The Father, Whyndham's Theatre ****

This piece on dementia or a similar degenerative brain disease already was at a disadvantage in my mind as it had to follow a truly special production on the same subject at the Royal Court. Both plays address the issue in similar ways, even though Florian Zeller's play seems to be a more traditional and common form of the disease yet this doesn't detract from the impact, if anything creating a shorter gap between fiction and reality. Miriam Buether's set design is a tad alienating in the expense and emptiness of it yet none of it is a problem to an emotionally charged, intentionally confusing and upsetting play about the deterioration of Kenneth Craham's André from a strong and often unpleasant father to a distressed and alone patient. The play is intended to filter the world through André, even though at times it breaks his own rules by giving time without him. You don't who his daughter is and what the real truth is and achieves in a similar way to Nicola Wilson's play an insight into the mind of someone with dementia. Craham is extraordinary as the central character, being unsympathetic and yet compelling to watch. Claire Skinner does a fine job as his daughter who is tired and feels almost abused by her fathers increasing dependence on her whilst Nicholas Gleaves has the malice and decisiveness in Pierre that spices up the play, with the rest of the cast enhancing and adding depth to a highly emotional, clever and sophisticated play.

The Mentalists, Whyndham's Theatre ***

Richard Bean and his work has just gone through a surge of popularity. Whilst Made in Dagenham and Pitcairn were considered failures, Great Britain was good at the National and had a decent stint in the West End, even if the cuts diluted the cutting satire, and One Man, Two Guvnors seems to be constantly on tour. So just as the writer was starting to disappear from the public eye, a major, West End revival of the 2002 play 'The Mentalists' is announced. The play itself is well written and funny, with more than a hint of Hancock's Half Hour. What's more important is that both Ted and Morrie are people rather than caricatures, both of whom are disheveled and delves behind the Hancock routine. In fact, Ted is reminiscent of David Brent, co-written by cast member Merchant, in that it is the standard 'worker' whose character faults and hubris has lead to a big fall out. This character is inherently interesting, even if I don't find them, in themselves, amusing. In fact, I loved the Office more as a drama and social commentary than a comedy. In the same way, as many West End comedy's are, The Mentalists feels like a humourous drama than, as repeatedly advertised, a laugh out loud comedy with a dark edge. This means that the first half feels quite pedestrian as the characters don't really evolve until towards the end of the show. Merchant's West End debut is perfectly competent even if the performance is not overly impressive or interesting. The stage presence isn't as large as his co-star Rhodri who commands the stage well, in a better choice of play than his last showing at the National. Abbey Wright does nothing particularly remarkable with the text but it is enough to satisfy a solid evening of entertainment. The problem is that plays in the West End are becoming more interesting due to transfers from the Young Vic, National, Tricyle and recently the Arcola, meaning that this populist and safe production of Richard Bean's comedy that takes no real risks don't feel substantial enough to really compete with the high standards of straight plays in London.

American Buffalo, Whyndham's Theatre ***

 To my great disappointment, I missed the last Mamet play to grace the West End. However, I valued money and common sense over seeing Lindsay Lohan play act (I'm sure she was excellent and it's me being snobby but I didn't want to waste money). Now another Mamet play is here this time led by Henry VIII and Sulley or, as they are occasionally known as, Damien Lewis and John Goodman. American Buffalo tells the story of three men and how greed, loyalty and honour affect them when conducting a heist to steal a nickel. Despite this, the play is rather marvellous. Mamet explores the themes in a concentrated space with only three characters, keeping a narrative whilst also addressing the nature of men in a way that doesn't feel forced. The first Act drags slightly plot wise but the second act rattles along. Each aspect of this production too is excellently executed. Damien Lewis is masterful in the role of Teach; Goodman sturdy yet gentle as Don and Tom Sturridge slightly disarming as Bob. Paul Wills' design provoked gasps when the curtain rose. Daniel Evan's direction brings the most out of each of the cast; tying everything together. However, I left feeling nothing. Each aspect is almost perfect and yet the overall result feels strangely dissatisfying. I have no explanation for this. Perhaps reading the play will help me understand more of the references and metaphors for me to enjoy it more. I hope this production grows on me yet I am left cold by this extremely clever and well produced piece.

A View from the Bridge, Wyndham's Theatre *****

When I saw this production at the Young Vic, I thought I was in a trance. After seeing this transfer to Wyndham's, I can thankfully say that it was as good if not better. The problem for transfers from the Vic is dealing with the transformation between the immersive auditorium at the Cut and the proscenium arch which has less connection with an audience. Despite this, Miller's classic joins the Scottsboro Boys as the second west end transfer for the company at this moment in time. In fact, both shows are on the same street and both are sublime. The direction from Ivory Van Hove is clearly the key factor in this majestic production. Each scene is a portrait; Van Hove strips back everything so you get the true essence of the play and appreciate every small gesture. There were no slips in accent and no actor shines alone as they all are astonishingly good. 

King Charles III, Whyndham's Theatre ****

Tom Piggot Smith in King Charles III

When this hit first arrived at the Almeida, I was extremely disappointed not to get a ticket. Therefore, I was delighted to get tickets at yet another transfer to the West End for the company.

And I could not have picked a better time to see it. I can not think of a more relevant play than this, immediately after the Scottish referendum and the talk of devolution still strong in the mind, this play directly addresses this question in a dystopian future about the death of our current monarch and the chaos that ensues. It is one of the best written plays to come out of England in the last 20- 30 years with Mike Bartlett giving us perhaps the strongest pieces of verse since Shakespeare. This, in turn, is acted with brilliant performances from Piggot Smith and Oliver Chris, last seen in Great Britain at the National. Actually, King Charles III makes a very strong double billing  with Bean's new comedy, recently transferred to Theatre Royal Haymarket. It both picks up on similar themes and takes them in very different directions. Great Britain talks about the press and their role in privacy whereas, in Bartlett's play, freedom of the press is a very prominent theme. It also is great fun. The audience laughed at the snide comments and in jokes about the royalty. This play, in my opinion, is a play that will be showcased for years and years as some of Britain's greatest pieces alongside Shakespeare's Hamlet and Bennet's The History Boys. If you want to see great writing on show, this is the show for you.

Oliver Chris and Lydia Wilson in Kind Charles III