The Dazzle, FOUND111 ****

FOUND111 is a new, temporary space in the heart of London which has transformed into a New York apartment for the UK Premiere of Richard Greenberg's play about love and the perils of intellect. David Dawson plays Homer Collyer, a man whose sole purpose appears to be to support his ultra-intellectual and musical brother Langley, played magnificently by Andrew Scott. Complete with alibis in the form of opera plots and complaints that instruments are a 64th tone flat, this pair are the height of eccentricity. Ben Stone's intimate and cluttered design shows a world of disorder which brushes off love interest Milly Ashmore (Joanna Vanderham) and the convention she brings with her. Vanderham's American accent feels a tad inconsistent but is only jarring for the first few minutes until you are taken into her intense and sad performance as a woman whose order threatens the life of Scott's Langley. A poignant and moving second act is finished with the perfect final image that finishes a beautiful production in an exciting space.

Little Eyolf, Almeida Theatre ****

From Greeks to Europeans, Rupert Goold now has a season of Ibsen and Chekhov, first being Richard Eyre's staging of his own adaptation of Henrik Ibsen's Little Eyolf. The work of Ibsen and Chekhov often inspire the same dread as with Greek drama. The focus on the bourgeoisie and the flowery language makes it difficult for me to find an in to the drama. Eyre's adaptation, however, is far easier to relate with all the flowers pruned and a three act play being condensed into an 80 minute roller coaster of tragedy. Tim Hatley's pristine and pretty set of a wooden veranda with a mountain backdrop lulls you into a false sense of security before being ripped apart by the brutality of Eileen Walsh's rat woman who induces death and destruction on this wealthy family. The cool and settling nature of the Scandinavian sounds and fjords are given a more brutal and harsh characteristic by Ibsen and Eyre and Jon Driscoll's videos bring this out. The whole play and production is full of deception deceit and finding new meaning, with the innocence of childhood and the relationship between siblings being challenged. Jolyon Coy is wonderful as Alfred, whose revelation to focus attention on Eyolf starts a competition between the child and Lydia Leonard's superbly portrayed Rita, whose sexual desires create hatred and distrust. This is a brutal and raw production of Ibsen at his best.

You for Me for You, Royal Court ***

Mia Chung's play is not a Royal Court play. If you go to the upstairs space at the theatre for a metaphorical sledgehammer to the head. They are punchy and to the point holding nothing back. You for Me for You in comparison is a subtle and reserved play, perhaps due to its prior American productions. Despite these differences, however, it is just as powerful and moving as other more blunt productions in the vibrant upstairs space. The play examines the differences and similarities between America and North Korea through the lens of two sisters separated trying to escape the best country in the world. One particularly strong moment for me was the pressure to stand for the national anthem showing that, whilst America is clearly more free than North Korea, similar intimidation and conformity is used in both states and is made especially relevant after the outrage of Corbyn's 'refusal' to sing our national anthem. It deals with the frightening language barrier for immigrants with Daisy Haggard's various American character's speaking things that sound meaningless but taking more meaning on over time as Katie Leung's Junhee learns more of the language. The absurdism of Wendy Kweh's Minhee's journey across North Korea to find her son is harder to get your head around and I still don't quite understand the point being made by Chung here. Richard Twyman's production show these two countrie's obsession with style and facades, with a beautiful design from Jon Bausor hiding the grim and dark reality of both countries. Performances are strong across the board although none stand out as truly great. I still don't quite understand Chung's message in this play but there is still plenty to get from it even without knowing this.

Here We Go, National Theatre ****

Here We Go has attracted many negative reviews mainly due to it's final scene which is approximately 20 minutes of a man being dressed and undressed. It's true that this scene is excruciatingly painful and torture to watch. But that is sort of the point. Here we go, is a 45 minute examination of death. The first scene looks at people commenting on a man's life at a funeral, with interjections on their own death which highlights everyone's mortality. The second scene shows a dead man contemplating on which afterlife he wants, with the exiting imagery conjured directly contrasting with the painful final scene which shows the mundanity and pain before death. Churchill doesn't explain death here or even tread new ground on the subject. Instead, she plays with form by fragmenting familiar situations so that they are faux-natural, creating an upsetting and moving art installation. Dominic Cooke's production is minimalist and as fragmented as the form which demonstrates our flaky and incomplete understanding of the subject. Patrick Godfrey gives a matter-of-fact performance as the Old Man, showing no sentimentality. The rest of the ensemble give partly comic, partly poignant performances as onlookers at the funeral and highlight the need for us to live in the moment and the temporary nature of life. This is a powerful piece of theatre that deserves a greater run in a building that needs more alternative theatrical experiences such as this.

Cecilia Bartoli and Rolando Villazon, Barbican ****

Classical superstars Bartoli and Villazon have graced the Barbican with an evening of Classical and bel canto arias, duets, and excerpts. Supported by the excellent Orchestra La Scintilla of the Zurich Opera, the pair bring joy and energy. Rolando Villazon may not be the most able of tenors, even without the cold he had on this evening which haltered his head voice and passagio, yet he is certainly the most energetic and lively tenor, with a likability that makes his documentaries so compelling. Cecillia Bartoli without doubt is one of the greatest mezzos and also has a charm and a rapport with Rolando that is just wonderful to see. The evening's programme tackled lovein all its forms from unrequited to requited to tragic. Whilst Villazon's arias were damaged because of his cold, he still brought the energy and passion which made them easy to listen to. Bartoli had no illness so soared through the evening, seeing off difficult Rossini arias as if they were 'twinkle, twinkle, little star'. The finale of Otello was moving and perfect. Rossini writes the final scene better than Shakespeare, making Desdemona a far stronger mezzo and the end is far grittier and less romanticised than in the play so, whilst there were some lighting effects which were unneccesary, the performance of this scene was spellbinding from both of them. This was certainly an evening which deserved the three encores this duo received.

The Homecoming, Trafalgar Studios ****

The Homecoming as a play sits uneasily with me. Despite the astute commentary of the nature of the male psyche and the changing views and roles of the sexes, it is tricky to emotionally connect to a narrative where no character (with the possible exception of Sam) is in any way sympathetic. There is also an issue of seeing prostitution as empowering and a sign of female strength which I find dated and warped. 
In spite of this, I really enjoyed Jamie Lloyd's 50th anniversary revival. The production feels like it should be at the Royal Court, with an electric and brooding feel, enhanced by Soutra Gilmour's bare bones set and Richard Howell's intense lighting design, that shocks and, whilst I have some objections to the text, it still has something to say. Lloyd makes everything these characters say gripping and painful and, with use of the Pinter pause, makes the silence as painful as the awful words being said. Keith Allen's Sam is somewhat over-camp for my liking, with his performance bordering on caricature, but the rest of this stellar cast are exceptional. Ron Cook is a domineering as Max, the control freak who can't control his own family. John Simm's magnetic Lenny is psychotic, with his amicability punctuated by violent anecdotes as John Macmillan's as with John Macmillan's simple yet menacing Joey. Gary Kemp's Teddy is perhaps the most hateful of the lot, with his passivity and acceptance in the second act demonstrating how intellect doesn't always change people's base behaviour. Gemma Chan is hypnotic and fascinating as Ruth who is just as twistedand perverse as the other characters yet appears to be more of a victim then the others. For me, this is the best production I have seen from the Jamie Lloyd residency at the Trafalgar Studios with a production of a play that challenges and provokes strong responses from anyone who watches or reads it.

Jane Eyre, National Theatre *****

Jane Eyre makes 3 and a half hours  feel like 30 minutes in perhaps the most powerful pieces of theatre in 2015. Sally Cookson and the cast have devised this show, forming Charlotte Bronte's story through improvisation. This gives the novel new life and appears to generate sublime performances from the best ensemble of the year. Far from the cushy chic-flick with winsome staring into the distance, the company have created something that demonstrates the tough nature of Jane who fights to be free and for justice. Michael Vale's set further defies the expectation of an adaptation of Jane Eyre. Described by many as a playground, it captures an audiences imagination and,as well as being able to cope with the multiple scene changes, it highlights the adventurous and exiting journey Jane has undertaken. Benji Bower's fantastic music choices and arrangements further the pain felt by Melanie Marshall's Bertha Mason, whose voice is divine and full of burning hatred and pain. Madeleine Worral is a defiant, strong and brilliant Jane, Felix Hayes is a mysterious and intruiging Rochester, whilst the rest of the ensemble cast are also extraordinary as Jane's conscience and the multiple roles each actor takes on. With a national tour on the cards, this is a show which is essential for everyone to experience.

The Lorax, The Old Vic ****

The issue of global warming is addressed in David Greig's adaptation of Dr Seuss's famous story. The show tells the story of the Once-ler and how his obsession with making money destroys the Lorax's paradise. Through puppetry, the Lorax is brought to life with exceptional skill which always astonishes me.  From the Lion King to Avenue Q and now to this, how the skill of the puppeteers manage to give this inanimate object a life and personality of it's own is unimaginable. The story occasionally can feel the wrong side of preachy but this rarely happens and is a laugh right the way through. From jokes about the rhyming, which never gets tiresome, to music from Charlie Fink which is fun and jaunty, it's a brilliant family show. Rob Howell's set is colourful and captures your imagination with wonderful quirks like the trees and Once-ler tower. Simon Paisley- Day is a great Once-ler, emboying the problem of capitalism in a fun and jovial, turning sinister Once-ley whilst Simon Lipkin provides the Lorax with an animated and characterful voice which is a delight to watch. It's hard not to fall in love with a show so excellently crafted as this one.

Macbeth, Young Vic *****

I came in to the Young Vic feeling apprehensive. Their previous Shakespeare was less than entertaining and this was another proscenium arch production in a space which is clearly best suited to thrust and in-the-round productions. However, as I started I instantly felt comfortable that Carrie Cracknell and Lucy Guerin knew what they were doing. This Macbeth combines the text with superb choreography which intensifies the supernatural elements of the drama. Ana Beatriz Meireles, Jessie Oshodi and Clemmie Sveaas especially are wonderfully unsettling and physical as the three witches who, in this production, appear to manipulate Macbeth's descent into madness rather than being done by Macbeth's own greed and ambition, shown through their almost continuous presence in the drama. Lizzie Clachan's design also demonstrates Macbeth's fate being pre-determined and his being trapped in yet another striking and ingenious design from Clachan, who is demonstrating the huge talent of designers in modern theatre that is staggering in quality. Neil Austin too has become the go-too guy for great lighting design and he excels here, both concealing the truth and, especially in the banquet scene, contrasts between Macbeth's mind and the action. Performances are immense. Anna Maxwell Martin is a formidable Lady M, not falling into the villainess trap, with her silences meaning as much as her words, which are conveyed with passion and elegance. John Heffernan is quickly turning into my favourite actor with an incomparable gift for maintaining a rhythm and technique whilst portraying pure truth. In Oppenheimer, his performance rescued what, in my opinion, was a flawed production. Here, his talent is allowed to blend in and fuse with perhas the strongest ensemble I've seen this year. Prasanna Puwanarajah also wonderful as Banquo and the casting of his son Fleance is thought provoking and an inspired directorial decision. This is one of the shows of the year and shows that the Young Vic haven't lost their ability to punch above the heavy weights with this gem of a tragedy. (Genuinely awful programmes though. Even worse than the Dorfman one. One tiny article and some biographies simply isn't good enough for three pounds!)

The Force of Destiny, London Coliseum ***

Calixto Bieito has returned to the English National Opera to direct Verdi's truly epic opera of love and war. The scale of the piece ranges from the personal to the large scale war scenes which leaves quite an impact on the audience. Wigglesworth's interpretation of Verdi's score, as with Lady Macbeth, is dramatic, grand and rich. The overture is just wonderful to listen to. The singing too is world-class. Tamara Wilson is a revelation as Leonora whilst Gwyn Hughes Jones' Don Alvaro is also well constructed and strong. The piece could be stronger with a less ambiguous set design from Rebecca Ringst whose use of videos is not helpful to either plot or meaning whilst Bieito isn't always clear in showing the audience what is going on. This detracts somewhat from what is otherwise an evening showcasing extraordinary talent.

The Mikado, London Coliseum ****

Jonathan Miller's production of the Barber of Seville has aged badly but the same can't be said for his production of Gilbert and Sullivan's Mikado. Thanks to Stefanos Lazaridis' set design and Sue Blane's costumes, this production is bright and vibrant, keeping the light- hearted humour of G and S without falling into the more racist, stereotypical pitfalls of the jokes. Carol Grant and Anthony von Laast's choreography is delightful and comic whilst Marc Rosette's and Davy Cunningham's lighting makes the production look joyous. Richard Suart is  wonderfully kniving and sympathetic Ko-Ko, with a brilliantly topical little list including pig-gate and Top Gear and Anthony Gregory as Nanki- Poo is vocally excellent as well as comical. Mary Bevan's Yum-Yum feels effortless as does every performance in this cast. This is truly Gilbert and Sullivan at it's most fun.

The Moderate Soprano, Hampstead Theatre ****

My first two visits to Glyndebourne this year were two of the best experiences one could wish for.  You make an effort to get to an inaccessible place to watch a supposed inaccessible art form and you appreciate it all the more for that. Your day is sacrificed in order to watch and experience a group of people, an organisation, strive for perfection in a way that you rarely see in London. This perhaps is why I took so easily to David Hare's play about Glyndebourne's conception at the Hampstead Theatre. It is a celebration of striving for excellence; the singleminded, ambitious aims of John Christie and the importance of art at it's purest. Hare manages to create a narrative of Glyndebourne's early years whilst jumping about different time gaps which in so many cases is frustrating but here goes unnoticed. It is a riveting play which keeps you hooked for the duration. Rae Smith has designed a set which shows the construction of beauty with an unfinished oil painting of the organ room with a stage being surrounded by tables and paintings off stage for action that isn't about Glyndebourne itself which Jeremy Herrin stages ingeniously. Roger Allam is, as ever, delightful to watch as the headstrong yet personable John Christie whilst Nancy Carroll is quiet yet forceful as his wife Audrey Mildmay. George Taylor, Paul Jesson and Nick Sampson are wonderful as the team who come to turn Christie's dream into reality. There is one speech which Roger Allam performs spectacularly well addressing the price of art, saying that people need to invest in the art they see 'and if it takes a whole day and wipes out their savings, so much the better'.  Whilst this argument is strong, it is an argument I fundamentally disagree with. Art does require investment but if that means that a whole section of society can't access that art, that art form becomes elitist and exclusive which is disturbing to me. It is therefore to the plays credit that I came out of this play pleased, despite this speech, and this comes down to the talent of the cast and creative team.

Medea, Gate Theatre Notting Hill *****

The bravery of Kate Mulvany and Anne-Louise Sarks' adaptation of Medea to put the children at the forefront is commendable. The practicalities of getting strong enough child actors to star is near impossible, on top of the need to get across Euripides' original plot and essentially make two children waiting feel exiting and engaging for one hour and ten minutes. Therefore it is astonishing to find that Sarks' production not only works; it excels in every aspect. The setting both exists in the modern day, with Amy Jane Cook's design transforming the Gate's space into a contemporary boys bedroom, and in the Greek age, with the story of Jason and the Argonauts being recounted which could either be interpreted as a fairytale or a real one. The language is naturalistic and focuses on the children's innocence but also treats Medea with sympathy. Amongst the innocence, however, it also has a social commentary on modern day socialisation. You enter in to a normal boy's bedroom strewn about with Nerf guns, bows and arrows and, throughout the show, Jasper and Leon fence, reenact deaths and attack a toy monkey with a foam baseball bat. These activities are used to demonstrate the socialisation of males towards violence and aggression in a rather unsettling way. This feeling is intensified when it is being carried out by innocent children who still wet themselves and hug their father's blanket. Jasper and Leon were played by Bill Keogh and Samuel Menhinick at the performance I went to and they are wonderful young actors who don't come across as precocious and annoying which child actors occasionally come across as. This is a wonderfully immersive and emotional experience that gets to the crux of Euripide's tragedy.

Wuthering Heights, Ambassadors Theatre **

Emily Bronte's classic novel has been given a radical makeover in Stephanie Street's new adaptation in a production from the National Youth Theatre. Street's narrative arc in this adaptation feels both uneventful (which is often a problem in stage versions of novels) and rushed in an attempt to fit about 350 pages of story into under 2 hours of material. Scenes between older Kathy and Heathcliffe appear to have no particular purpose other than to reminisce and argue whilst alternating younger Heathcliffe and Kathy seems to only be done in order for all of the company to have a part. Cecillia Carey's set design manages to maintain the gothic nature of the novel whilst making it feel updated and modern and the ensemble cast give admirable performances. However, these upsides don't stop this evening from feeling unsatisfying and unfinished.

Morgen und Abend, Royal Opera House **

George Friedrich Haas' new opera has had it's premiere at the Royal Opera House and it has fallen into a problem many directors find in the space. This opera, an intimate piece about life and death, feels lost in the 2000 seat venue. The music is a sweeping soundscape which at times is chilling and emotionally led yet it could be scaled down to fit in a studio space. Graham Vick's staging would also adapt better in the Linbury but minimalism doesn't work well in a space where small expressions are lost by the 6th or 7th row back. The amplification of speech also loses some emotionally intensity, despite Klaus Maria Brandauer's best efforts. Performances from the singers are competent but not as emotionally rich as one might wish for in a piece about death. The piece finished with two thirds of the audience still there which is some achievement yet I don't think it has succeeded in bringing anything particularly powerful to the stage.

Waste, National Theatre ***

British politics appears to be undergoing a great shift, with the Labour party moving from a centre party indistinguishable to the Conservatives to a party of idealism and opposition posing radical left-leaning policies that spark and fires debate. This is what Henry Trebell and the National Theatre want to do in this new production of Harley Granville Barker's Waste and, whilst it doesn't quite work out, it is an admirable attempt. Roger Michell's production can be seen as a dry period piece that never takes off with no real mark being made. However, if you can get through what is admittedly a tough slog to the Fourth Act, you get a pay off with a stunning final image and an interesting investigation into the role of idealism in politics. Trebell is a man who wants reform and believes he can change the country and, even with support, he is crushed by his personal failings. From pigs to 'plebs', the issue of the personal invading the political is a relevant issue and Charles Edward's frankly unlikable Henry bears to mind both the idealism of Corbyn to the personality defects of the Conservative cabinet. Edward's manages this line well, keeping the audience from completely despising the man through his evident desire for change, meaning that the tragic finale has some pain to it. Sylvestra Le Touzel is a tough yet sad and ultimately dependent sister Frances whilst Olivia WIlliams is a outwardly strong yet emotionally vulnerable Amy. Hildegard Bechtler's design, like the ethnicity of the company, is too white and could do with some diversity in order for the audience to engage further with the drama. If you can withstand the dry and often nauseating language in this piece, you are likely to be rewarded in a play that, whilst entirely tame, still questions and addresses the place of ideas and personality in this political landscape.

Evening at the Talk House, National Theatre ****

Firstly, it is a weird experience to sit in a theatre and, without expecting it, to hear a voice from your childhood. This is exactly what happened when I sat in the Dorfman to see an Evening at the Talk House. When an old man starts speaking and suddenly Rex from Toy Story is talking about how he wasn't a great actor, you become slightly scared, especially when there is no mention of the part in the programme (which, like most Dorfman programmes, is a pathetic excuse of a programme and is a rip-off at £3). However, it is not Rex but in fact Wallace Shawn in his own play which has premiered at the Dorfman theatre. It follows the character of Robert, played by Josh Hamilton, who meets with the crew of an old play at an old haunt called 'The Talk House'. Everything feels amiable enough until, piece by piece you start to understand the world they're in and the space and the play becomes more and more claustrophobic. The only production comparable to Ian Rickson's staging of Shawn's play is the hit of Hangmen at the Royal Court earlier in the year. Both McDonagh and Shawn have a similar aesthetic and both achieve the effect of making an audience feels incredibly uncomfortable. Shawn's play seems to be a critical standpoint on the role the privileged have in the decision making in the West. The characters in this play are very happy to sit around and discuss morality. Some are even happy to make decisions that make a large impact on people's lives. But it is left to those lower down the hierarchy to carry out the deeds. It addresses issues of scapegoating and it is incredibly powerful in the light of the recent atrocities in France. The Quay Brothers have created a set that alludes to the past and looks to the future whilst Neil Austin's lighting design creates a dim and grimy effect of a club fallen on hard times. Hamilton gives a wonderfully engaging opening monologue about the theatre at the beginning, playing almost a Nick Carraway- style role in the play, and his unreliability is fascinating to watch throughout. Performances are good across the board, notably Shawn as the not-quite-defeated Dick and Sinead Matthews as the mysterious waitress. This is an intriguing piece of theatre that is uncomfortable yet compelling to watch.

The Lion King, Lyceum Theatre *****

Disney films are truly magical. They have a unique quality of fully transporting me to a safe, exiting and comforting world which, for all the Jafaars, Scars and Hades, there are the Aladdins, Simbas and Hercules' that save the day, creating a film that I can watch at any time and just feel warm and cosy. Julie Taymor has managed to do something truly special which is to create a timeless spectacle that contains the cosy feeling of the movies whilst also experimenting and challenging our notion of what theatre is. The Lion King isn't just your bog standard musical. Like Bend it Like Beckham, it fuses two musical cultures sublimely without being insulting or insensitive. Richard Hudson creates a world of colour and life through his scenic designs which doesn't need to be intricate or detailed to look truly stunning. Taymor's costume design is the true beauty of the show, with elephants, giraffes, antelopes, lions and a host of animals from the African savanna coming to life through intelligent design and construction. Elton John's music is timeless and is always just a joy to listen to. Performances are great across the board, especially from the young Simba and Nala who managed to maintain their enthusiasm and professionalism in an extremely technically difficult show to run. Unlike other long running musicals, I can't see this one from losing its power to take your breathe away in what is a musical that is in a league of it's own.

Henry V, Barbican Theatre ***

Greg Doran's history cycle is completed by Alex Hassell returning to the role of Hal post-adolescence as a serious and focussed Henry, signalled by the death of Falstaff at the beginning of the play. Doran really needs to drop the apparent reverence for Shakespeare as it is resulting in academic and dated productions that make no attempt to engage or excite an audience. There seems to be little change here with some soliloquies feeling like a drab recital of verse and even the highly comedic scene between Katherine and Henry feeling laboured and a touch plodding. On the other hand, the ponderous nature of this cycle of history plays suit Henry V better than Henry IV. Alex Hassell lacked the youthful energy that a good Prince Hal must have but is a greater Henry because of it. His tone may not be quite right for the big speeches yet his detached and aloof style of acting works in showing the isolation of the king. The older actors are the better ones here, injecting life into the play. Oliver Ford Davies is wonderfully comic as the chorus and he sounds like he has properly understood and interpreted Shakespeare's text unlike many of the cast. Jane Lapotaire is also a delight as Queen Isobel. Paul Englishby's music is probably the finest in straight theatre at the moment, with his Te Deum here creating extremely powerful theatre whilst his continuation of Prince Hal's theme from Henry IV is rousing and special to listen to. His music is the highlight of the evening along with Stephen Brimson Lewis' design which both exposes the mechanics of the operation for chorus scenes and has a sense of grandure and elegance which makes the evening special. This play show signs of breaking free from the restrictive and dated staging of Shakespeare, creating an evening not without it's exciting moments.

Royal Philarmonic Orchestra: From Paris to New York, Cadogan Hall ****

Gershwin is a true genius and he is put at the heart of this concert given by the Royal Philarmonic Orchestra for the start of a new series entitled' From Paris to New York', with three of the six pieces being by the extraordinary composer. The evening started with his 'Strike up the Band overture', followed by Prokofiev's Piano Concerto No.3 and Gershwin again for his Variations on 'I Got Rhythm'. The latter two featured piano from Boris Giltburg and just watching his fingers dance on the piano was a wonder to behold. I think he knew his talent, as he gave multiple curtain calls and an encore which I wasn't desperate for. The evening resumed with Bernstein's symphonic dances for West Side Story. There is no more emotionally intelligent and musically rich piece than this, taking well-loved musical numbers and interpreting them so that an orchestra can convey the pure emotion that Bernstein's legendary musical captured so well. 'Somewhere' is treated almost as a string quartet that gradually builds to the RPO's full orchestral majesty whilst Mambo is just joy to listen to. After an interesting, if not stunning, rendition of Stravinsky's Suite No.2 for Small Orchestra, the finale of Gershwin's 'An American in Paris' started. This piece introduced me to the power and wonder of classical music. Alexander Shelly successfully brings out the bustle and movement in the piece and each theme never tires and it is truly riotous (as much as is possible in a concert hall). This is a very promising start to what is looking like an entertaining series.

Husbands and Sons, National Theatre ***

My English teacher tells our class that 'it is better to write a lot about a little than a little about a lot.' This, for me, is the downfall of Ben Powers adaptation of three D. H. Lawrence. Perhaps it would be truer to say that Powers has constructed a play that investigates a lot about a lot. Running at three hours, the plays about families in mining village Eastwood never really merge together and remain three separate stories which need three separate productions to make them interesting rather than long-winded and tiresome. Despite this, Marianne Elliot has staged it in a way that tries to engage and emphasise the brilliance of Lawrence. Bunny Christie's set neatly conveys the background of mining with the dirt, grime and darkness of the show with each house, whilst similar, has their distinctions to show the family's place in the social hierarchy. For me, the main family which the piece concentrates on is the Gascgoine family yet the Holroyds and Lamberts get a pretty even share of the running time. It centres around the role of women in mining towns and their role extremely well, putting Lousie Brealey, Anne- Marrie Duff and Julia Ford in the main roles, each with their own struggles which each actor pulls off with feeling and emotional depth. The male characters are mostly unsympathetic characters and, even when they show feeling, their thoughts are usually driven by egoistic and physical means which may be an unfair representation of society but serves the play very well. This is a struggle to sit through and not entirely satisfying but undoubtedly intelligent and interesting interpretation of Lawrence's plays.

La Bohème, London Coliseum **

La Bohème is by far and away the greatest opera in the world (in my opinion). It is romance, laughter and pure, raw emotion. What Benedict Andrews has interpreted it to be is verismo opera with hard drugs and having almost no sensitivity. He takes a metaphorical battering ram to Puccini's delicately crafted opera, creating possibly the worst interpretation this opera has seen. In Act One, Che Gelida Manina takes place whilst Rodolfo and Mimi are taking heroine, meaning that Mimi sings Mi Chiamamo Mimi whilst Rodolfo is practically unconscious. Act Two is a bustle and a confusion. This is always a difficult act to stage as there is so much going on (we have certainly been spoilt with the clarity of the Royal Opera's production) but Andrews really messes it up. The third act is the best of them as it strips back the chaos and is rather sweet and puts the music first. However, the final act is back to the apartment and the tragic denouement is almost completely lost (I did cry a bit, it is almost impossible not to). Xian Zhang's interpretation of the score is capable but doesn't quite capture the full life of Puccini's masterpiece. Corinne Winters is a marvellous Mimi, capturing her emotional range however Zach Borichevsky doesn't quite get around the character of Marcello and a voice crack at the high note of Che Gelida Manina doesn't make him appear to be any better in the role. Rhian Lois treats Musetta delicately and well, despite Victoria Behr trying to put her in a box and stereotyping her as a 'slut'. I take real opposition to directors and creatives who try to pigeon hole characters to a label and I am glad that Lois has created something greater than her creative team has envisaged for her part. The rest of the cast, whilst acceptable, are nothing to really remember and, whilst there are some redeeming features, it is hard to imagine La Bohème being treated any worse than the ENO have done here.

As You Like It, National Theatre *****

There is no better way to see Shakespeare than at the National on the Olivier stage. As You Like It is a prime example of this. Prolly Findlay has created a truly definitive production of this play that truly sets the standard for modern adaptations of Shakespeare. The duke's court is some sort of environmental office which is brightly coloured and busy. Here, Orlando is a cleaner who beats the wrestler in a wrestling match held inside the office. The change from office to Arden is one of the most extraordinary things you will ever see in a theatre. Calling it awe-inspiring sells it short. Lizzie Clachan shows off the amazing abilities of the Olivier whilst also not stealing the limelight from Shakespeare's text. Orlando Gough's music is disjointed yet oddly catchy, adding to the atmosphere which the company helps by creating woodland noises and becoming sheep in one quirky sketch. Performances all round are as good as you get. Rosalie Craig makes the transition from musicals to straight theatre magnificently, maintaining her unique charisma in an utterly magnetic, compelling and strong performance as Rosalind whilst Patsy Ferran is as delightful as always in the part of Celia. Joe Bannister makes the most of an unforgiving and blandly written Orlando, injecting life into the part. Mark Benton is a jaunty Touchstone whilst Paul Chahidi brings his brilliant comic timing to the part of Jaques, whilst at the same time making the part oddly moving. This is a far more thought through and entertaining production of Shakespeare's comedy than the rather lame Globe production earlier this year, and is sure to last long in the mind.

Harlequinade/ All On Her Own, Garrick Theatre *****

Amongst the commotion of Dench-mania, the excitement of the Winter's Tale has somewhat sidelined the Terrence Rattigan double bill it is in rep with. Getting you home on time isn't the only delightful thing about these two one act plays which together last 1 hour 40 minutes. Both are tear-inducing for totally different reasons. All On Her Own is a monologue from Zoë Wanamaker who plays a polite bourgeois lady who has a conversation with her dead husband. It plays like a horror movie, highlighting the loneliness and desperation of the character. This totally contrasts with the sharp and witty comedy Harlequinade that just delights in it's own silliness. Based around a touring theatre company, marital, professional and personal relationships are challenged in this farce about the problems yet joy of theatre. Branagh is genius in the role of Arthur Gosport, with Miranda Raison matching his skill in the role of his wife. The star of the show for me, however, was Hadley Fraser who, faced with the possibility of getting a line, becomes hysterically funny, whilst also showing off his unmatchable tenor in a final number which left me with a grin from ear to ear. It is unashamedly old fashioned and self-obsessed and is all the better for it.

Consensual, Ambassadors Theatre **

The National Youth Theatre are in rep at the Ambassadors, giving the young people there a fantastic experience of a run on the West End. Whilst Evan Placey's play about consent is deeply flawed, this production does demonstrate the ability of British up-and-coming talent. It follows a teacher, played by Lauren Lyle, who, whilst teaching sex education, is confronted by a former student (Oscar Porter- Brentford) who accuses her of grooming and having sex with him. The first half is an interesting addition to the debate and consent, showing that there are no easy answers. The different strands are relatively engaging and, whilst a few bits need tweaking to ensure that the pace remains consistent, it is a solid piece of writing. The second half feels almost like a different play and seems to contribute next to nothing to either the debate or the narrative. It depicts the event argued over in the first half in pretty much the way I had imagined it in throughout the first. In fact, it detracts from it and seems to only demonstrate the actors' ability to perform in two totally different aesthetics. I wanted Placey to be as challenging and inventive as he was with Girls Like That but, despite wonderful and dynamic acting from a promising ensemble, the play as a whole falls flat. 

The Father, Whyndham's Theatre ****

This piece on dementia or a similar degenerative brain disease already was at a disadvantage in my mind as it had to follow a truly special production on the same subject at the Royal Court. Both plays address the issue in similar ways, even though Florian Zeller's play seems to be a more traditional and common form of the disease yet this doesn't detract from the impact, if anything creating a shorter gap between fiction and reality. Miriam Buether's set design is a tad alienating in the expense and emptiness of it yet none of it is a problem to an emotionally charged, intentionally confusing and upsetting play about the deterioration of Kenneth Craham's André from a strong and often unpleasant father to a distressed and alone patient. The play is intended to filter the world through André, even though at times it breaks his own rules by giving time without him. You don't who his daughter is and what the real truth is and achieves in a similar way to Nicola Wilson's play an insight into the mind of someone with dementia. Craham is extraordinary as the central character, being unsympathetic and yet compelling to watch. Claire Skinner does a fine job as his daughter who is tired and feels almost abused by her fathers increasing dependence on her whilst Nicholas Gleaves has the malice and decisiveness in Pierre that spices up the play, with the rest of the cast enhancing and adding depth to a highly emotional, clever and sophisticated play.

RoosevElvis, Royal Court **

The American based 'The TEAM' have brought their 2013 play to the Royal Courtand it is quite a play. A road trip with Teddy Roosevelt and Elvis Presley through the mind of a meat factory worker needs a leap in imagination. On the way the play tries to cram as many themes and ideas in as possible, mixing pre-recorded film with fights and a complex and multi-layered set from Nick Vaughan. This perhaps is the sticking point to the piece. You can't really tell what the play is trying to say as a result. Kristen Sieh and Libby King are electrifying as Brenda and Ann and their idols Roosevelt and Presley, inhabiting the characters with real physicality yet I just couldn't 'get' any of their characters. It may be just the gap of the Atlantic meaning that references are lost or certain expressions or emotions are misinterpreted but, whilst I could admire and respect the ins and outs of the play, it did not strike my emotions or give me a chance to connect, yet giving me life plenty to think about and the puzzle 'what is Roosevelvis really about?'

Plaques and Tangles, Royal Court *****

I am still shaking and am brought to tears from Nicola Wilson's play about early onset Althzeimers. It is a truly remarkable quality in a production to bring an audience to tears and be so engrossed in a piece of fiction and I am amazed every single time drama does it to me. Wilson has created a superb insight into Meghan's life with fragmented memories and jumbled or misconstrued information that confuses you. Lucy Morrison stages this fluid and haunting production with a clinical, if-not special design from Andree D Edwards. The performances, however, are what set this drama apart from the rest. Alice Felgate and Ted Reilly are wonderful as the concerned children whilst Vanessa Babirye is an understanding but intimidated love interest of Ned. Monica Dolan is sensational as Megan. The intellectual and forceful character shown in her younger self (portrayed well by Rosalind Eleazar) regressing to a child-like shell of a person is deeply traumatic to witness due to an engaging and truly exceptional portrayal of this delicately constructed character. The rest of the cast are fantastic as well. The past twelve months have seen some of the best new drama produced at the upstairs space and this piece from a new playwright stands out of the multiple superb productions as something truly special.

The Hairy Ape, The Old Vic ****

In the process of reverting the Old Vic from it's previous in the round space to the current proscenium arch theatre, someone seems to have destroyed the theatre. Where the lighting rig used to be, a horrible chandelier attempts to mask the cracks in the ceiling and the paint on the walls are peeling. The money spent on the unnecessary refurbished front of house should have been spent making this space habitable for an audience. Luckily, the production within it is far greater than the space inwhich it is being performed. Eugene O'Neill's masterpiece about the American class struggle and the need to belong is both touching and enraging in a good way. In what could easily be a counter-piece to the Great Gatsby, O'Neill explores the concept of self- fulfilling prophecy which is extremely prevalent in a poignant and a perfectly produced final scene. Richard Jones has staged this drama in a surrealist world, with a garish set and lighting design from Stewart Laing and Mimi Jordan Sherin that creates an intense and sweat-inducing atmosphere whilst the clever use of choreography from Aletta Collins effectively portrays the ritual beating down of the working classes represented in Yank which becomes more and more painful to watch. Bertie Carvel is a dominating and sad Yank whose need to belong in a world that makes no sense is heartbreaking. It is a masterful and award-worthy performance which captures the pain of words and a bruised masculine ego perfectly. An ensemble cast supports him well, especially the actor that appears in the final scene who creates a character that mirrors Carvel superbly. This is the Old Vic back to creating truly great theatre with yet another fantastic Richard Jones production.

BBC Singers- Montiverdi Vespers, Milton Court **

Having never heard any Montiverdi before, I was taken aback by his religious Vespers of 1610 at Milton Court. Loving Baroque music, I was fascinated by the richness and complexity to his music. The soloists in particular have music as difficult as any Rossinni opera. I Fagiolini are a marvellously talented ensemble that take this task on well. With the BBC Singers, the two groups are powerful at times, especially during the Magnificat. However, at other times the music seems deadened and lacks the beauty and tone that one would expect from a first-class choir. St James's Baroque ensemble are splendid and have an elegance and fluidity. The almost constant movement of the soloists to the balcony and back felt messy and, for me, slightly took away from the sacred and delicate aesthetic with no real effect on the music. Whilst the music is at times explosive, it lacks a dynamic and engaging quality that all concerts should have.

The Barber of Seville, London Coliseum ***

Jonathan Miller's production of the Rossinni classic comedy is almost 30 years old. Now in it's twelfth revival, the traditional and simple staging is looking dated. Unlike John Copley's Boheme, Tanya McCallin's design has no real punch or artistic impact. There is nothing dynamic or alive about the staging and is in dire need of revitalisation. And yet I left the Coliseum with a firm smile on my face. From the overture to the curtain call, Rossinni's music delights and entertains and, thanks to Christopher Allen's colourful and emotive conducting, provides a musically satisfying evening. This is helped by some extremely talented singers. Anyone who can sing this opera deserves high praise and for this group of singers to inject the energy they do is quite remarkable. Morgan Pearse's Figaro is playful and fun whilst Eleazar Rodriguez is a forlorn as the Count yet delivers hilarious accents whilst maintaining top musical standards. It is a rather large step for the audience to believe that he is the love of Lathryn Rudge's Rosina yet the magic of opera let you believe it for the duration. Rudge, however, steals the show. From Una voce poco fa, she gives a wit and a defiance to Rosina along with an incredible tone of voice. This is helped by Amanda and Anthony Holden's witty libretto which feels fresh and far from the stuffy operatic text we have come to expect. Andrew Shore is also notable as the antagonist Dr Bartolo whose fast tongue masters the tricky and fast paced score. The cast and music shine here in a production that needs to be put out of it's misery.

La Musica, Young Vic ***

The Maria, in my short experience, has always provided very alternative theatrical pieces and Jeff James' production of Margarite Dumas' play about a couple meeting up after their divorce is no different. La Musica is a very stereotypically French play. Even Barbara Bray's translation keeps the references and the contemplative tone. The first half sees Emily Barclay and Sam Troughton facing a window away from the audience with cameras capturing the smallest facial expression. This move is less grating than the video usage in Measure for Measure on the main stage and gives the audience a meaningful insight into these people's lives with a cinematic quality. The second sees the action relocated to an in the round setup with the audience moving to both sit and stand whilst the two actors sharing similar sentiments in a more dynamic way. However, at times the repetition bores and despite Ultz's extraordinary design Bray's translation of Dumas' play just isn't interesting enough. Barclay and Troughton try to breathe life into the text with a powerful and complex relationship which is wonderfully and fascinatingly staged by Jeff James yet I just couldn't get over the plodding and static text which disappoints, in spite of the first rate production values.

Teddy Ferrara, Donmar Warehouse ****

The emphasis of Dominic Cooke's production of Christopher Shinn's play about the issues facing the LGBTQ community post equal marriage is loneliness. You walk into Hildegard Bechtler's clinical and blank space with chairs positioned in a circle. However, the play does not start with a group conversation but with Gabe putting away the chairs, making the space empty and foreboding. All of the people in this play are lonely, whether it's because of their sexuality or their personality. The event that occurs at the end of the first half isn't really a tragedy but is what this community need; a call to arms and a chance to unite and not be lonely. The importance of symbols and the issue of mental health is discussed here with sensitivity and works rather well. Acting-wise, the American accents held up well for me but other audience members did complain. Luke Newberry and Oliver Johnston are fantastic as the core couple as Gabe and Drew whose new relationship, as with our sympathies for each of them, waxes and wanes throughout with secondary characters interfering, notably Kadiff Kirwan's Nicky, Nathan Wiley's Tim and Christopher Imbrosciano's Jay as well as Anjli Mohandra as Tim's girlfriend Jenny who all do well in providing layered characters and not just acting as plot devices. Matthew Marsh is a horribly familiar President who appears to behave like the politician we know and hate today, in holding a focus group to be seen to be doing something whilst in fact not doing anything. Pamela Nomvete and Griffyn Gilligan as Ellen and Jaq, along with Gabe and Jay are the diverse crew the President assembles and, whilst Gabe's ambitions cloud his judgements, the rest see through the President's illusion and fight back in a satisfying way. The hubris displayed by Newberry as Gabe is heartbreaking, with his final scene reducing me to tears and the lingering silence at the end reflects the thoughtful and haunting nature of this surprising and well thought through production.

Lady Macbeth of Mtsensk, London Coliseum ****

Mark Wrigglesworth has brought an astonishing and fresh production of Shostakovich's controversial opera that shows the full strength of their orchestra and chorus. Right from the start, I was blown away by the sheer force and scale of these wonderful resources as this 'muddle' transforms into wonderful music about love, lust and, in Dmitri Tcherniakov's production, the divide between East and West. The traditional Russian house with rugs lining the walls juxtaposes the modern Western style office layout of the factory in Tcherniakov's design and this difference resonates strongly and demonstrates Katerina's isolation in this strange and different setting. The sex is raw and strong without being indecent or offensive which is helped by having a strong and vocally able female protagonist in Patricia Racette. The role is tricky and she navigates around the part fantastically and is both brave and ambitious yet devoted and emotionally engaged. The contrast between Peter Hoare's weak and disheveled Zinovy contrasts greatly to John Daszak's Sergei who is ferocious and strong. Your opinion of him changes the most throughout the narrative in a very un-operatic nature. However, the chorus steal the show in the few moments where they sing collectively. They have a force that is as great as Mastersingers and provide wonderful atmosphere. Whilst the music can occasionally be straining, this almost perfect musical rendition of Shostakovich's opera is a fantastic start to a promising new regime at the ENO.

Medea, Almeida Theatre ***

The final production of the Ameida's Greek season brings Kate Fleetwood as the vengeful Medea in Rupert Goold's strikingly modern production with Rachel Cusk's reimagining of Euripides' tragedy as the story of the divorce between two successful writers has an unrelentingly feminist message whilst, in the process, discussing the destructive nature of divorce and the emotional damage it can bring to children in the middle of it. The notable thing about this production is the change of ending. If you are coming for horror, blood and gore, you will be disappointed. No screams or any graphic scenes are constructed, with a clinical production and design from Ian Macneil. Any production of Medea hinges on the quality of the titular character and Kate Fleetwood is a worthy Medea. She is angry and vengeful in the role yet also containing love and sanity which earths her and, with a frustrating and annoying chorus of mothers, seems like the most sensible person there. Whilst I'm not totally satisfied with Cusk's adaptation, with an ending which makes little sense and a family whose first world problems are hard to totally sympathise with, yet there are some stimulating issues raised in this adaptation. The supporting cast is strong with Amanda Boxer's mother demonstrating how not only men prevent oppose feminism and Justin Salinger being a husband who, whilst amiable enough, is unsympathetic and is not subtle or caring enough to command the audiences respect which creates a fiery and tense relationship on stage. Whilst some found the chorus annoying, I found it relevant and an interesting translation of the cliques between mothers but with some pathos to be found in some of them, notably Ruth Everett's character. The cleaning lady is a misstep which really just provides a foil to demonstrate how well off and lucky Medea's family is, which diminishes the strength and power of the piece. I can't see this interpretation of Medea being used again but it is a valid and stimulating work that captures both the position of feminism in the modern age very well.

The Great Gatsby, Greenwich Theatre ***

Before watching Blackeyed theatre's production of the Great Gatsby, I had written an essay about Nick describing him as sexist, untrustworthy and only amiable in comparison to Tom's awfulness. None of this is true in this production. Here, Nick is the model citizen and his account is not approached with any form of doubt. Despite this, I admire Stephen Sharkey's adaptation greatly. It manages to stay true to much of the actual text whilst also maintaining a narrative drive which isn't present in the novel. In trying to be so faithful to the novel, it contrives situations which don't help develop the story to progress (for instance the way Jordan's golf tournament scandal is approached). Eliot Giuralarocca directs this slick production with a talented cast. They all play multiple instruments and bring the swinging 20s and the lost generation to life, which is enhanced by Victoria Spearing's elegant yet simple set design. Whilst Adam Jowett's Nick doesn't portray him how I see the character in the novel, Jowett's interpretation is valid and watchable. To a lesser extent, this is the case with the majority of the cast. I read Daisy with more awareness, Jordan as more subversive and Tom as a worse and more despicable man. Yet Celia Cruwys- Finnigan, Celeste De Veazy and Tristan Pate all brilliantly perform their character. George an Myrtle aren't written substantial enough parts in this adaptation yet Stacey Ghent and Tom Neill make the most of them whilst Max Roll is engaging yet the extremes of his personality and identity aren't explored enough, leading to a very stable performance. As is always the case, whether it be on stage or screen, that a production will struggle to break free from it's form to mould to another but this adaptation almost succeeds if not quite entirely.

Measure for Measure, Young Vic ***

2015 seems a popular year for Shakespeare's problem play. First, Cheek by Jowl's fierce production in Russian played at the Barbican. Next, Dromgoole's out-and-out comedy version is about to close at the Globe. At the Young Vic, I don't quite know what Joe Hill-Gibbins has done with Measure for Measure. The symbolism feels more prevalent, whether that be this production or the amount of time I have spent watching this play. Lucio's devilish qualities are enhanced by the fiery costume from Nicky Gillibrand whilst Isabella and Angelo felt very much like Adam and Eve brought before the seemingly omnipresent and omniscient, if not quite omnibenevolant Duke for judgement. I feel for the people who sourced the props, who must have felt very awkward walking into a shop in Soho and requesting about a hundred sex dolls. These represent the sin within Vienna and the way each character treats them in the opening scene tells us about that character in one of  the few good directorial decisions from Joe Hill-Gibbins. Escalus knocks them out the way; Angelo tiptoes around them whilst the Duke steps on them. It all goes downhill from there. Video is a wonderful tool if used to enhance the action on stage. However, when half of the action takes place out of sight with a camera (as it is with Chris Kondeck's video), it becomes no better than an amateur attempt at live cinema. When Pompey (played by Tom Edden as an irksome and seedy American) is wondering round with the dolls with no effect other than cheap jokes karts totally with the serious and meaningful aesthetic of Miriam Buether's design. The klaxon whenever the prison door is opened becomes infuriating whilst Marianna's obsession feels that it comes from a sane place which is challenging to comprehend. As far as the acting is concerned, whilst there are decent performances on stage, there is nothing exceptional about a single member of the cast. As the last of the Measure for Measure's, you can't help but compare them to far superior performances in the previous two versions. Romola Garai, whilst impressive, can feel slightly trapped in the character of Isabella, yet there is real emotion and a drive to her. Paul Ready's Angelo simply isn't interesting enough. He is neither as grotesque as Andrei Kuzichev nor as morally righteous as Kurt Egyiawan. Occasionally it feels like a child is at the helm of Vienna. Dubinsky Varla's Duke is a complex character but frustrated when under the camera lens. He also doesn't have a clear identity yet (it was only the fourth performance). At the Globe, whilst the decision to cast Dominic Rowan's Duke as a bumbling fool was midguided, at least it gave him axle are role in the narrative. Varla feels secondary here, with his manipulation lacking a clear motive. This is a production that wants to be bold and striking yet feels oddly lost in trying to be so different.

Mr Foote's Other Leg, Hampstead Theatre ****

Shows about theatre and it's actors seem robe blooming. People, Places and Things start with a scene from The Seagull; Nell Gwynn explores Restoration theatre of the 17th century and now Ian Kelly's stage adaptation of his biography Mr Foote's Other Leg. Like Nell Gwynn, humour dominates this play following the life of Samuel Foote however, unlike Swale's play, there is a darker side to Kelly's play. The satirisation get more brutal and the laughter becomes less about the fool and more about the pain of Foote's later life. After a needless prologue, the play bounces along, with a few medical scenes which seem oddly out of place. Richard Eyre's production juggles the silly with the serious well. It doesn't get too jarring with either and does well in showing this extraordinary man. Simon Russel Beale takes the starring role as Foote and, as always, is a delight. The joy he brings is tremendous yet he also provides an insight into how being in the public eye can distort and disturb an individual. Dirvla Kirwan is wonderful as Peg Woffington whose accent and character is a marvel to behold whilst Joseph Millson is a grand and aloof yet sympathetic David Garrick. It's fitting that this play is getting a transfer to the theatre which Foote set up and it is thoroughly deserved for a perfectly judged play.

Dinner with Saddam, Menier Chocolate Factory *

The Menier Chocolate Factory is a wonderful place. It has charm and subtlety, two things in which Anthony Howrowitz's play distinctly lack. Based in Baghdad on 19th March 2003, the concept is that Saddam Husein visits a  household for dinner where Ahmed Alawi and his family of a rebellious daughter and an informant nephew and a familiar looking plumber greet him. As you could tell from the set up, hilarity ensues as things go wrong.

After the lights went up, I overheard an audience member say 'I've just seen Carry On Baghdad' which almost sums it up completely. However, at least the Carry On films had laughs in it. As lead actor Sanjeev Bhaskar like me is a devoted Wittertainee, I thought I would use Mark Kermode's 6 laugh test. It failed. Apart from a few smirks, I did not laugh at a single joke in the whole of the play. From the rat poison in the spice jar to the date/poo mix up, it left me profoundly cold. Anthony Horowitz cites Michael Frayn's Noises Off as inspiration for trying to approach the sensitive subject of the Iraq war with humour. How dare Horowitz for daring to compare a comic masterpiece to his pathetic 'Mrs Brown's Boys' styled disaster. That would almost be bearable if they didn't try to be serious at the end. It takes a massive tonal shift in the last minute of the play which is the most disgusting and offensive moment of the whole play. After a load of poo jokes and mix ups, to have the gall to try and effectively shock the audience with a bomb is the worst scene I have every scene in a theatre. The set is well designed by Tim Shorthall and the cast try to make the most of it. Sanjeev Bhaskar is a great actor who occasionally breathes life into the play and Steven Berkoff is quite goo as the dictator Hussein. However, there is a distinct lack of chemistry that is needed to put on a great comedy such as the Play that Goes Wrong. The few redeeming features can not appease the shockingly poorly written script to the extent that even American Idiot the Musical would cleanse my mind and be a treat.

Pomona, National Theatre ****

As you walk into the temporary theatre, you are transported to a dystopian future. The lights flicker; the drone vibrates to your soul and the actors hang around each corner of the auditorium to create an unsettling atmosphere. Alistair McDowall has created not only a frightening piece but a psychologically disturbing and thrilling one. The humour is macabre, bathetic and gross (a security guards dream to cover Manchester in his ejaculate was a favourite joke of mine) whilst the character development is some of the best I've seen. You see the final scenes for each character at the beginning of the play and it is only as the information trickles down that you realise the shocking end of each character. This sort of theatre is vital in order to get a new, younger audience interested in intelligent theatre with an aesthetic from designer Georgina Lowe that captures the grime of horror films combined the slick and simple nature of an in-the-round space. The drain in the middle provides and effective death scene and an interesting metaphor for the unknown nature of Pomona. Ned Bennet directs a stunning production which bridges scenes with movement and darkness. The ensemble cast are all phenomenal from Guy Rhys' crazy owner of Manchester to Rebecca Humphries' as the emotionally unstable Fay. It addresses the seriously inappropriate relationship society has to porn and to sex workers in what feels like the most professional piece of theatre that I have seen in this fresh and exiting space.

Sunny Afternoon, Harold Pinter Theatre ***

I'm not a diehard fan of the Kinks. I know of their work but was bitterly disappointed that this won the bulk of the Oliviers over the fantastic Here Lies Love. Having now seen Sunny Afternoon, my view is unchanged. Joe Penhall's book lacks substance a generic story arch which creates an obvious plot and creates a musical that drags rather than soars (when the reference to 1966 emerged, I had my head in my hands). Miriam Buether's design contains a needless catwalk in an otherwise decent set, there are no standout performances in terms of straight acting, and Edward Hall's direction creates what-would-be a middle of the road ITV drama of the Kinks. However, the musical adaptations from Ray Davies and Elliot Ware turn this musical from the ditch and transforms it into something that is almost amazing. The depth and quality of the Kink's music means that it sounds at home on the stage and, from the a cappela transition songs to the full-on deafening concert renditions, you love every note that emerges from the cast's mouths. There's a real understanding for what makes good music here and the intensity and the richness of it is perhaps the greatest on the West End. If this was just an hour set instead of a 2 hour 45 minute musical, perhaps it could have been the experience of a lifetime yet as it stands it becomes yet another flawed jukebox musical that only has the music to rely on.

NT Live Encore: Coriolanus, Donmar Warehouse ****

This was the first NT Live screening I have attended and, whilst not a replacement for the live experience, it is a reasonable alternative for sold out shows or ones far away. It can occasionally feel annoying with some weird camera angles and amateur camera changes which disrupt a play's power and a feeling of intimacy, which you especially get in the Donmar, is lost on the silver screen. However, the Barbican cinema is utterly gorgeous and keeps a certain intimacy far more than my local multiplex which is only really suitable for the latest rubbish from Adam Sandler or Michael Bay. It helps that the production shown is such an energetic and powerfully bloody production of what many describe as Shakespeare's hardest play to understand. Josie Rourke's Coriolanus combines scenes of gruelling cruelty of Titus Andronicus levels (see picture above) and scenes of pure emotion to create a moving experience. Tom Hiddleston is a headstrong Caius Martius who doesn't become aware of his faults until it is too late to rectify them. However, it isn't a 'lead' performance in the same vain of Benedict Cumberbatch and Nicole Kidman. He is very much one of a collective of actors. Hadley Fraser is a revelation to me as Aufidius as he never seemed to me like a straight actor but, like Julian Ovendan, he makes the transition well and is a menacing figure who commands the stage well. Mark Gatiss is wonderful as Caius Martius' friend Menenius, possessing the charm and wit that Gatiss brings to every role he takes on. Deborah Findlay is a headstrong mother and plays Volumnia with strength and gusto, which makes the later scenes even more distressing, in particular the final shot that is theatrical genius from Josie Rourke. She and designer Lucy Osborne manage to bring Rome to fit inside the Donmar which is impressive and the clever use of Andrzej Goulding's video designs create a production that I am glad I have caught up with. For all its faults, NT Live does provide a useful service and I will be coming back to it for the occasional production in the future.

Nell Gwynn, Shakespeare's Globe ****

Jessica Swale is a brilliant young talent whose impact on the Globe has been a fresh of fresh air. Blue Stockings was fun and beautiful yet challenging, though-provoking and shocking. Now she has written another play for the space about the infamous Nell Gwynn with a send up of theatre in a charming and lavish production. This is such a self-deprecating play that is like a heightened version of Shakespeare in Love with Restoration theatre. You have Dryden, Charles II, Charles Hart and Gwynn very much as caricatures which could be tedious but ends up being belly-achingly funny because of the self aware nature of Swale's writing and Christopher Luscombe's production. The lavish and decadent design from Hugh Durrant evokes the majesty of the theatre and court whilst there are undercurrents of Gwynn's lowly birth through a fantastic yet short performance from Sarah Woodward as Nell's mother who drank from a man's drink. Gugu Mbatha-Raw is comical, feisty and an independent Nell who helps bring a feminist quality to the piece through the comedy. The rest of the cast are also fantastic, notably David Sturzaker's bewildered and fun king and Greg Hastie as the threatened actor who plays the women parts who has a fantastic sequence in showing the many different uses of a fan. This must be the funniest play produced on the Globe stage.

Photograph 51, Noël Coward Theatre ****

Commercial theatre companies like the Michael Grandage Company are never going to produce ground-breaking theatre if they have to balance the books whilst selling seats for £10 in the front row of the stalls. This being said, Nicole Kidman's great return to theatre is rather daring, doing an unknown play about the forgotten woman in the discovery of DNA. Having studied the History of Medicine for History GCSE, I had some knowledge of Crick and Watson's discovery and knew of Rosalind Franklin. This play examines Franklin's role closely and talks about how an individuals role is forgotten. Anna Ziegler's play tells Franklin's story with the use of flashbacks from the five other scientists arguing over Franklin's ability and personality which is expertly executed with great lighting design from Neil Austin that make subtle changes between time periods. Christopher Oram creates a set very much in keeping with his other designs for the company with an archaic flavour juxtaposed with the modern flooring. It isn't instantly relevant but there is a hint of this groundbreaking work going on in the these old, crumbling institutions. The whole production revolves around Kidman, who, unlike her character, is always centre stage and at times feels like a vehicle for the great actress yet the production doesn't suffer because of it. She is moving in her lack of emotion in a way that so few actors can do. It is almost overwhelming and heartbreaking after a difficult first half. She is supported by a great supporting cast who make up for their lack of diversity with solid performances. Stephen Campbell Moore is almost sympathetic as Kidman's appallingly sexist colleague whilst relative newcomer Joshua Silver brings charm and a purely likeable character as Franklin's assistant who is the human voice in the play. Crick and Watson are played as jarring and grating by Edward Bennett and Will Attenborough whilst the American fan played by Patrick Kennedy helps to bring out a more emotional wreck performance from Nicole Kidnan. I can't evaluate the Winters Tale metaphor properly as I rather ignorantly don't know the plot yet the feminist message it portrayed was rather moving in a world that knows John Gielgud as one of the masters yet have forgotten his female counterpart Diana Wynard (a name I had to look up). This production is striking and shows that commercial theatre can be interesting, if not totally radical.

Song From Far Away, Young Vic ***

It is pointless for the Young Vic to be transformed into a pros space. For such an immersive and vibrant theatre, you feel slightly disconnected with a traditional staging. Despite this, no Ivo Van Hove production can be dull and here, where a man is naked for 40 minutes of this monologue is guaranteed to engage most audience members for 1 hour 20 minutes. One of the things SImon Stephen's monologue is advertised as being about 'unsettling sex'. What needs to be established is that, just because a playwright describes a man's homosexuality, it doesn't mean that it is an analysis or dissection of sexuality. Sex is very secondary here, with this piece being mainly about the family relationship, with the nudity being a metaphor of this man being stripped of the protective clothing and left exposed to the wounds of his previous life. Jan Versweyveld's design is a bare and lifeless room that represents the loss of feeling Willem has experienced towards his family, including his dead brother. It is a complex and layered production which occasionally can become slow however, a convincing performance from the well toned Eelco Smith as the vulnerable Willem is raw and engaging, with a final scene that is rather emotional. The use of music from Mark Eitzel is interesting even if the actual theme isn't of a high enough quality to be a convincing theme to be catchy. Whilst this is no 'A View from the Bridge' it is still a poignant and quality production from the pair from Toneelgroep to show British creative teams how to do it.

Hangmen, Royal Court ****

The Royal Court has somewhat diverted from its radical and experimental pathway with the latest Martin McDonagh play, which feels far more of a traditional piece than usual, with a more or less old-fashioned set from Anna Fleischle (apart from a spectacular scene change after a shocking prologue) and a structure that resembles a 'normal' play . This was my first McDonagh play and, despite the above, I was taken aback at how dark this piece is. Humour is found in the most shocking places with a final scene that was horrifying yet hilarious at the same time. Whilst the play lacks emotion at times, it is expertly crafted . The cast solidly reinforces this with David Morrisey (a hearty 'hello to Jason Isaacs' to him) playing Harry the hangman and publican with a sense of hubris and a menacing façade hiding an all too human man whose heart is shown at the twist before the interval. Reece Sheersmith plays a part that suits his style, reminding me of characters in Phsycoville and the excellent Inside No. 9, and is fantastically comic in his earnest and Machiavellian role. Jonny Flynn's Mooney is also fantastically unhinged and unpredictable. My sole criticism would be the casting of an all white cast which doesn't seem too important but I don't particularly want to rant about that again. A West End run seems inevitable for this remarkably macabre and smoky production and it will be deserved from a play that is wonderfully divisive and manipulative.