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.

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.

Waste, National Theatre ***

British politics appears to be undergoing a great shift, with the Labour party moving from a centre party indistinguishable to the Conservatives to a party of idealism and opposition posing radical left-leaning policies that spark and fires debate. This is what Henry Trebell and the National Theatre want to do in this new production of Harley Granville Barker's Waste and, whilst it doesn't quite work out, it is an admirable attempt. Roger Michell's production can be seen as a dry period piece that never takes off with no real mark being made. However, if you can get through what is admittedly a tough slog to the Fourth Act, you get a pay off with a stunning final image and an interesting investigation into the role of idealism in politics. Trebell is a man who wants reform and believes he can change the country and, even with support, he is crushed by his personal failings. From pigs to 'plebs', the issue of the personal invading the political is a relevant issue and Charles Edward's frankly unlikable Henry bears to mind both the idealism of Corbyn to the personality defects of the Conservative cabinet. Edward's manages this line well, keeping the audience from completely despising the man through his evident desire for change, meaning that the tragic finale has some pain to it. Sylvestra Le Touzel is a tough yet sad and ultimately dependent sister Frances whilst Olivia WIlliams is a outwardly strong yet emotionally vulnerable Amy. Hildegard Bechtler's design, like the ethnicity of the company, is too white and could do with some diversity in order for the audience to engage further with the drama. If you can withstand the dry and often nauseating language in this piece, you are likely to be rewarded in a play that, whilst entirely tame, still questions and addresses the place of ideas and personality in this political landscape.

Three Days in the Country, National Theatre ****

On the surface of things, Three Days in the Country is an amusing period piece yet Patrick Marber's adaptation of Turgenev's classic A Month in the Country goes far deeper than that. It explores the darker side of love and marriage and Marber, as well as bringing out the laugh out loud comedy in Turgenev, he also brings out the tragedy in the piece and explores the complexities of human relationships. The open stage design from Mark Thompson highlights the public and exposed nature of country life, letting the audience see the mechanics of this operation, with the pianist and prop tables visible and actors sitting on the edge, observing the action. A few days ago, I saw several 'enthusiastic' Doctor Who fans in full costume by stage door which started to worry me that this was going to be a starry production relying on Gatiss and Simm too heavily. However, despite one slightly odd Who nod, it isn't noticably a 'star-studded' production like Man and Superman and, whilst they put in good performances, neither of them dominate the stage. Rather it is Amanda Drew who is the star, playing Natalya with strength and someone who is losing her patience with the stifling nature of country life whilst Belyaev is played by Royce Pierreson with an appearance of control even if in reality he has no control whatsoever. Patrick Marber has made a truly triumphant return to the National with what I think is the greatest of his three projects currently on stage in a well judged and beguiling production.

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.

Light Shining in Buckinghamshire, National Theatre **

After productions such as 'Who Cares' and 'The Vote', the National's contribution to the debate in the wake of the election is pretty middle of the road. True, Devlins set is, as always, impressive and imposing. The acting too is decent, although no one stands out. The play itself is the problem. Churchill's play is dry and stodgy with little to connect with. I think it is intended for us to identify human endeavour throughout the ages against the ruling classes to strike a chord in the modern day. Yet, all that is portrayed by Lyndsey Turner's direction keeps it to just a retelling of history despite Soutra Gilmour attempting to blur the lines at the end with her costume designs. This production needs to look to Dara to see how historical stories can be told in a way that connects emotionally with the audience. The Putney Debate scene should have been an exciting climax to the half but in fact was dreary and dull. It should be a play about revolution but instead is about people talking about revolution. Even actors that I love like Joshua James, Ashley McGuire and Steffan Rhodri can't salvage a play that ultimately fails in providing decent theatre. I love the National, but this is a serious misstep which won't help Rufus Norris in his first season.

3 Winters, National Theatre ****

 Anyone who finds Dara's storyline jumpy and sporadic, as clearly the majority of the critics did, they must have been extremely confused by Tena Štivičić's new play about the development of Croatia told through one household in three time periods. The way Tim Hatley's set design makes the transition from each time period is extraordinary and the use of projections show the audience what the family is really arguing about. Stylistically, the play reminds me of Chekov's Cherry Orchard wth the ivy representing the journey this family is taking. The one major problem, in my opinion, is how an important domestic violence scene is handled. Due to the rather simple and amateurish fight work given by Terry King, that part of the story disintegrates as you are brought of this world Davies and the playwright has created rather masterfully. Performances are, as always with the National, exceptional. The main familiar face Siobhan Finneran is impressive showing Masha in two stages of life, creating a fully three dimensional character. The rest of the cast also help to show a family at war, showing a very different side to world war two than many are aware of. Hytner's National is superb at including pieces from all cultures and here is yet another shining example of the work this theatre has done to make this a truly 'National' theatre.

Dara, National Theatre ****

The performance I saw was in preview so is not the finalized production.

In a time which is so ignorant to different religions and a theatrical culture which is solely centered around the white, middle-class and middle- aged. Therefore, it is wonderful to see the National giving us a diverse programme in order to attract people from all walks of life and not just from the privileged. Dara is a gripping drama which transports it's audience to 1659 India to witness not just a family drama but an examination of how we treat faith and it's role in our society. It addresses many pitfalls in people's view of Islam and demonstrates, through the role of Dara, that we need to accept other faiths and not persecute them because they believe in many gods, one god or even no gods. The set is majestic,atmospheric yet simple in it's design and hosts magnificent performances especially from Zubin Varla who plays the protagonist and titular character. The constant use of flashbacks could have damaged the flow of the narrative but, due to the Tanya Ronda's adaption, I kept track of the story easily. This production is so important to see and is a credit to the National's endeavors to include all, unlike most theatres in London currently.

Talk Round- Up 2014 So far

Mark Kermode: The Role of Critics, ICA

Francessca Martinez

Kate Aidie

As well as brilliant theatre, London offers amazing events and talks. The national, as I have said before, offer brilliant platforms in which different people talk about their work or offer other points of interest. Francesca Martinez being interviewed by Clive Anderson was my first experience of the National's temporary space. It is very similar to the Donmar, one of my favorite places to experience theatre, and provided a very much more intimate space than the interview with Sam Mendes for Lear. Francessca herself is inspirational. That adjective is a word she discourages for herself but it is true. Her comedy has paved the way for equality for disabled people. Of course you get the Tanni Grey- Thompsons who's role in society is to campaign for equality but there are no disabled people in the public eye except for Martinez and those guys off of the Last Leg. There were only two disappointments in this. First the attendance was truly despicable and secondly Mr Anderson. The obnoxious, pompous pig annoys me deeply and only hindered Martinez's amazing story. I haven't got much to say about Kate Aidie's talk other than that she is a woman who has been everywhere and had lots of interesting stories to tell. But perhaps the most interesting talk was held at the ICA with Mark Kermode (Radio 5 Live, The Observer) hosted a panel of critics to talk about their role in their chosen section of culture. The flappy handed, ranty film critic known for his legendary rant on Sex and the City 2 where he sang the internationalle, led perfectly giving each person equal opportunities to talk about their chosen topic. The radio critic had particularly good insights on her profession and the theatre critic discussed assessing theatre from different cultures. However, what impressed me most was the intelligence of the audience. The QandA section of a talk can be excruciatingly painful but here the questions provoked interesting answers and not one was in any way sniffed at. The whole evening was a delight.

However, the end of this year is set to be some of the best events in some time. Here are just a few:

9th September: Creators of Curious Incident in Conversation, Gielgud Theatre

2nd October: Alan Bennett, Lyttellton

9th October: Insights: The Trial (Phillip Glass and Christopher Hampton interview), Clore Studio

21st October: Richard Eyre, Olivier

4th December: Dame Judi Dench, Lyttellton

12th December: And Evening with Private Eye, Lyttellton

19th December: Theatre Quiz 2014, Olivier

Great Britain, National Theatre (Lyttelton) *****

Oliver Chris as Donald Doyle Davidson and Billie Piper as Paige Britain in Great Britain

Photo by Johan Pearson 

Satires are rarely performed in London. Thinking back, I think Great Britain is the first one that I have seen. I now am going to search out anything that can be either as fun or as contemporary as this piece at the National. Mirroring the rise and fall of the News of the World, Great Britain follows the life of Paige Britain, news editor at 'the Free Press', and explores the world of hacking and corruption in the media. The strangely familiar plot line is superbly scripted by One Man, Two Guvnors writer Richard Bean and has a strong cast headed by Billie Piper, of Doctor Who fame, who does a sterling job of playing a cutthroat editor. The person who is the main source of laughs is Sulley Kassam,the Police Commissioner, played by Aaron Neil, who brings the house down with the video parodies of his speeches. However, perhaps my favorite character and performance of the show is the Assistant Commissioner, played by Bluestone 42 actor Oliver Chris, who grounds the play into reality and giving it a message and moral value. In general, it is a spine-tinglingly funny with a bite familiar to Private Eye readers. This continues the zizzling year for subsidized theatre.

Great Britain is playing at the National Theatre until 23rd August before transferring to Theatre Royal Haymarket from 10th September.