Sunny Afternoon, Harold Pinter Theatre ***

I'm not a diehard fan of the Kinks. I know of their work but was bitterly disappointed that this won the bulk of the Oliviers over the fantastic Here Lies Love. Having now seen Sunny Afternoon, my view is unchanged. Joe Penhall's book lacks substance a generic story arch which creates an obvious plot and creates a musical that drags rather than soars (when the reference to 1966 emerged, I had my head in my hands). Miriam Buether's design contains a needless catwalk in an otherwise decent set, there are no standout performances in terms of straight acting, and Edward Hall's direction creates what-would-be a middle of the road ITV drama of the Kinks. However, the musical adaptations from Ray Davies and Elliot Ware turn this musical from the ditch and transforms it into something that is almost amazing. The depth and quality of the Kink's music means that it sounds at home on the stage and, from the a cappela transition songs to the full-on deafening concert renditions, you love every note that emerges from the cast's mouths. There's a real understanding for what makes good music here and the intensity and the richness of it is perhaps the greatest on the West End. If this was just an hour set instead of a 2 hour 45 minute musical, perhaps it could have been the experience of a lifetime yet as it stands it becomes yet another flawed jukebox musical that only has the music to rely on.

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