terrific evening.

Find more concerts by candlelight at http://www.shakespearesglobe.com/theatre/whats-on/concerts-by-candlelight.