The Comedy Store Players, Shakespeare's Globe ***

You wouldn't normally associate the Globe with being a great comedy venue. However, it strikes the balance between intimacy and vast space where comedians can make real money well. In fact, the lovely summer weather made for a great evening to experience comedy. I have never seen these players block before, even though I have heard a radio programme they recorded and was rather unimpressed and had seen both Paul Merton and Josie Lawrence on numerous radio and television appearances and liked both of them. Their act consists of two hours of games and scenes that are prompted by audience suggestions. This is intensely funny for the first 30 minutes. In fact, I was chuckling all the way through the first half at the clever improvisational skills of the troupe. Paul Merton brought me out in hysterics at times and Neil Mullarky worked the supportive crowd very well, mocking the american accent and PE teachers. However, the gimmick lost it's effect in the second half and whilst a crowd of die- hard fans lapped up their musical version of a Sweedish crime drama and 'Julius Teaser', the repetitive nature of the act took it's toll on me and I began to tire of it. You start to notice how they can tightly control to what extent they improvise and what is in fact recycled from gig to gig. Even Paul Merton failed to keep me from growing weary of these parlour games. So whilst the gimmick works, it needs to be shaken up and revitalized to keep my attention for two hours.

Oresteia, Almeida Theatre *****

You have intense and then you have this. Icke's interpretation of Aeschylus's tragedy is so tense, I almost walked out. I have never seen any Greek drama which has had a real effect on me. I was underwhelmed by Binoche's Antigone and whilst I admired Kristin Scott Thomas' Electra, I didn't particularly feel anything about her situation. In this adaptation, you are shown every angle, from feeling sympathy for Williams' Klytemnestra to fearing her to the pain felt by Electra, perfectly portrayed by stage newcomer Jessica Brown Findlay who captures the pain as well as Scott Thomas yet, by showing her happy in the first act, the emotion is felt stronger (even though I don't think she ever existed!!). The traditional story is told through flashback through Orestes, who is played by Luke Thompson and who I think can have a more intense effect in the indoor space than at the Globe, who is telling this story to Lorna Brown's character, who remains ambiguous until the end. This family drama is set up well by Icke who creates a typical family atmosphere, hereby creating characters who you can feel for. The family dynamic at a glance seems normal; the odd family row but nothing major. This means that the dilemma that Agamemnon faces, here played in a statesmanlike fashion by Angus Wright, is made even more horrifying. It also makes the grief felt by Klytemnestra even more real. The use of song also helps this production gain traction, with the well known hit 'God Only Knows' being used for an eerie and haunting purpose. The moral dilemma asked to Agamemnon poses to the audience the same question, often asked in the RS classroom but here made all too real. They are the questions of how to measure and compare people's suffering and that of justice and equality. This family drama cum crime thriller cum horror extravaganza is made slick and efficient by Icke's decision to cut the chorus which, whilst usually would seem strange, here it works to create a bare, isolated stage which mirrors the feelings of the characters on the stage. This is helped by the cold, empty space designed by Hildegard Bechtler that encorporates the history of the text whilst encorporating video (which is designed excellently by Tim Reid) on sliding panels, along with modern costume to make this piece relatable instead of stuck in time. This is a landmark production of a greek play and, as well as maintaining the good form the Almeida has had over the past few years, has redefined how to stage a classic. It is pure class.

King John, Shakespeare's Globe ****

This collaboration between the Globe and Royal & Derngate has finally brought King John to the Globe. This story of power and family feuds on a huge scale is fantastically shown in James Dacre's deeply religious production. In fact, I think this production would suit a cathedral more than at the Globe, with a more powerful effect at the Middle Temple or Salisbury cathedral. I think some intensity is lost in the vast, open space of the Globe. However, despite this, it is still one hell of a show. Dacre combines complex and wonderful music with the elegance of Shakespeare's text. This creates a first rate theatrical production.Having the muscians share the actors space too creates this collaborative feel and further shows how Dacre has given music an equally important role as the text, unlike most of the work at the Globe which stick a band in the balcony. The emotion is raw in this production. When Tanya Moodie's Constance speaks, you feel the pure hatred and desperation for power. The element of religion is brought to the forefront in this production with the choral music adding the heartbreak of excommunication. Perhaps this detracts from the main element of this play which is the grapple for power but certainly helps the audience to understand the motives behind the actions of individuals in the play. Performances are of the highest standard, with Jo Stone- Fewings giving us an icy John which conjures up images of the Disney animation and Peter Ustinov's voice. The ridiculous movements he makes and the weakness shown in the king is done in a way that makes you despise yet pity him at the same time. The ensemble cast also give admirable performances. This production is striking and is one of the best the Globe has produced.

The Red Lion, National Theatre ****

Patrick Marber writes human life well. With this comeback play after a long hiatus, Marber's love letter to football with a piece about a young footballer, the manager and the kitman of a non-league football club. A result of the writers relationship with Lewes FC, the first half shows his love for the game. The speech at the beginning from Daniel Mays has a poetry to it when bemoaning the state of the pitch ('you can play... but you can't play...'). There are some parts of dialogue which evoked memories of my time at a football club, especially when it came to faking it slightly. The first half is truly wonderful and it flies by. The second half is when the beauty of the game is corrupted by power and money and is heartbreaking to sit through. The final moments of the play are painful to watch and is a perfect end to this play. Yes, the second half starts to drag slightly and could do with more than a few cuts, it made me forget my hatred for the space it was playing in and really feel for the characters. This is perhaps due to the extraordinary performances which brings to life the multi- dimensional characters Marber has written. Peter Wright is inviting and easy to listen to whilst Mays is, in contrast, harsh and, whilst comic, also dark. Calvin Demba is also wonderful as the young prospect Jordan after a disastrous previous production at the Royal Court. Ian Rickson's direction handles makes the lack of a full team of actors not seem strange whilst Ward's design captures the grime and harsh nature of non-league football. Whilst slightly long, this piece is magnetic and captures a different side to the beautiful game and tells it theatrically in a way that both makes you love and hate the sport.

The Pirates of Penzance, London Coliseum ****

My first Gilbert and Sullivan could not more different from the typical am-dram production but a Mike Leigh production at the ENO. The first thing to note is that I have never laughed so hard at the Coliseum. This satire on the British hierarchy takes the form of an operetta about a group of pirates who wreak havoc in Penzance (unless you're an orphan or weaker than them). The libretto pokes fun at the respect given to nobility and the useless nature of Britain's constabulary. It is clearly dated yet is still very amusing in its own way. The music is joyous and beautiful, with 'Poor Wand'ring One' being an aria that transcends the frivolous world in which this operetta is set and is sung stupendously by Claudia Boyle. She has the best part in the piece, with Mabel being the most obviously difficult yet effective role. Other parts such the policemen (Jonathan Lemalu) and Stanley (Andrew Shore) are extremely humorous whilst the Pirate King, played by Joshua Bloom, portrays a gentile nature and a gentleman. The ensemble are strong and other parts are similarly well sung. The spoken parts are well projected for the vast space of the Coliseum and the acting is surprisingly good for singers. The set is striking and effective whilst Leigh's direction captures the light-hearted humour. It is a family friendly introduction to opera and a marvellous afternoon at the theatre.

Measure for Measure, Shakespeare's Globe ****

Dromgoole's tenure at the Globe is drawing to a close and he is bowing down from the outdoor space with his last directorial role in a comedy- laden production of Measure for Measure. Dromgoole's typical atmosphere- setting, pre show fun is similar in ways to the Merchant of Venice but not as elegant. The costume's are not as refined and the provocative scenes are slightly more provocative.Throughout the first half of the play, similar scenes take place to light up the less dramatic scenes in way that the phrase 'stinky wife' still brings a smirk to my face. The nudity warned about before entering the theatre isn't as overt and complete as Sam Cox's scene in Gabriel, with no 'frontage' being shown. It also isn't Cox's tapster Pompey that is nude rather Denis Herdman that shows a bit of cheek. It is fair to say that this is a wildly different production than Cheek by Jowl's touring version that visited the Barbican this year. It is wildly comic which means that the drama suffers slightly as a result. That being said, there was one scene between Angelo and Isabella thathad my hairs on end with the emotion on show. Mariah Gale is a satisfying, if not memorable Isabella who plays distressed very well and ticks the boxes well. Dominic Rowan goes from being a drunkard at the Vic to a Duke and monk at the Globe with a fine turn as Vincentio, who is both funny and commanding at the same time. However Kurt Egyiawan is the stand out performance of the evening. His upright and proper Angelo is conflicted, sinister and at times scary. It is exceptional to see. The ensemble cast is also entertaining and fun to spend the evening with. Whilst I would have preferred this play to be played more seriously, the Globe has done a very impressive job at bringing comedy to the forefront of the play whilst still maintaining the more serious elements of this entertaining night out.

hang, Royal Court ***

After running from Cannon Street to Sloane Square in 45 minutes, I was expecting a lot from debbie tucker green's new play at the Royal Court. It is an hour long, intense and provocative production set in a time and place removed from the present day. This is a place where (spoiler alert) capital punishment exists and the victim can choose the criminal's method of death. This dark world is totally unrelatable to me, bar from the attitude of the authority representatives, who are unnamed, who try and fail to deal with the situation of the victim, who is also unnamed. This means that everything bar the final moments of the piece failed to really connect with me. I also feel that the upstairs theatre could help the play reach it's full potential as it has an intimacy that the downstairs theatre can't acheive and can make each movement and action more distinguished and could execute the emotion in the piece more effectively. The actors are all superb, especially Marianne Jean-Baptiste who shows a shaken and harmed individual fighting for justice. Claire Rushbrook and Shane Zaza are good too at showing people who are trying to show compassion and work withing the constraints of their profession. Bausor's design is raw and conveys the sense of bleak isolation well. tucker green's writing too is sharp and well constructed if only it could be relatable to a modern day audience.

The Queen of Spades, London Coliseum ****

One of the most depressing things to see at any theatre production is to be in a half- empty performance. Therefore, it was disheartening to see Edward Gardner's last production as music director being played to a visibly empty coliseum. However, my spirits were quickly lifted by a sublime performance. The leads are some of the best performances I've seen. Hoare's Hermann captures both the characters devotion to Lisa and the addiction that eventually tears him away, although I found it hard to believe that Giselle Adam's Lisa would be prepared to risk her reputation for the love of a visibly damaged and disheveled human being portrayed by Peter Hoare. The night, however, belongs to Felicity Palmer who is utterly magnificent, hypnotic and any other superlatives you can think of. It is one of those historic performances that will live long in the memory. Her voice is so rich and powerful that it is impossible not to fall in love with it. Gardner brings out the rich emotion in Tchaikovsky's score and is well played by the orchestra. The chorus is also brilliant, as always. Alden's direction and Davey's designs provide some striking images and is an effective way of communicating the story. However, there are parts which seem to have been added purely as gimmicks in the hope of giving the production a strong identity which is unfortunate. Specifically, the use of animal heads and 'onesies' seems to have no other purpose than to give the audience something to remember. Despite this, I felt that this production was extremely successful due to the mighty Felicity Palmer that really steals the show.

We Want You To Watch, National Theatre ***

What on earth did I just see?!! This new piece at the Temporary Theatre couldn't be more different to the last piece; a subdue and subtle show on zero hours contracts. This production is far from subtle, dealing with pornography like a sledgehammer to the face. It is safe to say that RashDash artistic directors and performers Helen Goalen and Abbie Greenland are pretty anti porn. They convey this message pretty strongly through a series of sketches featuring the pair and one of the ensemble cast in situations ranging from tying up the queen to shooting a teenager. Some parts are pretty abstract whilst others are more direct. It is certainly different, even if it isn't too much else. The most thought provoking moment in it comes at the beginning and the rest is made up almost entirely of sequences milked for every last drop of meaning or laughs, whatever the audience wants to take it as. It also features cans of "Value Sex" which is brought on at certain points which I think is supposed to mean something but can't quite work out what. The general gist is sex is good, porn is bad. If you want to hear that message told with loud music, a dancing queen and exhausting dance, this is the play for you. If not, you could find yourself in for a very tiring and confusing evening.

Violence and Son, Royal Court *****

The Jerwood Theatre Upstairs is such an exiting space to walk into. You never know what form it will take. It can transform from a typical raked seating to a classroom to a grimy room with weathered deck chairs and decaying walls. The play itself is quite remarkable. It's disturbing, devastating yet also tremendously funny at times. It is certainly the most wholesome play to come out of the Royal Court in the past year if not the best. Owen's script messes with your head and takes you to dark places. The plot twists in unexpected ways and uses characters which scare you. Hamish Pirie's direction shows an understanding of how to play in the round in a way that many directors don't have. He maintains the intimacy it brings whilst not neglecting part of the audience in the process. He also encourages some of the most remarkably naturalistic performances from all four members of the cast. David Moorst's Liam is inspired, showing a subtly estranged performance and keeps the character real as the plot takes you to darker places. All four members of this wonderful production deserves an award for their complex and frightening portrayals. Jason Hughes' 'violence' is played in a way that the audience's sympathy for him and the other characters fluctuate for the duration. This is the Royal Court packing a punch to the gut leaving me shocked and profoundly moved.

An Audience with Jimmy Savile, Park Theatre **

I'm not overly sure what to think of this production. I saw the second preview, the afternoon before press-night in a noticeably less than full auditorium. I didn't feel like a play dramatising this subject was unwise or too soon to be done but felt that it needed to be executed perfectly and come from an original perspective to carry off this huge feat. It is safe to say that this production doesn't quite achieve that. It tells the story of Savile through two separate narratives. The first a TV show in the style of This is your life which takes us through the work of Savile whilst the other follows a fictional character called Lucy, a victim of Savile, who is seeking for justice. I love Brendan O'Hea's acting work at the Globe but find his direction doesn't capture the drama or atrocities so that a striking play just feels surprisingly bland. Maitland's script sheds no new perspective on the case and seems slightly formulaic at times. Even McGowan's Savile occasionally felt like he was doing an imitation. However, at other times, his does capture the complexities and the menace of the man, especially in the final scenes. .Leah Whitaker's Lucy is fantastically played, showing the grief, anger and terror of Savile's crimes. It is played sensitively yet doesn't let that comprimise the piece. The other actors make the most of what are quite poorly written and developed characters who help the audience try to comprehend how these disturbing acts were covered up. I admire the brave and courageous programming from the Park theatre to have shown a play this daring, I think that this needed more time for a better script to be written and for a better produced piece to be formed.

Nico Muhly: Sentences, Barbican *****

As I always confess when talking about concerts is that I know nothing about music. Despite this, you couldn't help but adore the sublime array of pieces at this world premiere of Muhly's meditation about Alan Turing. The first half consisted of Dowland's If my complaints could passions move, Brittens reflection on the piece with Lachrymae, and Vicaldi's Stabat mater, which looks at Mary's grief at the Passion of Christ. The Dowland is wonderfully conflicting with both melancholy and joy evoked. It is rare, even for me, to cry at the first piece, yet Davies' voice is so exquisite that my eyes began to water towards the end. Whilst I could not see the similarities in the following piece, Britten's Lachrymae is nonetheless an astonishing composition astonishingly performed by the sinfonia with Lawrence Power giving a masterclass in the viola. The years of jokes this man must have had to endure was worth it to see the precision and extraordinary skill present to perform what must be a hellish piece to perform at times. The highlight of the first half was, without a shadow of a doubt, Vivldi's Stabat mater. The baroque piece captures the pain and anguish felt by someone for the loss of a loved one and is,for my money,one of the best pieces of art around to capture this story. The tierce de picardie at the end hints at the hope of the resurrection whilst Iestyn Davies sings this melody that conveys the utter despair of Christ's mother whilst maintaining grace, elegance and beauty. This neatly links to the main attraction and to the organist's very own composition. Both Stabat mater and Sentences use the grief and love of the mother as a vehicle to explore different things. In Sentences, this is used to explore the life of Alan Turing. This composition is so many things. It is clever without being gimmicky or arrogant. At times it is rather amusing yet isn't at all facetious. It is heartbreaking yet not sentimental. This relies on four factors that need to be spot on. First, and most importantly, Muhly's score is the closest that contemporary music has come to perfection. He doesn't underestimate the power of melody whilst also creating an edge to the piece through interesting uses of percussion (eg. typewriters and knitting needles). Secondly, the librettist Adam Gopnick is wonderful at both providing a coherent story and helps to provide the suppressed feeling that is released through the music. Davies is also astonishing, providing hearty performance, showing both the hurt and the joy of Turing and lastly, the sinfonia's accompaniment is rich and heart felt. The evening was an utter delight and pleasure.

The Beaux Stratagem, National Theatre ****

To me, Renaissance Comedy seems the biggest oxymoron imaginable. Theatre companies often deflect to slapstick to bleed some humour out of a largely humourless text. However, there is no other way to describe the experience of the National's Beaux Stratagem than as thoroughly entertaining. Samuel Barnett, Geoffrey Streatfield lead a wonderful cast as the Beaux who search to retain their post wealth by marrying rich women, portrayed delightfully by Susannah Fielding and Pippa Bennett- Warner. These roles are played extremely well and doesn't feel overplayed. This is true to the whole production. It looks to the text for humour rather than masking it with something that seems artificial. Lizzie Clachan's set is quite simple yet beautiful  and gives the Olivier an unaturaly homely and comfortable feeling, in stark contrast from normal programming in this space. Pierce Quigley, as always, is eye wateringly funny as the servant Scrub in a dry and unexploited presentation of this well written role. This toned down production is thanks to Godwin's great direction whilst Michael Bruce provides some perfect music and songs to set this quaint atmosphere. The programme also notes as Patrick Marber assisting Godwin with the dramaturgy. I still have no idea what a dramaturg is but I'm sure he did a very good job at it. The play is not the typical Restoration Comedy which does both the cast and the audience a service in providing a great comedic and intelligent event.

Everyman, National Theatre ***

Rufus Norris has officially arrived with his first play as Artistic Director of the National. In this, Norris sends us a fresh reminder of our responsibility for each other with an adaptation by Carol Ann Duffy of the famous morality play. Her adaptation is mostly successful and, whilst her references to modern culture is often misjudged and awkward (like a grandparent saying 'word up to ma mandem'), when she writes on the bigger  picture on subjects such as God and mortality, the text feels as juicy as Shakespeare. In a this production, Everyman is a high flying businessman who likes to enjoy himself with sex, drugs and drink. The cocaine scene feels very theatrical and doesn't have the gritty effect it should have perhaps due to De Frutos' wonderful yet stylized movement that perhaps holds back the message from getting across to the audience. Despite this, the scenes that have a large scale like the party or the storm provides a great atmosphere to the Olivier and, whilst the more intimate scenes feel lost in the space, the whole piece still maintains the power. Chiwetel Ejiofor gives an exhausting yet fantastic portrayal of Everyman and is backed by a terrific ensemble. I am not totally convinced by this flawed production but it still packs a punch which is impressive to see.

The Twits, Royal Court ***

The Twits is the latest of Dahl adaptions to reach London. Currently on the West End, both Charlie and the Chocolate Factory as well as Matilda are continuing to entertain and astonish crowds. There have also been adaptions of shows like Danny Champion of the World. This is perhaps due to the fact that the surreal writing of the genius and his heightened characters are at home on the stage. However, when I saw that The Twits was coming to the Royal Court, I was slightly surprised. Not that the characters wouldn't suit the stage; Mr and Mrs Twit are so strange and weird that would be instant hits on a stage; rather that the story-line of the novella is hardly complex. In fact there is no real story-line as such. Unless the Royal Court wanted to do a Beckett interpretation of Roald Dahl's classic, it would be difficult to translate the plot, or lack thereof, and to keep children entertained for two hours. What Enda Walsh has done is to pad out the story and introduces us to three new characters who are seeking to have their fairground returned after Mr and Mrs Twit 'stole' it from them. This addition works but the Dahl surrealism is lost. I hate to say it, but I feel that Enda Walsh needs to be more mischievous in his adaptation. It occasionally feels slightly tame in spite of Monica Dolan and Jason Watkins being far from tame in the title roles. They are magnificently horrible conveying the metaphor of the posh suppressing the lower classes well for the adults who get something out of the evening as well as the kids. The monkey's are good, as are the new additions but there is a love interest subplot between a monkey and the waltzer boy which seems slightly problematic. Is this the perfect adaptation of a Dahl book? Not by a long shot but it is a pretty good stab at one and results in an experience which is extremely pleasant.