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.