A Number, Young Vic ****

I wouldn't say that the last Caryl Churchill play I saw was a success. Light Shining in Buckinghamshire was very difficult to watch and her writing felt more like a history textbook than a dynamic and engaging drama. I had resolved not to bother with this play after that experience however, after seeing that Michael Longhurst was directing, I got a ticket. It is clear that Churchill can write a decent play. A Number is a fascinating and superbly written piece that both deals with the relationship between fathers and sons as well as medical ethics and the future of science. Her play also is served very well by the creative team who create a unique and thought provoking experience. You're brought into a room with about 50 people with a covered screen facing chairs in a place which has a feel of a hospital waiting room. The sound in the background also feels medical before the blind are peeled back to reveal a mirror which then disappears to reveal John and Lex Shrapnel in a room where the other three sides are mirrors behind which are other audience members. Scutt's complex and fascinating design creates this feeling of the dangers of the advancement of medical science, showing that the unique relationship between a father and his son could be replicated and reproduced in the not too distant future. The flaw is that, by creating this effect, it involves creating a physical barrier between the audience and the actors. This keeps us from ever becoming emotionally involved in the drama properly which is a shame with such an engaging staging of a great play.

Bakkhai, Almeida Theatre ***

Bakkhai, according to Rupert Goold is about 'gender, about wildness, and about who, when the framework of society is stripped away, we really are.' These high concept and big ideas are addressed very well in James Macdonald's production of the Euripides tragedy. However, to me, Bakkhai is a play about pain, loss and corruption of power. These smaller and more heartfelt themes are not conveyed here. Anne Carson's adaptation sacrifices clear narrative structure for poetry and dressing. Character development is abandoned bar an exposition part at the beginning from Whishaw's Dionysis that, in a Star Wars fashion, tells us the ins and outs of the story so far. Macdonald's use of a chorus too is a shame as they feel unconnected to the three actors, almost creating two separate productions. In spite of this, the talent on that stage is perhaps the strongest this year. The quality of the voices in the Bakkhai are astonishing and create an eerie atmosphere thanks to Orlando Gough's polyphonic compositions. They carry off speaking in unison very well, maintaining both clarity and character. Kevin Harvey is also superb in a plethora of roles which are all different, not just in accent but in character, movement and tone. Whishaw and Carvel give two standout performances that, in any other production would be showered in awards. However, Ben Wishaw's beguiling yet cruel God and Carvel's pathetic Pentheus and mad turning despairing Agave are diluted by a creative team who want to concentrate on the big issues rather than concentrating on the more powerful ones. Carvel especially suffers as Agave who, whilst his singing is too similar to his Miss Trunchable to have a profound effect, his grief stirred the only shred of emotion in the piece. Whilst Oresteia left me an emotional wreck, Bakkhai left me cold in spite of some of the best and talented performances currently on stage.

Constellations, Trafalgar Studios ****

It is safe to say that Nick Payne's play has taken the theatre world by storm. After opening at the Jerwood theatre upstairs in 2012 it has had a West End run, a Broadway run and now a return to the West End after a hit tour. With productions such as Anything Goes, Beautiful Thing and Godspell having to cancel half their run halfway through without making it to the West End, it is remarkable that such a challenging production has had the success it's had. For a story of love and 'the boundless potential of a connection between two people', Constellations is hardly a breeze. The structure of the play is based around quantum mechanics which means that the structure is fragmented, with scenes being played out again and again. This could get very tiresome if it wasn't for the work that Joe Armstrong and Louise Brealey put in. The chemistry between them helps the play to click and for it to go from something that could be considered as self-aggrandizing as a Tom Stoppard play to a quirky and sweet story of two people and using big ideas in a small and understated way. This is helped by the direction from Michael Longhurst who has helped maintain the intimacy in a larger space than at the Royal Court. I have never been able to understand how you maintain the atmosphere of a space like the Jerwood Upstairs and I'm not sure if Longhurst has done it as I didn't see the original production. However, that feeling of excitement and buzz that I get whenever I enter the Royal Court was there at the usually lifeless Trafalgar Studios. Tom Scutt's design used balloons that take on different meanings as the piece develops, from a party to a hospital. A wonderfully acted and produced play that only occasionally is wearisome is a great representative for the work of the Royal Court and an example that challenging and stimulating works of theatre can be successful and popular on a large scale.

Richard III, Shakespeare's Globe ****

After seeing Shakespeare seen through the scope of an Italian composer, it didn't seem that far a step to see him filtered through the Chinese culture and language (in this case mandarin). This production is a pleasure to watch. Xiaoying has created a production that incorporates Chinese culture with Shakespeare's story and without the beauty of the text, you can see the pure talent on display. The murderers are played comically by Cai Jingchao and Zhang Zhiyong as a counterbalance to their acts whilst the murders are carried out with a black sheet being thrown over the victims head rather than in a goldfish bowl or being electrocuted. Wang Jianan extraordinary talent for drums help build up the tension as does the set from Luo Dajun that is showered with blood after each murder. The pure talent of Zhang Hao is astonishing to watch. His Richard rivals Mark Rylance's as a slippery a characterful portrayal that moves like a serpent waiting for it's next catch. Whilst the use of three witches at the beginning made me think that the Tang Shu-wing Theatre Studio had brought their production of Macbeth in early, it made for a fantastic afternoon of drama.

Saul, Glyndebourne *****

On a damp and dark day, the dress rehearsal of Saul didn't give us a chance for the full Glyndebourne experience, instead letting the art take precedence. The dark day was totally overshadowed by the majesty and brightness of Handel's music and Barrie Kosky's production. From the first half,  you can tell that this piece is an oratorio with the vast amount of God praising. Despite this, the production ranks as one of the most remarkable things I have seen in some time. It juggles minimalism with wealth and magnificence. It uses both poignancy and surrealist humour to create an overwhelming theatrical experience. Christopher Purves has acting talents that rival many of the great stage stars and his jealousy and rage created as a result of his hubris is felt stronger than any singer I have seen. Iestyn Davies is always a pleasure to listen to, with a voice that fills the large opera house with joy just as well as it does the intimate Sam Wannamaker Playhouse. Benjamin Hullet is creepy as a court jester type who embodies multiple roles in the same eerie costume whilst the women of the piece are wonderfully portrayed by Lucy Crowe and Sophie Bevan whilst Appleby portrays their brother Jonathan well, with only one misstep when a slightly homoerotic subtext is contrived between him and David  in the only wrong step of a triumphant piece. A magnificent surprise opens the second half that triggered a spontaneous applause from the audience in a set design from Katrin Lea Tag that is awe inspiring and evokes the religious routes of Handel's music. It is the chorus, however, that really make this production something else.The Glyndebourne chorus create a sound that feels miraculous and the moments that they are alone on stage with the six dancers ( who do their job very well and add another dimension to an already impressive display) are the best moments of the show, and convey Handel's music in the best possible way. There are very few operatic productions that are perfect and whilst this isn't one of them, it comes very, very close.

Falstaff, Royal Opera House ****

Shakespeare and opera seems to be the perfect combination to alienate people. The most feared playwright having his work produced in one of the most feared art forms surely must lead to a piece threatening and inaccessible. However, Carson's production is joyful and fun and provides a delightful evening of entertainment. Maestri's Falstaff is wonderful to watch, providing fun and laughter whilst the rest of the cast support the performance well, carrying off Verdi's complicated and fast melodies even if the vibrancy doesn't quite match that of Ambrogio Maestri. The set from Steinberg feels homely and fun even if the 1950s setting doesn't feel purposeful. I also wouldn't have understood the references to Deer horns if it  wasn't for a very helpful Italian woman who explained their relevance as an Italian insult for a cheater. The times Shakespeare is translated almost word for word occasionally jarred with me, especially with the honour aria in Act One but this is no fault of the production. Overall, this is a refreshingly enjoyable evening that leaves you feeling light and refreshed.

American Idiot, Arts Theatre *

Apathy is the worst reaction you can have to any piece of art. If American Idiot the musical left me feeling angry, at least it would have been provocative. Instead, I faced two hours of a bland attempt at rebellion. Since seeing the musical, I have listened to the original Green Day album of the same title. Here, Billie Joe Armstrong's message is far clearer with a larger impact. What was an angry attack on post 9/11 society has become a story of an adolescent having mini tantrum. I've never been a fan of the Jukebox musical, seeing them as cheap and contrived. Therefore having the song '21 Guns' turned into Amelia Lily singing to stop the protagonist committing suicide, my heart sank. Luckily, I only saw the second preview so the creative team have time to iron out the dodgy lighting, sound and instruments as well as making sure that the company can sing in tune all the way through the musical. The advertisement putting Lily as top billing is blatantly misleading as she, along with every other female cast member, has almost nothing other than one or two solo spots and is solely there to have sex in a musical that is trying to be shown to be progressive and revolutionary (being given the prestigious name of 'whatsername' tells you all you need to know). It's a shame that the female members of the company are underused as they have much better voices and pronunciation than the men of whom I could barely make out a word that they sung. Racky Plews' direction and choreography doesn't help by glorifying heavy drug use that is never resolved or questioned. That on top of the theatre not having any air con and keeping the doors shut until 2.25 for a 2.30 start led to perhaps one of the worst theatrical experiences I have ever had.

An Oak Tree, National Theatre ***

The Temporary theatre provides the National with pieces that are often experimental and slightly odd. Therefore Tim Crouch's experiment naturally fits in this space. The concept is that Tim performs this play with an actor who has neither read nor seen the play before stepping on the stage. For the last night, Samuel West was this actor who played the Father. This play really helps to show West's talent that he can communicate deep emotions of loss and pain when he is repeating words as he hears them through his headphones. Crouch smoothed the process over as much as he can but you still leave slightly unsatisfied with the performance as a piece of art. Despite this, this concept of the hypnotist as a manipulator and how that relates to both the play and the exercise is fascinating. The play itself could be transformed into a fantastic piece but is diluted too much by the gimmick and classroom exercise feel.

The Trial, Young Vic *****

There is a feature in the Delfont Macintosh programmes at the moment that look at the great one man shows. From John Gielgud to Eilleen Atkins to Simon Callow to Kevin Spacey. The latter two I have seen perform and have seen the energy needed to engage the audience and survive on stage for 2 hours. Kevin Spacey achieved it; Simon Callow didn't. Sitting through his Charles Dickens show felt like torture. However, watching The Trial, which is essentially Rory Kinnear's one man show that happens to have other actors in it, felt like you were watching history being made. Richard Jones' production has certainly been devisive with the critics, being one of the few spectacles that has achieved a full house of scores with 1, 2, 3, 4 and 5 star reviews being written about it in the press, and you can see why. Gill's adaptation is radical, as is Jones' and Buether's staging and set. K's almost incomprehensible babble that is sprinkled across the 2 hour show could be seen as annoying and protentious if you can't see a justifiable reason for them. The travelator could be seen as unnecessary. And yet, to me, this is yet another top class hit from the best theatre in London. K's babble makes sense to me in showing a potentially  drunk man to show his imperfections or to isolate his inner monologue. Unlike the opera, Kinnear's K is made to be the strange man and the world to be more normal which is a fascinating interpretation of Kafka's work. Kinnear, however, still manages to make the fall of K heartbreaking and scary. He is on the stage all of the time and gives us a masterclass in acting to the extent yet doesn't detract from the chemistry of the play. The ensemble that surround him are also great, notably Kate O' Flynn, Richard Kant and Hugh Skinner. Buether's set and Mimi Jordan Smith's light create a surreal and nauseous world in which we, as the audience, are incorporated into the play as part of this society who knows everything and helps to increase K's anxiety. The travelator generates this feeling that this is a process that is unstoppable and inevitable. The whole experience is a shining example of how to produce surreal and alternative theatre.

To Kill a Mockingbird, Barbican Theatre ****

With sequel 'Go Set a Watchman' out in book shops, the time is perfect to revisit the much beloved gem of Harper Lee about life in the Deep South. This book, much like Ah Wilderness at the Young Vic, creates this warm, homely feeling yet achieved the impossible by addressing the issues of racism and naive childhood. This production captures this feeling and more. As well as telling Lee's story well, it captures the brilliance and beauty of reading. Watching this ensemble taking it in turn to read from the book, it reminded me of when my father used to read to me and the excitement that caused each evening. It explores the idea of how reading can create a picture in your mind and that, by switching between British and American accents, shows that you can be transported to a different world through books. Sheader's production uses a Brechtian style that, unlike Findlay's Merchant, is effective in creating this idea of an image being created through story telling. Jon Bausor's design strikes a balance between minimalistic and cheap very well and Phil King's music gives a nice atmosphere to the piece. The three actors playing Dill, Jem and Scout were extraordinary. For those children to be as talented as they are is brilliant to see. They steal the show with fully three dimensional characters and brilliant stage presence. They are surrounded by a capable ensemble who tell the story well. Robert Sean Leonard's Atticus is delightful to watch. This is probably the last image of Atticus I will have before it being altered by Lee's sequel and I was glad for it to be as faithful to the book as possible. Whilst I'm not sure the stage in no way beats the experience of reading this classic, it captures the heart and emotion of Lee's writing to create a fulfilling and wonderful experience.

Richard II, Shakespeare's Globe ****

 

 

In between the RSC's Richard II with David Tennant, the choice to programme this play at the Globe this year seemed strange. I am seeing the RSC production in the Autumn but have heard very good things about it therefore this production would need to convince me if it was to compete with Doran's production.
It is safe to say that the RSC will need to seriously impress to top this splendid production. You first notice the amazing set design from Paul Willis, capturing the extravagance and ceremony in the court of Richard and also the religion,with a walkway shaped like a cross or cathedral to capture the fall of a king in a Christ- like fashion. Whilst no one is portrayed particularly well in the play, Richard is the most sympathetic and his fall from grace feels similar to the passion from the overt references to Pilate to being ultimately betrayed by his once loyal follower, Aumerle who is played with fire and wit by Graham Butler. Charles Edward's king is tremendous, showing flare and elegance which descends into raw emotion gradually throughout the play in a way that is painful to watch. Sturzaker is brilliantly dark yet righteous as Bolingbroke, a character that is complicated and interesting to play. The rest of the cast do the production credit and are fascinating to watch. This is another hit from Godwin and the Globe as the season gets into full flow.

The Mentalists, Whyndham's Theatre ***

Richard Bean and his work has just gone through a surge of popularity. Whilst Made in Dagenham and Pitcairn were considered failures, Great Britain was good at the National and had a decent stint in the West End, even if the cuts diluted the cutting satire, and One Man, Two Guvnors seems to be constantly on tour. So just as the writer was starting to disappear from the public eye, a major, West End revival of the 2002 play 'The Mentalists' is announced. The play itself is well written and funny, with more than a hint of Hancock's Half Hour. What's more important is that both Ted and Morrie are people rather than caricatures, both of whom are disheveled and delves behind the Hancock routine. In fact, Ted is reminiscent of David Brent, co-written by cast member Merchant, in that it is the standard 'worker' whose character faults and hubris has lead to a big fall out. This character is inherently interesting, even if I don't find them, in themselves, amusing. In fact, I loved the Office more as a drama and social commentary than a comedy. In the same way, as many West End comedy's are, The Mentalists feels like a humourous drama than, as repeatedly advertised, a laugh out loud comedy with a dark edge. This means that the first half feels quite pedestrian as the characters don't really evolve until towards the end of the show. Merchant's West End debut is perfectly competent even if the performance is not overly impressive or interesting. The stage presence isn't as large as his co-star Rhodri who commands the stage well, in a better choice of play than his last showing at the National. Abbey Wright does nothing particularly remarkable with the text but it is enough to satisfy a solid evening of entertainment. The problem is that plays in the West End are becoming more interesting due to transfers from the Young Vic, National, Tricyle and recently the Arcola, meaning that this populist and safe production of Richard Bean's comedy that takes no real risks don't feel substantial enough to really compete with the high standards of straight plays in London.

Merchant of Venice, Royal Shakespeare Theatre ***

I had a choice between seeing Polly Findlay's Merchant starring Patsy Ferran or Trevor Nunn's Volpone with Henry Goodman. In the end, I chose youth over experience and chose Merchant. A few weeks later, the reviews came out for the production and it felt like I had made the wrong decision. Apart from one five star review from a reviewer whose views I disagree with on a regular basis, the bulk of the reviews were negative to say the least. The few people I spoke to in the weeks leading up to my trip weren't very complimentary of it either. Therefore, I went into the performance with lower than low expectations.

Therefore, it felt great to come out and say that it is OK. It is far from perfect. The pendulum was distracting with no real purpose; the brass set, whilst meaningful, felt like a wrong move; and the use of a Brechtian style of theatre had no real purpose and made it feel more like a student production than an RSC one. However, I can watch Patsy Ferran act all day without getting bored and the company, who are in rep, are just as fantastic in this as they were in Othello. It feels fantastic to see a production that focuses on Portia  rather than just on the anti- semitism and Shylock. The route Findlay has chosen for then relationship between Antonio and Bassanio, whilst an odd one, is justifiable and makes the final scenes bubble and come alive. Khoury is perfectly fine as Shylock,even if his story is brought back and Tim Samuels makes a decent stab at injecting some fun and dry humour into Lancelot Gobbo. The production as a whole is quite eerie and feels quite experimental so that, whilst it does have flaws, I came out not regretting my decision to see this daring and odd take on Shakespeare's troublesome play.

Othello, Royal Shakespeare Theatre ****

I have an apology to make. I have previously been critical of the RSC, saying that their productions have been too dry and dull and, up until now, I have found it to be true. However, it seems as if a new wave of directorial talent is leading to some really dynamic and exciting productions in Stratford. Othello is a prime example of a director really engaging with the text and producing a production that boils with tension, mixing vibrancy and institution superbly. Iqbal Quan's production mixes elements from both old and new, showing the deeply religious elements of Venice and the use of television screens. This idea of old coexisting with new is shown in the music, with Akintayo Akinbode using both traditional African music and modern RnB and 'rap battles'. This idea helps to reflect the two worlds within the play between both ages and classes, with Othello choosing an arithmetician rather than a soldier as his lieutenant or the age difference between Othello and his wife Desdemona. The subtlety to this is quite exquisitely done and creates satisfying moments. Water is also very important in the production, with Ciaran Bagnall designing this wonderful feature that works as a bath, a river, a hiding place, a table and a canal in an inspired design decision. Joanna Vanderham's style of acting feels eerily close to Olivia Vinall, whose Desdemona I didn't catch in the National's production, which was slightly distracting for me yet her choice to take the role and play her with more fire and sass thanis written for her felt fresh and interesting. Dharker plays Emilia with true passion and is the most sympathetic character in the production. Quarsie's Othello is very good also yet it is the anti hero that is the more impressive. Lucian Msmati makes a charismatic and likeable Iago which makes his divisive qualities seem impressive rather than detestable. At many points in the first half of this production, you find yourself rooting for Iago over Othello, which is helped by ironing out of some racial problems by having a black Iago. This RSC just feels a world away from the one I thought I knew which is a credit to Khan's inventive and memorable production.

Guillaume Tell, Royal Opera House **

I rarely feel as angry as when I emerged from Guillaume Tell. It wasn't because of the now- infamous gang rape scene. Yes it was childish and unnecessary but it wasn't the most obtuse thing I have ever scene at the theatre. In fact, I was angry at Antonio Pappano. Pappano for me has always been the face of opera. His enthusiasm and charisma enabled me to fall in love with this extraordinary art form. In Tell, you can feel that charisma and excited energy injected in the orchestra through his brilliant conducting. Therefore, how could he stand aside to let a protentious child ruin one of the best performances of Rossini's grand opera. The moments when I closed my eyes, I was in heaven yet the moment I opened them I was transported to hell. If the standards of the music quality wasn't so high, I wouldn't have left so enraged but Finley's Tell is powerful yet emotional; Osborn's Metcalf transforms from devoted love to devoted soldier so well; Byström's Mathilde is delicate and heartfelt. Therefore it is up to the director to make a true mess of things. There is a potentially interesting idea of rebirth and a country uprooted with the idea about the tree that could be incorporated into a production. However, that production becomes thin on the ground when you rely on this idea to last four and a half hours. Any production needs both light and shade and if, in the case of this production, there is no light, the shade becomes dull and tiresome. Damiano Michieletto's direction does nothing interesting other than one moment of trying to shock an audience before presumably being made to tone it down so significantly that it becomes insignificant. The use of video is poor. Look to Es Devlin to be shown how to incorporate multimedia into a production instead of just turning the Opera House into a cinema for something that is of no real importance. This is certainly a production worth listening to although it is a shame that the abismal aesthetics let it down.

Temple, Donmar Warehouse ****

The Donmar is renowned for exciting, fast- paced theatre. Their last production had 50 performers in stage for a 2 hour live broadcast set in real time in the night of the election.

From the outside, Temple looks neither exciting nor fast- paced, following the dean of St Paul's Cathedral during the occupy movement in quite a traditional set design from Tim Hatley. However, there is a bite and an energy to Steve Waters' play that makes this make sense at the Donmar. Russell Beale's dean is abrasive and sarcastic at times yet is ultimately sympathetic and caring in a performance that is so watchable. The play deals with the role of the church in the modern age whether it is by it's presence on Twitter, like the Canon Chancellor, or by using the media, like the Bishop of London. The dean is critical of both of these attempts yet his resistance to change, represented by Occupy, eventually chokes him. Waters' message is about the need for the establishment to move with the times and stay relevant, whether that be the church or the government. As I am not aquainted with the Anglican clergy hierarchy, some of the relationships between the characters confusing. Davies' direction keeps the play from seeming protentious and maintains a pulse. Performances are good across the board. Simon is, of course, magnificent, whilst the anger of Paul Higgins almost helped me get over the English southern accent which is quite strange after being so used to the astonishing voice he has in his normal Scottish accent. Sinclair's Bishop is wonderfully devisive, in a similar fashion to Ralph Fiennes' interpretation of the same character in Rev. The choristers are cheeky and bring some light relief whilst Shereen Martin and Anna Calder- Marshall are also full of character in their roles as the lawyer and virger. However, for me, Rebecca Humphries gives the best turn as the dean's PA. Her part is the best written and the audience's view on her changes throughout the drama due to her heart rendering performance. This is a production that proves that the church can be discussed in a way that isn't a sermon whilst also appreciating their role in modern day society.

Death of a Salesman, Noël Coward Theatre ****

It is fair to say that I have not been overly impressed by the output of the RSC recently. The Henry IV plays were far from comedy gold and I wasn't charmed by Oppenheimer. There is a certain dry quality to what the company produce which is problematic. However, I think this production of Salesman has restored my admiration for the company. It still is a traditional staging, with nothing particularly revolutionary and yet a combination of Miller's divine text and first rate acting makes overall for a successful production. I wasn't taken with Sher's Fallstaff at all as he took the character to a place that changed and warped the dynamics and the chemistry of the play. This meant that my first opinion of this actor was negative. However, his portrayal of Willy Loman is poignant and awe inspiring to see. Harriet Walter too puts in a stellar performance as Linda, showing the character to be the true salesman of the play in her resolute defence of Willy. The relationship between Sam Marks and Alex Hassell at the start was the moment when I could connect with the characters because of the raw emotion shown. The relationship between Hassell and Sher is also fantastic; far more complex and interesting than in Henry IV. The set design from Stephen Brimson Lewis is a tad too ordinary for me yet there are moments such as the movement scenes that show real promise. The quality of the acting shines in what could be another drab and dull RSC production which left me in tears yet genuinely angry at the society, painted by Miller, that would fail this family.

The Motherfucker with the Hat, National Theatre ****

From the title, you know that this play isn't going to be your typical National Theatre production. Certainly the language in the piece, that brings to mind The Thick of It, lives up to it's provocative title. Despite this, Stephen Andy Guirgis' play has more subtlety than one might imagine. The graphic and imaginative use of expletives are used by the characters to disguise their vulnerabilities and addictions, creating moments that are beautiful rather than grotesque. I am also thankful for the lack of a gunshot which could be justifiable directorial decision to make, Rubasingham's production is something that lingers in the mind, which is helped by the lack of finality that a gunshot brings. The play is also extremely funny, although the comedy is secondary to and as a result of the pathos felt towards Jackie, played with conviction by Ricardo Chavira. The rest of the cast are excellent  too, in a fast paced performance enabled by the quick scene changes that Guirgis writes. This normally bugs me but the efficient and lively design from Robert Jones that helps to portray the vibrant culture of people who are often ignored by our culture. The whole evening has restored my faith in the National and in Norris in programming interesting and diverse work executed well by some of the best cast and creatives around.

High Society, The Old Vic **

The Old Vic has been through a whole series of hits under Kevin Spacey's last year as artistic director. The Crucible, Electra and Clarence Darrow have all been first rate productions. Therefore, it is a shame that Spacey's last production doesn't quite live up to the quality of the brilliance that has graced the transformed space in the past year. To be fair, it is a perfectly acceptable way to spend the afternoon. This story of a wedding that goes wrong provides a pleasant family outing. I took my gran to see it and she was delighted with it. As well as this, performances are very good. Kate Fleetwood is always a joy to watch and Jamie Parker is surprisingly impressive in the move from a fantastic Henry V to an American musical role. I can't fault the performances yet I felt uninspired by them. The extravagance of the piece is the thing that needs to be shown off and, by using the 'in the round' space, loses a lot of the excuses to exploit the aesthetics of the setting. The few 'gimmicks' they use (for example the lake or pianos) seem slightly behind the times. The renditions of the famous songs are instantly forgettable and the direction from Friedman gives the production a lack of substance or originality. This production belongs on the West End and not at the Vic. The only word to describe this production is 'inoffensive'.

The Rape of Lucretia, Glyndebourne ****

Before any comments about the performance itself, you have to acknowledge the whole experience of going to Glyndebourne. It was my first visit, with a ticket to the dress rehearsal, and the whole experience was heavenly. It is a mile away from any town, so has a tranquil nature to it, and is essentially a country house with a massive opera house built next to it. As you walk out for the interval and after curtain down, you don't walk out on to a murky, busy London street but onto one of the most beautiful gardens in Britain. The interval is normally 1 hour and 30 minutes for you to have your picnic before you wander through the rose garden and back to your seat. For someone who is used to the London theatre, to meet people who smile at you and experience a place as divine as this is very special. Fiona Shaw's production is worthy of such a magnificent space. Britten's opera is dramatised creatively providing true artistry that is comparable to the vision of Van Hove or Cheek by Jowl. The high rake of the stage gives this image of a world and emotions that are on edge; where Tarquinius can even entertain the possibility of committing this unspeakable act out of jealousy. The abstract set design by Michael Levine sets the piece in a bleak harsh world and allows the brutality of the plot and of Britten's music to have full impact. The lighting also is designed well by Paul Anderson, with the harsh white light that is pointed on the chorus and soldiers at the start being juxtaposed by the comforting yellow that greets Lucretia before becoming harsh again once the atrocity has been committed and Lucretia's world is turned upside down. The use of a chorus in the piece is clever in giving a voice to the audience; who comment throughout yet are unable to change the course of the opera. Britten's music is lyrical at times, like when Bianca and Lucia comment on the day, and brutish at others. The light and shade of the plot is coloured well and is a pleasure to listen to. This is also down to the masterful performances on show. Alan Clayton is powerful as the Male Chorus who also channeling the dark thoughts of Duncan Rock's similarly powerful Tarquinius. Christine Rice is a delicate and beautiful Lucretia whose pain is felt across the auditorium. The rest of the small cast are similarly wonderful and makes my first Glyndebourne experience even better.