Caroline or Change, Minerva Theatre- 1st June 2017

I travelled up to Chichester the week before the start of my A Levels to try and escape from the madness and the stress and dread of revision. Chichester is perfectly placed in comparison to suburban London as a spot to escape to. From passing what likes a settlement from Game of Thrones (which is in actuality Arundel- but from afar could be Kings Landing) on the terrible Southern train journey to the quaint English village (Chichester is a city in name only!), it was very easy to forget the terror of the upcoming few weeks.

The show, Caroline or Change, was mightily impressive; a through-sung musical investigating Southern race relations in the 1960s through the prism of a black maid working for a Jewish household. Tony Kushner's initial dramatic act of anthropomorphising the household objects in what is otherwise a piece of musical naturalism helped to heighten and open the audience up, like in Angels in America, to the extraordinary nature of this very ordinary story. Jeanine Tesori's music formed occasionally moved into the operatic, using a range of musical influences from gospel to traditional Jewish modes to form a unique sound-world. Michael Longhurst direction was characteristically clear. As best demonstrated in his productions of Amadeus, They Drink it in the Congo, and A Number, Longhurst has a real skill for making very small stylistic decisions which best shines light and focus on the strengths of the written work as opposed to major changes which draw focus from the work to the director. In Caroline, this took the form of the use of a revolve, allowing the story to be effectively told to all three sides of the Minerva. Sharon D Clarke gave a showstopping performance, keeping in an anger that is only truly released in an Act 2 showpiece aria 'Lot's Wife'. The Broadway transfer of this production has just been postponed due to the virus but hopefully this underappreciated musical gets the audience it really deserves in it's first revival on Broadway.

An Octoroon, Orange Tree Theatre- 29th May 2017

I have seen Ned Bennett’s Production of Branden Jacobs-Jenkins’ An Octoroon three times at both the Orange Tree theatre in Richmond and in it’s successful transfer to the National Theatre and each time was a profoundly different experience. In the Dorfman on the third visit, Bennett had added pyrotechnics and crazier eccentricities to scale up the show to fit the bigger space and to try and shock much the same audience who had seen Katie Mitchell’s Cleansed in that same space just a few years earlier. The second visit was towards the end of it’s first run at the Orange Tree, and word had got around about just how stunning this production was. Bringing my friend Harvey with me, we at 18 fitted into an uncharacteristically young audience in the Richmond space; the production had found its audience and had attracted the same crowd that flocked to see Pomona. However, it was the first visit to this production that sticks in the memory most.

It was early in the run and the matinee audience was filled with the regular Richmond matinee crowd- elderly and, I would venture, on the conservative side of theatrical taste. They had seen that the theatre company that has made its name on revivals of Rattigan and Shaw plays were mounting an adaptation of a quaint melodrama by Dion Boucicault and thought it might make a fun afternoon at the theatre. One of the joys of watching this profound and challenging play was seeing the unease as Ken Nwosu as BJJ walked into the centre of the theatre in his underwear before sitting within the audience in his opening monologue on being a ‘black playwright’. That unease turned into profound terror as Nwosu and Kevin Trainor (playing a representation of Boucicault) circled each other screaming, before the theatre was plunged into darkness as Snoop Dogg blared throughout before a live cellist accompanied a tap-dancing br’er rabbit. As the melodrama itself started up, I could see one old lady rocking back and forth with her hands over her ears. This visit, more than any other time, I could see an example of an audience being really challenged about what theatre was and could be, whether it was appreciated or not.

Re-reading the play yesterday as the video of the murder of George Floyd at the hands of a Minneapolis policeman circulated around social media, I was taken back to the fourth act of this play. Boucicault’s 1859 play is a melodramatic entertainment surrounding a white, slave-owning protagonist George Peyton saving an ‘octoroon’ (one eighth black) girl Zoe from evil, slave-owning McClosky. The fourth scene, which Jacobs-Jenkins describes in his play as ‘the sensation scene’, revolves around the Native American character Wahnotee exposing McClosky’s villainy by showing a photo of McClosky killing Paul, a ‘slave boy’. ‘BJJ’ breaks out of the play at this point to consider how to effectively convey the shock of this moment to a modern-day audience, at which point a large projection of a lynching is projected.

In Jackie Sibblies Drury’s Fairview, the overwhelmingly white audience is directly asked to stand on the stage and let ‘people of colour’ live their own lives free from the white gaze. That moment in the fourth act of An Octoroon expresses much the same thing. Whether it’s the developed photograph of the murdered Paul, the countless sickening photos of lynching, the reports and videos of countless numbers of black people being racially profiled by police in America and in the UK; there is something sick about the white population that feeds off this need to see stories about black people suffering at the hands of ‘evil’ white people. Yesterday, seeing less people share the video and instead share examples of overt and covert white supremacy was a step in the right direction at least yet still demonstrating a kind of stasis in the brutalisation of black lives since the 19^th century.

Jacobs-Jenkin’s only major diversion from the plot of the original melodrama is in the final act where, diverting away from the reunited George and Zoe to a reflective and comical discussion between Dido and Minnie in which, like most modern audiences trying to rationalise the plot of a melodrama, they find that they either ‘zone out’ or find the whole thing pointless.  The genius of this adaptation is that Branden Jacobs-Jenkins transforms a pretty offensive and dated melodrama into a truly nuanced and engaging work; one that really demands action from it’s audience and only seems to gain ‘relevance’ over time.

Review Catch-Up: January

Due to exams, I have slightly neglected my reviews. To catch up, I've combined everything I've written on each production I've seen and added some bits to ones I have not written about (spectacularly poorly in some cases!!).

Cavalleria Rusticana/Pagliacci, Royal Opera House ****

Damiano Micheletto has partially made up for his atrocious production of Guillaume Tell with a beguiling and sweet production of Mascagni and Leincavallo's verismo operas, only momentarily letting the action stagnate, patly due to a monotonous design. Pappanno delivers a typically lyrical and sumptuous interpretation of the score with some impressive lead performances Eve-Marie Westbroek and Aleksandrs Antonenko.

Funny Girl, Menier Chocolate Factory *****

Despite later controversy, Sheridan Smith gave a performance as good as Imelda Staunton's Mama Rose, bringing charm and a bundle of energy to Fanny Brice. Michael Mayer's production does the performance justice and, evidently since recent events, makes the production far more than just a Smith star vehicle.

Les Liaisons Dangereuse, Donmar Warehouse ***

Josie Rourke's elegant production combined with Tom Scutt's lavish design and standout performances from Dominic West and Janet McTeer only partly disguise a play that loses the power struggle beneath relentless sex. This major flaw taints these talents, not least that of Morfydd Clarck who is a fast emerging star, making the most of an ill-written part after her blistering performance in Violence and Son last year at the Royal Court.

Grey Gardens, Southwark Playhouse ****

Unlike most, I adored the first act of this superb musical as much as the more contemplative second act as it contains some of the best original music from Scott Frankel that I have heard since Bend Itl. Jenna Russell is divine whilst Sheila Hancock plays the older Edith with a devilish humour and Rachel Anne Rayham is a notably strong supporting member as young Edie Beale (who Jenna plays in the second act). The only hang up I had with Thom Sutherland's production was the numerous direct references to the source material making whole sections of the second act redundant to those who haven't watched the documentary. Despite this, the Southwark Playhouse continues to produce first class musicals in a superb venue.

Richard II, Barbican Theatre ***

A standout performance from David Tennant is just enough to salvage an evening which Greg Doran seems hell bent to destroy by sucking the life out of Shakespeare's most poetically beautiful play with a reverent and dull production. Beginning the Kings and Country cycle, Tennant is the greatest part of the marathon but perhaps is the only truly brilliant aspect of the RSC's demonstration of it's waning influence in London.

Linda, Royal Court ****

Nima Dumezueini is a powerhouse in Penelope Skinner's devastating play on societies mistreatment of middle aged women. Michael Longhurst makes full use of Es Devlin's masterful set to create a world full of people on the edge. This is a production and a play which shows the central role of the Court in showcasing artistic brilliance across the board.

Fear and Misery of the The Third Reich, Union Theatre ***
Gary Wilmott has brought was is claimed to be the first full production of Brecht's play to the Union and, if performed in August rather than in January, it could have been far more pertinent in explaining how sane people can succumb to the propaganda and fear-mongering pushed by politicians. We need a new adaptation to free the play and production from seeming dated despite Wilmott's best efforts to show that it is a situation that any group of people can fall into. This is a production and a play which, in the age of Brexit and Trump, is more thought- provoking than before.

Pelleas et Melisande, Barbican Hall **

This semi-staged production of Debussy's opera further demonstrates how awful Peter Sellars is as a director; it still astonishes me how revered he is in the opera world. Even the brilliance of stars such as Simon Rattle or Gerald Finley can save this dreadful evening, potentially the worst I've had at the opera  with LED lights which contribute nothing and music which crumples in an over staged concert performance which can't decide whether it wants to place the staging or musical excellence in the fore-ground.

Bull, Young Vic ****

Bartlett's play is revived in the Maria at the Young Vic with a new cast which brings fresh devastation to the text. Marc Wooton is a more sympathetic Thomas to Sam Troughton, but still has some venom in him so that the chemistry is still electric. Susannah Fielding's Isobel is venomous and delightfully vicious, making the interplay with Max Bennet's Tony partly harrowing but also hilarious.

Cymbeline, Sam Wannamaker Playhouse *****

After studying Othello, I had started getting tired of Shakespeare and his half-hearted writings of female characters but Sam Yate's production in the breathtaking Sam Wannamker has restored my faith in the Bard. He uses the space simply whilst also exploiting the space's opportunities, turning Jupiter's visitation into something truly extraordinary. Newcomer Emily Barber brings real intelligence and strength to Innogen whilst the whole ensemble give a mix of emotional truth and beautiful comedy. A definitive production of Shakespeare's most underrated play.

RSC Shakespeare on Screen series, Barbican Cinemas ***

To coincide with the King and Country season at the Barbican theatre, the RSC are also holding a season at the cinema which celebrates the various interpretations of these texts on screen. My experience of the season started with a panel discussion on the art of transferring Shakespeare to screen with Gregory Doran and Sir Ian Mckellan. This informative and highly entertaining discussion revealed facts such as the fact that Mckellans opening gasmask scene in Richard III was him breathing in iambic pentameter and that you must never call an television adaptation a film as 'there is no film involved'. This 

Panel discussion was followed by a screening of the partially recording of Peter Hall's 1959 production of A Midsummers Night Dream featuring the enchanting Charles Laughton who showed us his magnificent Bottom. I remain sceptical about productions being filmed yet this is the most delightful one I have seen. The dated and traditional nature of the production charms and actors Vanessa Redgrave and Julian Glover show their tue talent in creating quality drama over many decades. Perhaps more pleasing than the production was the opening twenty minutes where Laughton takes us on a trip around Stratford-upon-Avon which both demonstrates his extraordinary affability and effortless charm.

Unfortunately, the screening of Othello wasn't quite as enjoyable. Despite a wonderful introduction from Sir Willard White, this near-complete version of the text both makes it long (3hours 30mins) and uncomfortable in it's depiction of race and gender. Trevor Nunn's production slips into the pitfalls of this racist and sexist play. Imogen Stubb's Desdemona is pitifully weak from the beginning, with no character development as Othello's rage increases. Whilst White's Othello is convincing, it does not address the warped view Shakespeare creates that assumes that it is a black man's nature to be violent, which turns it from a play about racism to a racist play. Even Mckellan is far from outstanding as a rather standard evil Iago. Zoe Wanamaker provides the only real standout performance as a defiant and strong willed Emilia. 
King Lear is similarly long and tough to watch, there is undoubtedly more to reap from the experience. Scofield's Lear occasionally comes across on screen as dull, even with cuts, but the meeting between mad Lear and blind Gloucester still brought tears to my eyes and the cinematography in Peter Brook's film is quite beautiful even if it isn't quite enough to fully grasp the beauty of the play.

Hapgood, Hampstead Theatre ***

Stoppard's relentless science talk is done at it's least annoying in Howard Davie's production of this Cold War thriller. Lisa Dillon is funny, smart, and spectacularly middle class as the titular heroine with a supporting cast who provide her with obstacles in a formulaic but fun way. The sciency stuff only occasionally gets bogs down the plot which is an achievement for Stoppard. However, Hampstead is starting to frustrate me now as it is continuously churning out productions of plays by white, middle-aged male playwrights on it's main stage with little representation for any other forms of diversity. 

The Master Builder, The Old Vic **

Ibsen has never felt so boring as in David Hare's adaptation and in Matthew Warchus' production. Whilst in preview, the relationship between Ralph Fiennes' Halvard and Sarah Snook's Hilde had no real chemistry and Rob Howell's was not evocative or grand enough to warrant two intervals. In this barn of a building, this production provides a truly depressing evening.

Escaped Alone, Royal Court *****

Caryl Churchill's latest play is a magnificent meditation on loneliness is realised terrifically by James Macdonald. The jumps from Churchill's typical detached conversations to the terrifying streams of consciousness of Linda Bassett as Mrs Jarret wonderfully displace and confuse the audience but also contains a side-splittingly funny monologue about cats from Sally (Deborah Findlay) and an equally well constructed serious one from Vi (June Watson). It is so refreshing to see exiting new work containing wonderful parts for older female actors in a house which clearly acknowledges that everyone needs to be included in forging the future of theatre.

The Mother, Tricycle Theatre ***

After the staggering success of Florian Zeller's The Father, his companion piece arrives at the Tricylce after it's run in Bath. Unfortunately, the two pieces are too similar to warrant two separate plays. However, it is a very successful production with Gina McKee giving a performance near the level of Kenneth Cranham's in the Father. Laurence Boswell's production is intellectually stimulating, with a more homely setting given by Mark Bailey than the one provided for the Father, but the production as a whole suffers for the lack of an original premise.

London Symphony Orchestra- Antonio Pappano, Barbican Hall *****

Antonio Pappano is perhaps the greatest conductor of the 21st century. His enthusiasm seeps through into his interpretations of the great composers. Rachmaninov's Rhapsody on a Theme of Paginini was passionate and beautiful, with the 18th variation proving a jear-jerker as the theme is flipped. This was largely due to Lise de la Salle tremendous solo on piano. However the surprise came in the second half with Respighi's Roman Trilogy, a piece with which I was unaware. I expected little but what I got was one of the most inspiring 30 minutes of my life. Starting with the roar of the the Roman Festivals before moving to the more subtle Fountains and Pines, one saw all humanity through this piece, from brash and pompous, to beauty and modesty. You saw the huge debt the piece owed to the Romantic movement but the piece was not Romantic. You felt Pappano's enthusiasm and emotion within the piece and came out cherishing every second of that experience. This was truly a heavenly evening of music that I feel so lucky to have witnessed.

wonder.land, National Theatre ***

The main reason for the anxiety about the form of Norris' tenure seems to be his Christmas musical which is being critically and publicly lampooned. Damon Albarn's and Moira Buffini's updated adaptation of Lewis Carrol's Alice in Wonderland certainly is a mess. The exceptional concept is demolished by a preposterous book from Moira Buffini ('now I'm not alone; like a nail all ingrown' is actually a lyric in this musical). Damon Albarn's music is high concept but lacks a memorable melody which is an important thing for a family musical. The video design takes away from the realism of normal life and the game graphics would mean that wonder.land would never be used in the modern age. Furthermore, there are extremely irritating performances, not least by Hal Fowler whose M.C needs to be reined in to stop being so grating.  But for all of this shows grave faults, it provides a great few hours of entertainment. If you don't take anything seriously, you can enjoy the ridiculous child who throws up for no reason and seems to only exist just to cram another issue in. You can also appreciate some exceptional performances. Lois Chimimba and Carly Bawden play the real and virtual Alice with personality and charm, especially Bawden as I thought I would spend her time on stage wondering how Rosalie Craig would have done it, so the fact that I didn't is a testament to her performance. Anna Francolini brings her formidable skill to the queen of spades like Mrs Manxome, delivering her opening number with fierce power in a 'model of a modern major general' style song and is generally an exceptional Disney villain, being bad with no real threat which suits the production well. Overall, whilst this show is almost a total failure, it is fabulously enjoyable to watch.

A Christmas Carol, Noel Coward Theatre ***

Christmas wouldn't be Christmas without this Dicken's classic. This story of redemption resonates even now in a world in which capitalism dominates the festive season so this tale is a good reminder of  'the true meaning of Christmas'. This is captured nicely in Phelim McDermott's wholesome production even if there is no real genius to it. The problem with this production for me lies in the knowing nature of it. Through his set design, Tom Pye exposes the wings whilst puppeteers Jack Parker and Kim Scopes create the visual effects live on stage. This leads to comical scenes with flying and snow throwing. However, the breaking of the fourth wall goes too far in the closing scenes and it turns from charming to pretentious. Other choices are better made such as Jim Broadbent's performance as Scrooge. He plays the infamous character as the man capitalising on Christmas spirit for his own game but is less of a caricature than the normal portrayal. He is supported by some wonderful actors who give wonderful performances who multi-role superbly. Adeel Akhtar, Amelia Bullmore, Keir Charles and Samantha Spiro bring exuberance and joy to their parts. Sadly damaged by a shaky adaptation, this production has potential to shine with such talent on stage and occasionally does.

In the Heights, Kings Cross Theatre *****

With Hamilton taking Broadway by storm, Lin-Manuel Miranda's previous musical has moved to the now not-so-temporary King's Cross theatre after a hit run at the Southwark Playhouse. If In the Heights is the inferior musical, Hamilton must be the most divine piece of genius on the face of the earth. Thanks to a magnificent production from Luke Sheppard, this musical about life in an American Dominican and Puerto Rican community. Seen primarily through Sam Mackay's Usnavi, there are multiple strands which interweave and mingle. The music is pulsating and challenges the form of music theatre, with rap being introduced in an authentic and non-distracting way whilst the choreography is the strongest in the West End. Drew McOnie has crafted one particular party seen that rivals West SIde Story in the way it can contain emotion, plot and beauty through dance. This is carried out by a scarily good cast that sing and dance with real brilliance. The complexity to this show is impressive and means that this is a true hit.

I Want My Hat Back, National Theatre ****

This years show for young children at the National transforms Jon Klassen's popular story into a fun hours-worth of excitement. Wils Wilson directs this rather quaint and enjoyable production in which Marek Larwood's bear tries to find his hat which has been stolen by Steven Webb's rabbit. Natalie Klamar, Peter Lawman and Naana Agyei-Ampadu play an assortment of animals and shrubbery during this bears journey to find his hat. Fly Davis' design creates an inviting, living room setup where the children could play and interact with cast members before the show. Sadness and tragedy is shown quite candidly here, with a surprisingly vivid death which I initially thought would upset the young audience yet they handled it well with no one seeming upset. Arthur Darvill's music is jolly and upbeat whilst Joel Horwood's book is fun both for children and adults. Performances, as expected, are excellent, especially Larwood who tackled tricky questions from some inquisitive children well. This is a charming production that takes it's audience seriously and, as a result, is much better for it.

The Dazzle, FOUND111 ****

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

Little Eyolf, Almeida Theatre ****

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

You for Me for You, Royal Court ***

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

Here We Go, National Theatre ****

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

Cecilia Bartoli and Rolando Villazon, Barbican ****

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

The Homecoming, Trafalgar Studios ****

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

Jane Eyre, National Theatre *****

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

The Lorax, The Old Vic ****

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

Macbeth, Young Vic *****

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

The Force of Destiny, London Coliseum ***

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

The Mikado, London Coliseum ****

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

The Moderate Soprano, Hampstead Theatre ****

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

Medea, Gate Theatre Notting Hill *****

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