Farinelli and the King, Sam Wannamaker Playhouse ****

Like Mastersingers, this is a production which wholeheartedly celebrates art and, in this case, it's power beyond just a piece of entertainment. The intimate space of the Wannamaker can display this in a way not many other spaces can. Whilst some seats offer truly awful views, every seat is close to this wonderful tale that plays out. Occasionally I wondered how much of Van Kampen's text is true or not but is excellently written, even if it is overall unremarkable. The performances are great across the board, especially Rylance who does a reverse Hamlet, going from complete insanity to relative sanity in a believable and sympathetic way, even if some of the actions his character commits are hard to forgive. Melody Grove provides a good counterpart to Rylance's mad king, being strong and steady yet with an admirable heart. Sam Crane plays the other main part in this love triangle, portraying Carlo Broschi aka Farinelli even though he really only plays Carlo. His Farinelli, the showman disguising his fragile state, is exquisitely performed by my favourite ever counter-tenor Iestyn Davies who pierces the air when he sings that the hairs stand on end and you just want to hear more. The counter- tenor is the best voice you can hear and to hear it sung by someone as perfect as Davies is a real treat. The piece has a similar sensibility to Gabriel at the Globe two years ago, mixing song and drama well and for those with tickets to see Purefoy as Farinelli, you will not be dissapointed as he is also a fine singer. What stands out in this ordinary drama is some of the finest singing and acting you will see on the West End or in any Opera house. This is what makes it so joyous.

Stephen Warbeck Ensemble, Sam Wannamaker Playhouse ****

 

The Sam Wannamaker Playhouse

Left slightly cold by the disappointment of The Last Days of Troy, I needed this concert to lift up my hopes for the Globe. Luckily, it did just the job. The theatre itself still takes my breathe away, with a better chance to see all of it's wonders from the pit. Warbeck himself is a genuinely funny man who tied up each piece sublimely with anecdotes and with a genuine sense of camaraderie between the members of the ensemble who enthusiasm for each piece rubbed off on the engaged audience. The pieces themselves evoked many emotions from melancholy in the Wolf Hall pieces to joy in the Two Brothers piece 'To Freedom'. My personal favourite was the Young Doctor's Notebook. This piece, which apparently was critiscised by many, was upbeat, with a Jewish sensibility to it and was generally a pleasure to listen to.The ensemble is extremely talented with special notice to Sarah Homer who did a sterling job on a range of woodwind instruments. Overall, a terrific evening.

Find more concerts by candlelight at http://www.shakespearesglobe.com/theatre/whats-on/concerts-by-candlelight.

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