Harlequinade/ All On Her Own, Garrick Theatre *****

Amongst the commotion of Dench-mania, the excitement of the Winter's Tale has somewhat sidelined the Terrence Rattigan double bill it is in rep with. Getting you home on time isn't the only delightful thing about these two one act plays which together last 1 hour 40 minutes. Both are tear-inducing for totally different reasons. All On Her Own is a monologue from Zoë Wanamaker who plays a polite bourgeois lady who has a conversation with her dead husband. It plays like a horror movie, highlighting the loneliness and desperation of the character. This totally contrasts with the sharp and witty comedy Harlequinade that just delights in it's own silliness. Based around a touring theatre company, marital, professional and personal relationships are challenged in this farce about the problems yet joy of theatre. Branagh is genius in the role of Arthur Gosport, with Miranda Raison matching his skill in the role of his wife. The star of the show for me, however, was Hadley Fraser who, faced with the possibility of getting a line, becomes hysterically funny, whilst also showing off his unmatchable tenor in a final number which left me with a grin from ear to ear. It is unashamedly old fashioned and self-obsessed and is all the better for it.

The Scottsboro Boys, Garrick Theatre *****

The Cast of the Scottsboro Boys

This new retelling of the famous case of The Scottsboro Boys has now finally made it's way to the West End and it is no understatement that this is perhaps the best music I've seen in some time. The audience lulled into a false sense of security before being smashed to pieces in no time at all. Kander and Ebb's music is typically creepy, especially 'the electric chair' which is just as creepy as anything from Cabaret. The actors also create a deeply uncomfortable feeling, portraying minstrels performing for its audience. It creates a similar setup to the recently cancelled Exhibit B but, unlike the show depicting human zoos, is probably slightly more direct in it's attack at racism and could never be said to be racist itself, made evident in some of the best closing scenes ever to be portrayed in theatre. Throughout the show,a woman is present, observing the action. However hard I tried, I could find no link until the final scene where everything is answered in such a poignant piece of theatre. It is worth seeing this musicalas it does not rely on a huge set or huge orchestration but is carried through by pure talent.

2014 So Far

This is just to get up to speed on everything I've seen in 2014. Will just write a pithy review for each.

Stephen Ward, Aldwych Theatre: 4/5
Lloyd Webber back to his best with outstanding performances from Hanson and Spencer with a fantastic show. Slightly less exciting second act and the brass section being played on a keyboard annoyed after a while but the quality of the songs and the singers singing them make up for it. Sad to see it go.

Alex Hanson and Charlotte Blackledge in Stephen Ward

Photo by Nobby Clarke

Mojo, Harold Pinter Theatre: 3/5
Great performances by the cast although I do feel sorry for Tom Rhys Harries who must have been bored to death backstage with only a few lines in act 2. It definately was not the laugh out loud comedy that the press claimed but was mildly amusing with a much more serious tone that really came through to me. It was a passable way to spend 140 minutes.

Colin Morgan in Mojo

Photo by Simon Annand

  
The Duchess of Malfi, Sam Wannamaker Playhouse: 5/5
I am a huge fan of the Globe and have seen countless performances over the years so am perhaps slightly biased towards the company but this new space is truly spectacular. The play itself is a masterpiece with the dissent into absolute chaos being a executed masterfully.Gemma Arteton is a great Duchess with her death being truly touching. Would have loved to have seen L' Ormindo there but this performance is something else.

Gemma Arteton, James Garnon and David Dawson in The Duchess of Malfi

Photo from The Express

La Boheme, Royal Albert Hall: 3/5
Puccini is a master at creating that sense of romance and intimacy through his music as well as the grand spectacles. However, both of these aspects were partially lost at opera in the round. The problem is that Act 1 and 4 did not convince me that these people were desperate for money, space and warmth in an exposed stage whilst Act 2 is so crowded you have to strain your eyes to see who is singing. The cast can sing remarkably well for what is ,to put it frankly, 'second- rate opera' and the orchestra sent shivers up my spine in Act 4 at Mimi's demise. This is quite a good performance overall but I would like to see how it compares to the Opera Houses' production in July.

The cast in La Boheme

Merchant of Venice schools production, Shakespeare's Globe: 4/5
It is rare to find cheap tickets and good theatre in London but the Globe manage to offer both. This event, primarily for students was offered to the public for free on two of the shows dates. This makes you think that the production is going to lack quality. However, this is not the case. A great interpretation which appeals to children whilst not being patronizing or compromising the piece. This is the perfect way to show students Shakespeare's work.

The cast of the Merchant of Venice

Copyright Ellie Kurttz

Twelve Angry Men,Garrick Theatre: 4/5
Robert Shaw put in a fantastic performance as juror 8. Whilst the accents occasionally wavered, I found this production to be compelling with a fantastic set. It is scary that I did not notice that the whole table revolved until three quarters of the way through the performance. An impressive performance.

The cast of Twelve Angry Men

Photo by Alaistair Muir

Versailles, Donmar Warehouse: 2/5
The problem with this play is that it has a rather irritating second act. The first and third act  is a reasonably insightful view of the effects of the First World War with an interesting take on relationships but is spoiled by a second act which has a whole section where the situation regarding where the coal would go was discussed. It just didn't capture my imagination enough to deserve any more than two stars.

Gwilym Lee and Tamla Kari in Versailles

Photo by Johan Persson

King Lear, National Theatre: 5/5
Trying to get a ticket to this show was painful but the show totally made up for it. Russell Beale is a sublime Lear with genuine menace. Scarborough's fool is really something else and the rest of the cast is equally first class. Gloucester's eye gouging seen is truly disturbing and the whole idea of a dictatorship reminiscant of Stalin's Soviet Union is expertly pulled of by Mendes and his team. There aren't enough superlatives that could describe this show. Shakespeare at its finest.

Adrian Scarborough and Stanley Townsend in King Lear

Photo by Mark Douet