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.

As You Like It, National Theatre *****

There is no better way to see Shakespeare than at the National on the Olivier stage. As You Like It is a prime example of this. Prolly Findlay has created a truly definitive production of this play that truly sets the standard for modern adaptations of Shakespeare. The duke's court is some sort of environmental office which is brightly coloured and busy. Here, Orlando is a cleaner who beats the wrestler in a wrestling match held inside the office. The change from office to Arden is one of the most extraordinary things you will ever see in a theatre. Calling it awe-inspiring sells it short. Lizzie Clachan shows off the amazing abilities of the Olivier whilst also not stealing the limelight from Shakespeare's text. Orlando Gough's music is disjointed yet oddly catchy, adding to the atmosphere which the company helps by creating woodland noises and becoming sheep in one quirky sketch. Performances all round are as good as you get. Rosalie Craig makes the transition from musicals to straight theatre magnificently, maintaining her unique charisma in an utterly magnetic, compelling and strong performance as Rosalind whilst Patsy Ferran is as delightful as always in the part of Celia. Joe Bannister makes the most of an unforgiving and blandly written Orlando, injecting life into the part. Mark Benton is a jaunty Touchstone whilst Paul Chahidi brings his brilliant comic timing to the part of Jaques, whilst at the same time making the part oddly moving. This is a far more thought through and entertaining production of Shakespeare's comedy than the rather lame Globe production earlier this year, and is sure to last long in the mind.

Our Country's Good, National Theatre ****

I seem to be one of the few who have never heard of Timberlake Wertenbaker's play, I was surprised to learn after seeing the play in the Olivier that it was originally written for a smaller space and fro character doubling. Nadia Fall's production captures the vast space and desolation in this far-off place that these people have been shipped off to. McKintosh has designed something simple yet effective that makes use of the famous drum revolve to show the cramped conditions of a ship and to change the scenes. Jason Hughes leads a strong cast that shows the therapeutic qualities of theatre that could go hand in hand with Farinelli and the King. It uses these dire circumstances in this broken society to highlight the fact that, whilst theatre and the arts can't transform a person, it can change them to take time to forget their problems and focus on someone-else's life. The horror isn't diluted but the celebratory nature of the play doesn't come across as pretentious. Cerys Matthews' music is wonderfully atmospheric yet contributes towards a slightly longer running time than is expected, even if you don't notice the time pass. This is a funny, uplifting but also brutal play in a good production which captures the scale of the Australian outback.

The Beaux Stratagem, National Theatre ****

To me, Renaissance Comedy seems the biggest oxymoron imaginable. Theatre companies often deflect to slapstick to bleed some humour out of a largely humourless text. However, there is no other way to describe the experience of the National's Beaux Stratagem than as thoroughly entertaining. Samuel Barnett, Geoffrey Streatfield lead a wonderful cast as the Beaux who search to retain their post wealth by marrying rich women, portrayed delightfully by Susannah Fielding and Pippa Bennett- Warner. These roles are played extremely well and doesn't feel overplayed. This is true to the whole production. It looks to the text for humour rather than masking it with something that seems artificial. Lizzie Clachan's set is quite simple yet beautiful  and gives the Olivier an unaturaly homely and comfortable feeling, in stark contrast from normal programming in this space. Pierce Quigley, as always, is eye wateringly funny as the servant Scrub in a dry and unexploited presentation of this well written role. This toned down production is thanks to Godwin's great direction whilst Michael Bruce provides some perfect music and songs to set this quaint atmosphere. The programme also notes as Patrick Marber assisting Godwin with the dramaturgy. I still have no idea what a dramaturg is but I'm sure he did a very good job at it. The play is not the typical Restoration Comedy which does both the cast and the audience a service in providing a great comedic and intelligent event.

Everyman, National Theatre ***

Rufus Norris has officially arrived with his first play as Artistic Director of the National. In this, Norris sends us a fresh reminder of our responsibility for each other with an adaptation by Carol Ann Duffy of the famous morality play. Her adaptation is mostly successful and, whilst her references to modern culture is often misjudged and awkward (like a grandparent saying 'word up to ma mandem'), when she writes on the bigger  picture on subjects such as God and mortality, the text feels as juicy as Shakespeare. In a this production, Everyman is a high flying businessman who likes to enjoy himself with sex, drugs and drink. The cocaine scene feels very theatrical and doesn't have the gritty effect it should have perhaps due to De Frutos' wonderful yet stylized movement that perhaps holds back the message from getting across to the audience. Despite this, the scenes that have a large scale like the party or the storm provides a great atmosphere to the Olivier and, whilst the more intimate scenes feel lost in the space, the whole piece still maintains the power. Chiwetel Ejiofor gives an exhausting yet fantastic portrayal of Everyman and is backed by a terrific ensemble. I am not totally convinced by this flawed production but it still packs a punch which is impressive to see.

Man and Superman, National Theatre ****

The National is following in the footsteps of the Old Vic and the Barbican with Man and Superman, using star casting to ensure a sellout run. This has certainly succeeded with Ralph Fiennes taking on the Hans Sachs of the theatre world, Jack Tanner, where tickets sold out almost as fast as Cumberbatch's Hamlet at the Barbican did. I managed to get what seemed to be the last ticket available through their entry pass scheme which enabled me to receive a £5 seat in the second row. It seemed like a dream that had come true. The performance itself was quite brilliant. It all revolves round Fiennes who creates a man for which, for three acts you are totally on his side, but for the separate Hell scene, is made to seem dull and against the happiness and fun of Tim Mcmullan's devil before debating about whether man can progress to the superman. If this play was shown at the Royal Court today, it would be about an hour and half long and still slightly drag a tad to the lack of plot line. Yet this production flys by with a running time of three and a half hours (thankfully not 4 hours like the rumours) due to Godwin's intelligent direction, Oram's sublime designs (especially Act 4) and also Shaw's wit and humour which is surprising due to the dry nature of the platforms about it which comprised of an informative but less than enjoyable interview with Godwin and a conversation about Nietzsche and Shaw  in which they concluded that they were unrelated. Tim Mcmullan almost upstaged Fiennes as a Spanish brigand and the devil in a superbly witty and funny way. Indira Varma is wonderful as a manipulative and strong woman who, throughout the play, grinds down Fiennes through deception and lies. As far as time setting is concerned, the first two acts jar, with views that felt out of step in a modern setting. Perhaps it is because that world is so far removed from my own. However, perhaps it was just getting used to the play as the last two acts worked perfectly. This is a brilliantly performed piece that captures the comedy as well as the philosophy  in Bernard Shaws troublesome play.

Treasure Island, National Theatre ****

The problem with the dates in February and March are that they are exactly the same. This means that a cheeky Monday night in half term becomes a rather extravagant Monday night out in term time due to a mistake in booking tickets to Treasure Island. When you enter the olivier, you know that this will become memorable. It is visually stunning with the designer Lizzie Clachan making full use of the drum roll to astound audiences with a full ship interior, a small inn and a cave to great effect. However the show is made by the performance from an actress who has had a dramatic rise to fame. Patsy Ferran, with this being her third professional theatre engagement, is just about to play Portia in Stratford after she delights the younger generation by holding the show together. She portrays an innocent yet intelligent Jim, making very little of her gender. The much criticised Darvil is surprisingly charismatic, after being described as bland by others. Perhaps these critics are surprised that this production isn't the Lond John Silver show. It certainly doesn't do anything in half measures, with special effects galore, the pinnacle being an animatronic parrot. The play itself is not condescending in any way to it's audience, at times being extremely dark, requiring a few leftover blood packs from Titus last year. However, it has plenty of gems which had many children in fits. It is great to see Joshua James again after his performance as a stroppy prince in Gabriel and Ferdinand in the Tempest at the Globe. His Ben Gunn is hilarious yet pathetic and is among equally strong ensemble performances. This is yet another magnificent display from the National and, whilst only one production has received an Olivier nomination, the criticism levelled against it by some shows a lack of respect for what this institution is aiming to achieve. I have only seen one play here that has been lacklustre in the past year and it is constantly trying to find new audiences to experience the magic of theatre. Let's hope that Norris is similarly adventurous although, looking at his first set of shows, this is unlikely. 

Behind the Beautiful Forevers, National Theatre ***

This adaptation of Katherine Boo's novel by David Hare is yet another example of how Hytner has succeeded in creating a truly 'National' Theatre. Yes, this isn't the best work from the National and has flaws but attention needs to be shined on the example this institution has set in having a diverse programme in order to attract a diverse audiences without sticking with the safe bets which attract the easy audiences. To this, I salute the National for being a shining example for British theatre to follow.

However, I can't say that the play about Indian slums is particularly convincing. David Hare has created a sense, heavy play which is difficult to like in the same way as Dara does. This is not helped either by the enormity of the Olivier which needs a sensitive script to create connection between character and audience. Despite this, I still feel that it is a good show. It is promising to see Rufus Norris direct so well in his last production before taking up the position of Artistic Director here. Meera Syal leads a marvellous cast, many of whom are in rep and also performing in Dara at the Lyttellton. The set, also, is magnificently designed by Katrina Lindsay, managing to inhabit both a bustling, vast city to a cramped street of slums. There is plenty to be interested in and, with a little bit of work, this award winning book can be transformed into an award winning play.

West End Live Talks, Leicester Square ***

 

It's time for another West End Live performance. However, having found last years musicals a bit lack luster with shaky sound engineering, I decided to opt for their new emporium and talks. The tent itself was impressive. The sheer quantity of outfits, props, designs and electrical technology was staggering with imput from the Royal Opera House and the National as well as all the commercial shows typically found at West End Live.

The talks themselves started off shakily. First up was the cast of 'Handbagged' who seemed only to talk about how much they enjoyed the experience and how 'they have learnt so much about the Queen and Margaret Thatcher'. I did not leave that tent having learnt anything about, the play, the people or their characters, which was most disappointing. Unfortunately, then I had to leave to see King Lear at the National again (just as emotionally engaging and awe- inspiring as the first time round) before coming back to hear the last talk of the day with the leading couple in the new stage adaption of Shakespeare in Love. This was substantially better than the first talk, partly due to the insight into rehearsals but mainly due to the superb chemistry between Bateman and Briggs- Owen. Whilst there was nothing particularly substantial to the talk, which appeared in a red carpet 'insight' fashion, the charisma of them both won me over, leaving me anticipated for what they and the rest of the cast have to offer.

The second day, on the other other hand, was far more interesting and had much more depth than the first. This was probably because we had the creative teams instead of just the surface so they knew more about what they were talking about. My day started with a talk from director of 'Let the Right One In' John Tiffany who talked about the show journey to the West End as well as it's future on top of describing the inspiration for the set and finding child actor to play the main roles. This was followed by Trafalgar Transformed director Jamie Lloyd talking about the upcoming production of Richard III which put to bed my concerns about the suitability of Martin Freeman to the lead role as well as mentioning the great work of Mousetrap. An equally gripping conversation. The day was rounded off by Magician and theatre illusionist Richard Pinner who gave some great tricks before discussing about his career, the types of tricks he has devised for productions and the hazards of pulling it off. This rounded off a far more positive day two.

In general, I was impressed by the efforts of the West End Live team to branch out into plays. However, they need to lengthen the amount of time their conversations last for to get the most out of the interviewees.

Sam Mendes on King Lear, National Theatre (Olivier)

This is the first Q and A session I have been to in regards to the theatre and what a start it is. Founder of The Donmar and director of successes such as Skyfall and Charlie and the Chocolate Factory Sam Mendes was being asked questions by Mark Leipacher, who studied Mendes' partnership with Simon Russel Beale in Catching the Light, about how this production came about, what the rehearsal process was like and his views on certain aspects of the play. This was fantastically enlightening having seen this production to hear from the director himself. One particularly memorable aspect of the platform is how the opening scene, instead of being a huge political statement, almost was a family dinner where the division of his kingdom was a joke devised by the males to play on the three daughters, emphasizing the male domination in Lear's kingdom. The whole concept of these platforms is utterly thrilling and I can't wait to go to another one.

Go to www.nationaltheatre.org.uk for a full list of Platforms
King Lear is on at the Olivier Theatre at the National until 2nd July

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