Othello, Shakespeare's Globe ****

Perhaps my favourite experience of all time was watching my first Shakespeare play. It was in 2010 and I saw the magnificent display of Henry IV part 1 with Roger Allam and Jamie Parker as Falstaff and Prince Hal. I had never realised that Shakespeare could be so funny and, combined with politics and a great battle sequence, cemented my love of te Bard and theatre in general. So how great it was for me to accompany a good friend to his first play. It is a joy to see someone lose that dread of iambic pentameter and all that goes with schools teaching of Shakespeare's plays. The play itself is a heavily cut version of Othello and aimed especially at schoolchildren. This is a daunting task as, as one myself, I know how difficult it is to engage them for two hours without either the audience giving up or the actors. However, if any production can do it, it is certainly this one. It is highly charged and energetic in its telling of the tragic tale, with songs right from the beginning to a charleston dance in place of the traditional jig at the end. The actors are superb in their roles and the design from Hannah Clark wonderfully suits the Globe in transforming it to a battlefield. What was so great is that my newcomer to the world of theatre understood what was going on and has now caught the theatre bug. This is an extremely good start to what I hope to be another successful Globe season.

The 39 Steps, Criterion Theatre ***

 The 39 Steps is efficient enough to tell a spy caper in the space of 100 minutes, including an interval, and is extremely fun, but I am not sure it is anything more than that. True to say that the four actors are extremely admirable, with character changes which are incredibly amusing. However, the fact that it is not the funniest play on the west end is difficult as that is really what it relies on in it's advertising. Therefore, now the only pull it has for staying in the west end is the appeal to tourists for the over-use of union jacks in all forms of advertising. The tricycle theatre is known for experimental stuff, but this just feels a bit safe for the group, with all members of the cast being white and very stereotypically 'British'. It doesn't seem to challenge the rules of theatre-going to make this particularly interesting. That being said, it is fantastically fun for the duration, with the actors mocking the whole absurdity of the piece throughout. I certainly did not feel like a wasted any money or time coming to see this fun sow, even if it wasn't quite as funny or different as I would have liked.

Farinelli and the King, Sam Wannamaker Playhouse ****

Like Mastersingers, this is a production which wholeheartedly celebrates art and, in this case, it's power beyond just a piece of entertainment. The intimate space of the Wannamaker can display this in a way not many other spaces can. Whilst some seats offer truly awful views, every seat is close to this wonderful tale that plays out. Occasionally I wondered how much of Van Kampen's text is true or not but is excellently written, even if it is overall unremarkable. The performances are great across the board, especially Rylance who does a reverse Hamlet, going from complete insanity to relative sanity in a believable and sympathetic way, even if some of the actions his character commits are hard to forgive. Melody Grove provides a good counterpart to Rylance's mad king, being strong and steady yet with an admirable heart. Sam Crane plays the other main part in this love triangle, portraying Carlo Broschi aka Farinelli even though he really only plays Carlo. His Farinelli, the showman disguising his fragile state, is exquisitely performed by my favourite ever counter-tenor Iestyn Davies who pierces the air when he sings that the hairs stand on end and you just want to hear more. The counter- tenor is the best voice you can hear and to hear it sung by someone as perfect as Davies is a real treat. The piece has a similar sensibility to Gabriel at the Globe two years ago, mixing song and drama well and for those with tickets to see Purefoy as Farinelli, you will not be dissapointed as he is also a fine singer. What stands out in this ordinary drama is some of the finest singing and acting you will see on the West End or in any Opera house. This is what makes it so joyous.

The Mastersingers of Nuremburg, Colliseum *****

There are so many reasons for the ENO not to stage this opera. In the financial hell the company has dug themselves into, why did they think that they could fill a 2,500 seat auditorium for a 5 and a half hour opera known for it's link to Nazism? However, the triumphant overture began to a packed auditorium and, more impressively, ended with a full, enthusiastic audience. The scarily long running time seemed to fly by faster than the 2 hour Happy Days which I saw 2 days earlier. What's more, it is extremely funny in a way that no other opera can possibly dare to be. It is a luxury to be presented with such quality from Richard Jones' production for such a long time. The pitfalls that Jones could fall into are avoided extremely well, especially the final scene which is clearly a piece of nationalism  but is now concentrated of the genius of German art. Also, the anti- semitism often associated with Beckmesser is totally avoided, now just being a comic 'baddie' which suits much better. The lyricism is surprising to me, with rousing melodies and magnificent choral parts in the third act. Before, I thought this opera just was an example of a composer being indulgent but after you appreciate every note this genius has created.

Arcadia, Churchill Theatre ***

Arcadia is widely regarded as a masterpiece from Stoppard. I am not so sure. It is true to say that it is spectacularly clever but does not seem to have an emotional core. It seems to be very intelligent yet I had to concentrate stupidly hard to keep up with each scientific theory and my two companions could not get to grips with it at all despite this being their second viewing of the production. This may be to do with McIntyre's staging which is problematic due to the actors not always facing the audience when speaking, therefore obscuring lines. This is unfortunate as she is a fantastic director and my favourite to take the artistic director post at the Globe. This, however, is a mis-step. Also, due to there not being a backdrop to Fensom's set design, a bright red fire box was distracting for the most part. Despite all of these things, I did like a lot of what was presented. The acting is fantastic, especially as the majority of the productions I see at the Churchill are amateur dramatic musicals with acting that fits the stereotype. I would especially like to point out the marvelous job Wilf Scolding does as the tutor Septimus who is wonderfully comedic. I also commend the casting choices by Ellie Collyer- Bristow, with two black actors in a play which would be easy to cast a completely white cast. Lastly, some of Stoppard's work does provide satisfying moments within the piece but, like Beckett, needs to be studied to gain full enjoyment. There is plenty to enjoy in this production but it needs a way to communicate key ideas better to keep it's audience on side.

The Book of Mormon, Prince of Wales Theatre *****

Ever since this show first arrived on the West End, I have always wanted to go. However, extortionate prices have prevented me from seeing this critical acclaim. Two years later, after having the soundtrack playing on repeat in the meantime, I finally got a ticket as the best birthday present ever. After failing to win tickets at the lottery and sizing up how many of my belongings I would need to sell to get a seat, I finally had one! Despite this, would the show meet my exceedingly high expectations.

I needn't have worried. The show is a magical romp and I loved every minute of it. From tap dancing Mormons to a book being placed somewhere quite uncomfortable, this show has well deserved it's 2 year residency at the Prince of Wales. It has not just relied on a readymade storyline from a film or real life event but has created a musical totally independent of any other medium. The creators of South Park, along with Robert Lopez, have created a simple story with clever and catchy melodies which pay homage to, but do not copy, the best musicals of all time with nods to Lion King, Singing in the Rain and Wicked to name but three. It has a dig at the Mormon church in a hilarious way but packs a serious message about the role of religion in modern day society. This is the third cast at the Prince of Wales but they are still so energetic, talented and fun, especially Nic Rouleau and Brian Sears as the Elders Price and Cunningham who, after performing in the show in the States, are brash and joyful in their leading roles. If you are in anyway easy to offend or find genitalia, expletives or blasphemy offensive, you should stay away but if not, you will have one of the best experiences you could ever have from commercial theatre.

Happy Days, Young Vic ***

People always say with Shakespeare that people should study his plays before seeing them performed. I strongly disagree with this as I believe Shakespeare, if played in the right way, can be accessible to all who see it. However, in the case of Samuel Becket, I think that extensive classes are needed in order to make sense of his plays. I was at 'This Comedian' at the Duchess when a 'lost Becket play' Pointless Anger, Righteous Ire was performed by Arthur Darvil. This involved two men perched in a bin whilst Darvil read stage directions a violently cut a cake. Coming out of Happy Days at the Young Vic, I think that Pointless Anger made more sense. With more time to think about the play, I understand it better but at the time it felt like intellectuals being intellectual whilst looking down at those which didn't understand the clever references or 'nuances of the piece'. However, I can appreciate it more with some distance, especially the admirable performance the ever- wonderous Juliet Stevenson gives. For an actress to be buried up to the neck in sand and give pretty much a one woman show for two hours 7 times a week is astonishing and her Willy also does as well as a man which is only given grunts and murmurs can do. Whilst I love contemporary, experimental theatre, I fear that even I struggled with this piece and, whilst I admire it, I could never engage with it.

Behind the Beautiful Forevers, National Theatre ***

This adaptation of Katherine Boo's novel by David Hare is yet another example of how Hytner has succeeded in creating a truly 'National' Theatre. Yes, this isn't the best work from the National and has flaws but attention needs to be shined on the example this institution has set in having a diverse programme in order to attract a diverse audiences without sticking with the safe bets which attract the easy audiences. To this, I salute the National for being a shining example for British theatre to follow.

However, I can't say that the play about Indian slums is particularly convincing. David Hare has created a sense, heavy play which is difficult to like in the same way as Dara does. This is not helped either by the enormity of the Olivier which needs a sensitive script to create connection between character and audience. Despite this, I still feel that it is a good show. It is promising to see Rufus Norris direct so well in his last production before taking up the position of Artistic Director here. Meera Syal leads a marvellous cast, many of whom are in rep and also performing in Dara at the Lyttellton. The set, also, is magnificently designed by Katrina Lindsay, managing to inhabit both a bustling, vast city to a cramped street of slums. There is plenty to be interested in and, with a little bit of work, this award winning book can be transformed into an award winning play.

Bull, Young Vic *****

Mike Bartlett has gone from the grandure of King Charles III to the intimacy of his latest play to come to London. Bull is 55 minutes of pure torture; gut-wrenching and awful in its depiction of bullying in the workplace. As soon as you enter the studio space from the Vic, you recognise that this is a sport rather than a play; you recognise the Bull in Sam Troughton's Thomas; you recognise his tormentors in his two collegues and his boss. The set up is that three workers are waiting for a meeting with their boss in which one of the three will be fired. Bartlett's writing is electrifying, dynamic and graphic in order to show this taunting of Troughton's bull. It gets to the point to, at times, manipulating you into confusing the bully for the victim. James' clearly has good taste in terms of writing, having come straight from Bartlett's play about the fall of the monarchy to this masterpiece. He, along with Eleanor Matsuura are device, slippery and superb as the 'toreadors' and Neil Stuke goes from being the clerk in Silk to the boss who joins in with the tormentation of the star of this piece Sam Troughton. There was no lost voice for him in this where he shows an extraordinary range, especially in the last 10 minutes which was almost physically painful to witness. Soutra Gilmour's design is magnificent and simple to give the audience the feeling of witnessing a bull- fight, creating the perfect atmosphere for the tension which Clare Lizzimore directs. Why this has not created more of a fuss stumps me as it is spectacular and secures Mike Bartlett to be, in my opinion, as Britain's greatest living playwright.

A View from the Bridge, Wyndham's Theatre *****

When I saw this production at the Young Vic, I thought I was in a trance. After seeing this transfer to Wyndham's, I can thankfully say that it was as good if not better. The problem for transfers from the Vic is dealing with the transformation between the immersive auditorium at the Cut and the proscenium arch which has less connection with an audience. Despite this, Miller's classic joins the Scottsboro Boys as the second west end transfer for the company at this moment in time. In fact, both shows are on the same street and both are sublime. The direction from Ivory Van Hove is clearly the key factor in this majestic production. Each scene is a portrait; Van Hove strips back everything so you get the true essence of the play and appreciate every small gesture. There were no slips in accent and no actor shines alone as they all are astonishingly good. 

The Hard Problem, National Theatre ***

Olivia Vinall in The Hard Problem

Stoppard's first play in about 8 years poses it's own hard problems. It has to deal with having to explain difficult science in an effective way which engages an audience which doesn't necessarily know or care about the questions the play asks. In the most, this play succeeds. The science is easy to get your head around as the theatre has a habit of getting you to understand concepts yet, once outside, not being able to explain it without getting terribly confused. The Hard Problem also has an interesting morality debate within it, even if it doesn't answer any of the questions it poses.  The main problem for Stoppard is that he only develops the protagonist Hilary leaving other characters to be incidental to Olivia Vinall's researcher. This frustrates me as this doesn't feel like a play from 'Britain's Greatest Playwright'. As the production goes, I have more problems. The acting is great; especially Vinall as the protagonist who creates such a complex character. However, the direction and design leaves something to be desired. In the transition from scene to scene, in order to change the set, a thing seemingly representing a brain flashes with some piano music accompaning a full stage crew in order to move furniture about in a way which could have been performed more effectively if better directed by Hytner. To be honest, this doesn't feel like the outgoing director's swan song. Stoppard describes his play as minimalist in style which is laughable when you see Ivory Van Hove directing true minimalism in A View From The Bridge. New writing at the  National has always been daring; diverse; dangerous. This just feels too safe. It is not a bad play yet I feel it needs to take a few more risks and be adventurous to engage the audience once the 100 minutes running time is up.

3 Winters, National Theatre ****

 Anyone who finds Dara's storyline jumpy and sporadic, as clearly the majority of the critics did, they must have been extremely confused by Tena Štivičić's new play about the development of Croatia told through one household in three time periods. The way Tim Hatley's set design makes the transition from each time period is extraordinary and the use of projections show the audience what the family is really arguing about. Stylistically, the play reminds me of Chekov's Cherry Orchard wth the ivy representing the journey this family is taking. The one major problem, in my opinion, is how an important domestic violence scene is handled. Due to the rather simple and amateurish fight work given by Terry King, that part of the story disintegrates as you are brought of this world Davies and the playwright has created rather masterfully. Performances are, as always with the National, exceptional. The main familiar face Siobhan Finneran is impressive showing Masha in two stages of life, creating a fully three dimensional character. The rest of the cast also help to show a family at war, showing a very different side to world war two than many are aware of. Hytner's National is superb at including pieces from all cultures and here is yet another shining example of the work this theatre has done to make this a truly 'National' theatre.