Gypsy, Savoy Theatre *****

This is the funniest, most distressing, most beautiful and overall the best musical anyone could ever see ever. The story is Shakespearian in nature, with a tragic yet triumphant lead in Mama Rose. The music is wrenched from Jule Styne's heart with lyrics from Sondheim which left me in floods by the interval. The show hinges on it's Rose and Imelda Staunton secures this production it's place in musical history. She is electrifying. You hate her; you love her; you leap for joy at her triumphs; you despair at her self inflicted tragedies. Her two big numbers at the end of each Act shows a human being, combining every possible emotion and leaves you conflicted on whether her actions are egoistic or altruistic (thank you Tom Stoppard). Lara Pulver is magnetic as Staunton's ignored child with an innocence which is slowly lost throughout the play as Rose loses her grip. Davison, the second doctor I have seen in two days, makes a wonderful debut in the role, being new to the Chichester production. Kent's direction, as with Todd and Tosca, flawless. Anthony Ward's designs are wonderful in adding pizzazz whilst keeping true to old Vaudevillian acts and is perfectly complimented by Ian William Galloway's video designs which work exquisitely where many video designs in previous  shows where they seemed disjointed. Every aspect of this production is more than perfect and that last shot of the piece is something that will remain with me for a very long time. To top this all off, singing Happy Birthday to Sondheim, who was in the auditorium, at the end, the opening night of this revival is the most magical evening I have ever had.

Barnes' People, Trafalgar Studios ****

It was a great shame that I could not find a ticket for The Ruling Class for love nor money after seeing the magnificent James Mcavoy light up the stage with the 'honourable man' speech from Julius Caesar in the last trafextra. Fortunately I did manage to grab a free ticket to see monologue written by the same playwright by a surprise cast. The speeches themselves were beautiful. The first was about a female doctor talking about the plight of the elderly in the east end of London, the second was an 113 year old reminiscing about her promiscuous past whilst the third was an ordinary man who found his identity as a receiver for an alien race. They are gut- wrenching and beautiful and needs to be seen. What enhanced these exquisite speeches were the stellar line up who performed them. Rosa's speech was delivered with heart from Urinetown's Jenna Russel who conveyed the real distress that is felt by and for the elderly and their treatment. Yesterday's news was portrayed by Maggie Steed who was powerful yet vulnerable in the role. The last performer was none other than the ninth doctor Cristopher Eccleston. He was equally impressive in a role which could alienate audiences because of the sci fi element to the monologue but portrayed the human side to the character. This evening was extraordinary and puts many theatres to shame in its efforts to make theatre more accessible to all.

Treasure Island, National Theatre ****

The problem with the dates in February and March are that they are exactly the same. This means that a cheeky Monday night in half term becomes a rather extravagant Monday night out in term time due to a mistake in booking tickets to Treasure Island. When you enter the olivier, you know that this will become memorable. It is visually stunning with the designer Lizzie Clachan making full use of the drum roll to astound audiences with a full ship interior, a small inn and a cave to great effect. However the show is made by the performance from an actress who has had a dramatic rise to fame. Patsy Ferran, with this being her third professional theatre engagement, is just about to play Portia in Stratford after she delights the younger generation by holding the show together. She portrays an innocent yet intelligent Jim, making very little of her gender. The much criticised Darvil is surprisingly charismatic, after being described as bland by others. Perhaps these critics are surprised that this production isn't the Lond John Silver show. It certainly doesn't do anything in half measures, with special effects galore, the pinnacle being an animatronic parrot. The play itself is not condescending in any way to it's audience, at times being extremely dark, requiring a few leftover blood packs from Titus last year. However, it has plenty of gems which had many children in fits. It is great to see Joshua James again after his performance as a stroppy prince in Gabriel and Ferdinand in the Tempest at the Globe. His Ben Gunn is hilarious yet pathetic and is among equally strong ensemble performances. This is yet another magnificent display from the National and, whilst only one production has received an Olivier nomination, the criticism levelled against it by some shows a lack of respect for what this institution is aiming to achieve. I have only seen one play here that has been lacklustre in the past year and it is constantly trying to find new audiences to experience the magic of theatre. Let's hope that Norris is similarly adventurous although, looking at his first set of shows, this is unlikely. 

Antigone, Barbican Theatre ***

When I saw Van Hove's last production, it was one of the most incredible experiences I have ever had. His direction was so powerful that a play I had studied to death suddenly seemed fresh and new. So when I found out that he was directing Juliette Binoche in Antigone, I grabbed a ticket as fast as I could.

This is no View from the Bridge. It does not have the same impact yet it is still reasonably powerful with strong direction and design from the Dutch duo. The cast all give strong performances with the exception of Binoche, whose portrayal of Antigone feels fanatical and undignified.The design develops Versweyveld's set for the Young Vic, with video footage from Tal Yarden projected onto  the blank wall. The only bit which jars is the overly cinematic footage of Binoche and Patrick O' Kane which does not fit with the aesthetic of the rest of the piece. Van Hove's direction is on point, showing the work of a true artist. The adaption is also admirable,although towards the end Anne Carson's translation gets slightly confusing. However, this could be to do with role- doubling not being made quite as clear as I would have liked. Overall,whilst it suffers from celebrity casting, Antigone is still an admirable piece of work by the pair from Toneelgroep.

The Producers, Churchill Theatre ****

 Whilst I think this is perhaps the most depressing theatre in terms of design, a place which has fared as well as the National after the travesty of 60s architecture, this year the programming seems more positive than in previous years, with shows I would actually like to see. However, with cheaper and better shows in the West End, I have to choose the shows I see here very carefully. Luckily, the Producers didn't disappoint. For a touring production, this has a relatively lavish set but not overly so to detract from the music or performances. In terms of those performances, English gives a magnificent Max but that is to be expected as he has basically lived his life in the role. I am beginning to hate Jason Manford as he can turn his hand to anything and perfect it easily. After seeing him in Sweeney, I was not expecting a typical celeb in a musical job but this is far better than anyone could ever have expected. Perhaps more surprising is Phil Hupitus' tuneful Leibkin who is massively entertaining fresh from his stint in Urinetown which I was sad to miss. Louie Spence also surprises as David Bedella's assistant who can actually sing a little. It suffices to say that Bedella is astonishing and fabulously camp as the narcissistic director. Perhaps it doesn't capture some of the more serious points, the old lady numbers being played for laughs rather than any point being made of it. However, this production is certainly more enjoyable than the majority of the West End musicals on at the moment and when Springtime for Hitler started, I was in fits. This is the only show I've seen at the Churchill that has received a standing ovation which is remarkable for a theatre that only seems to attract pensioners.

Loserville, The Union Theatre ****

I remember seeing the adverts for this West End flop when it sank at the Garrick in 2013. 'If you like the Big Bang Theory/ The IT Crowd, then you'll love Loserville.' I can distinctly remember thinking at the time that this musical would be nothing like these classic televisual hits. Whilst it is true that this musical is nothing special. In fact, whilst it is an original story, I have seen this idea in every American high school film since forever. The songs are well constructed but feels a bit bland and unoriginal. In fact, it probably would have been just boring at the Garrick. However, fringe theatre has given this struggling musical a breath of new life and it is delightful to see this re imagining of the musical about a group of geeks trying to crack computer communication. The lead Luke Newton plays Michael Dork in one of the campest performances I have seen. He seems to be the next Andrew Rannels with an extremely strong voice, as with the rest of the cast. This is far from an amateur performance and this theatre certainly give you better value for money than the commercial west end. The superior experience of being in this unique space means that even shoddy musicals such as Loserville.

Clarence Darrow, The Old Vic *****

When my brother learned that I was going to a one man show about the law, he exclaimed "That's BORING!" Little does he know that a ticket to Clarence Darrow is one of the most coveted tickets in theatreland. Kevin Spacey reprises his role as a lawyer with morals after last years sold out run at the vic. He breathes life into a play which. If not performed by anyone as talented as Spacey, this play could just turn into a series of anecdotes but his charisma keeps you transfixed on his every action. From case to case, you are submerged in every word this man utters. And the message portrayed in this play, written in 1974, is just as relevant today, especially in the case in which he advocates Darwinism being taught in schools. There is a clear link between this speech and the message for Fundamentalist groups such as IS in current day society. Director Thea Sharrock has done a superb job in making sure Spacey is not the only character in the play. The audience play as large a part due to Sharrock's directing of Spacey to treat the audience as the jury and give them an active role in order for the play not to stagnate. Spacey's deviation from the script at the spontaneous applauses at the remarkable speeches show his wit and, from my short experience of Spacey's Vic, you can see how he has cultivated an institution which displays the some greatest art in London. This is a play which celebrates the lives of two men and is a wonderful example of how to do a one man show.

Closer, Donmar Warehouse ****

Despite my anxiety at the prospect of letting down the King of Edinburgh and the Spirit of the Fringe Richard Herring, I convinced myself to see a Patrick Marber play. The play, much like Herring's comedy, has very crude sex references with a whole scene devoted to in depth smut discussion. However, it is so much more than that. It is cleverly constructed so that a cigarette holds so much meaning yet works as a narrative without these metaphors. As a play, whilst it isn't the most special of plays. It is admirable and has mostly stood the test of time. This production is probably the best staging that this play could receive. Bunny Christies set has a similar feeling to The Hard Problem but is executed far better, the transition from scene to scene seeming slicker and rehearsed; not needing a full stage crew to move scenery about. It uses video design effectively without it detracting from the relatively minimalist set. The actors are on top form; it is always joyous to witness Oliver Chris and, with a new series of Bluestone 42 on its way, I have never been happier. Rufus Sewell was a far more charismatic Larry than the production photos suggested and the female leads are equally superb. Whilst, it does need a warning for extremely inappropriate and child-like content, it provides a great evenings entertainment.

The Indian Queen, Colliseum **

This is the latest self indulgent vanity project from the director Peter Sellars who has been given his dream task. An unfinished opera which can be warped heavily to transport it into the surreal, scary world of Peter Sellar's head and then regurgitated out to be served to audiences eager to interpret it as profound and important. For me, this production is a step too far for the delusional director. The music and narrative does not fit together and the dramatic text being read in between the wonderful music seems overdone. This did not matter so much but when the music stopped for some wildlife noises to occur in a very disjointed way, it started to annoy me. This production seems to have done as much as possible in order to alienate any newcomers to opera. Whilst the Mastersingers was beautiful despite it's  questionable politics, The Indian Queen is a failure in my eyes despite containing the most wonderful music.