Hope, Royal Court ****

Tommy Knight and Paul Higgins in Hope

You can't help getting exited when approaching the Royal Court. Despite the only other play I saw there was somewhat of a car crash, there is an energy there of revolution and of a theatre trying to seriously change something. If you have seen any of their micro-plays in collaboration with the Guardian, you will be able to see this. Their political play is especially powerful. This play supports this revolution. In a set up which could be quite tedious (a local council setting a budget. What Fun!), Jack Thorpe's wit and enthusiasm bursts through and, with support from a wonderful cast, gives the play life. It gives an insight into local politics which, in turn, helps us appreciate the work all politicians have to do. It is about the value of trying to do the right thing, even when people disagree with your opinion. When reading Quentin Lett's one star review of the play in the Daily Mail, I thought that this play would be completely liberal and condemning of the conservatives and it is in a way. However, this play leaps to defend all politicians and is complimentary of the Conservative's economic policies which helped us out of the hell- hole which we were in and, whilst it still condemns the handling of budget cuts to different councils, it is far more open minded than Letts gives it credit for. It also confronts how hypocritical the media and general public are, criticizing them for struggling to form the budget then lampooning them when they do suggest where the cuts can be made. The set helps to tell its audience how politics isn't the glamour or style of the UN or Westminster but is made by real people in local, run down places. The play is hopeful and, in my opinion, has potential to be a modern classic.

The Gospel According to the Other Mary, Colliseum ****

The company of The Gospel According to the Other May

I don't think I have ever seen a traditional opera at the ENO. First, a production of the Magic Flute where they made sound and video effects on stage and a raised orchestra pit. Then, a Glass opera with a Sanskrit libretto, no surtitles and giant puppets. Now, John Adams and Peter Sellars give their take on the Passion of Christ and it seems like they have gone out of their way to avoid the common cliches. The main thing to note about this staged oratorio is the lack of Jesus. He is instead portrayed by the dancer Banks (Angel Gabriel) and three countertenors (Seraphim). These four people provide some of the most wonder of the show. Banks seems to have full control of every single muscle in his body and I was transfixed on him whenever he starts moving. The countertenors were also extraordinary. The voice of the countertenor is undoubtedly my favorite as it pierces the air and beguiles you like no other voice can. Therefore, three of them singing with Adam's masterful harmonies is truly wonderful. The rest of the ensemble also give masterful performances with an interesting portrayal of Martha by the contralto Meredith Arwady to the Tenor Russell Thomas giving an impressive performance as the singing Lazarus whilst the dancer Parinay Mehra portraying the same role through dance. The show is perhaps too minimalist for it's own good, with the lack of set or costume perhaps showing the signs of the companies lack of money rather than the daring, extraordinary piece which it most certainly is. The music, whilst far from lyrical, is beautiful and deserves as much exposure as it can. Whilst this staging may not have been essential, the experience of the dancing and music is well worth any money spent to see it.

Made in Dagenham, Adelphi Theatre ***

The company of Made in Dagenham

The issue of equal pay has always been a big and controversial issue. The feminist uprising has been 'rising' now for over a hundred years and we still have not achieved total equality. Neither of these issues will be progressed by Made in Dagenham. Unlike Henry IV at the Donmar, the women in this are either old or the idealized woman. There are no women from the real world in this. This is because that was never  really the point. This musical, whilst I had great fun whilst there, assumes that it's audience does not want to be challenged and just spoon feeds them the 60s charm and delightful music the musical thinks the audience wants. However, down the road at the Garrick, the husband of Isla Blair (Connie) is playing the part of the interlocutor in a musical that seriously challenges it's audience and is just as successful. On the other hand, as a night out, it is an absolute blast. Wit from Richard Bean's book, delicious melodies from David Arnold and fantastic direction from the Almeida's artistic director Rupert Goold. Apart from American Psycho, none of the three have done musicals and have produced a musical sounding and looking like it has been made by true professionals. What is truly astonishing is the set from Bunny Christie that looks like an air-fix model kit and her costume designs really help capture that image of the 1960s. Acting- wise, Arteton does a commendable but hardly memorable job as Rita O'Grady however it is a disappointment compared to her Duchess in the debut of the Wannamaker Playhouse. Furst is the true star of the show, probably best known as the wizard in that Dick and Dom show based in the middle ages, giving a hilarious stereotyped american. Hadfield is great as PM Harold Wilson and the ensemble are impressive too. Whilst I was at first sniffy with this show's message, it's effect on me was equivalent to some of the best musicals I've seen.

The Cherry Orchard, Young Vic **

The Cast of the Cherry Orchard

It has been a blinding season at the Young Vic, with Streetcar just being nominated for a London Evening Standard award along with A View from the Bridge and the Scottsboro Boys, who both in turn have received west end transfers. All of the pieces have been edgy and exhilarating and have challenged its audience. This production, therefore, seems slightly safe and disappointing. The actors were great, with some such as  Hugh Skinner's Simeon giving a great comic role. Having been described as a tragi-comedy, I was expecting for Stephen's adaption to contain more laughs than it did as well as perhaps see through several themes which are picked up for one act and then are not referred to again. Also, through Mitchell's direction of the part of Peter, he is portrayed too much as the one sane man in a house of lunatics. A mixture of Stephen's text and Mitchell's direction shows him to be the man that has all the answers if everyone just listened to him where in fact, he is just as useless as everyone else. This combined with a mixture of needless full- frontal female nudity and a lack of any heart leads to a, frankly, lack- luster production of a true classic.

Great Britain, Theatre Royal Haymarket ***

Lucy Punch in Great Britain

When I first saw the first trailer for Great Britain's west end transfer, I was anxious. I adored the play at the Lytellton, a week after the show was announced. Having seen the show at the Haymarket, I feel that whilst the play is still strong, it has been weakened by changes to both the script and the cast. Lucy Punch gives Paige a "working class" accent which gives the journalist more of a mucky feel. Hippie Piper gave Paige the feel of someone who kept her hands clean and was a slimy character. Punch's interpretation means that no one is particularly surprised by her actions. Her monologues also feel slightly more forced than Piper's effortless display. Oliver Chris' absence is also felt and, whilst Ben Mansfield's performance as DD is good, it is not a patch on the actor currently playing Prince William in King Charles III. There are several scenes cut from the play that was at the National and many o those cuts help the play to maintain focus. However, the one scene which gave the original heart is missing which is a real shame. However, Sully is just as funny as always and the extra YouTube videos were hilarious. Robert Glenister was also brilliantly funny, as was the rest of the cast. Therefore, whilst some grit and punch has gone, it is still an extremely strong and funny take on the phone-hacking scandal.

East is East, Trafalgar Studios ****

The cast of East is East at the Trafalgar Studios

Theatre in the West End is usually performed by and watched by middle class, middle- age, white people and often centres around male characters. How refreshing, therefore, to see two productions in 3 days which bucks that trend. This modern classic about a northern, white woman living in a Pakistani family in Salford 1971 is brought to life by Tom Scott's fantastic designs. The comedy is brilliantly executed by the cast, with the divide between western culture and Pakistani culture provides lots of humour, with sausages and the female anatomy providing the biggest laughs of the evening. However, the character development is so strong that, when the dark events occur in the second half, it is more disturbing than anything that happened in Jamie Lloyd's Richard III. I have found Jane Horrocks annoying in the past, with a slightly wingey accent but in this, she is astonishingly good. The children also are great, showing the split of east and west nicely, with impressive performances from both the inexperienced and experienced actors, one of which (Amit Shah) is particularly recognizable from such shows as Bluestone 42 and Fresh Meat. After a rather dissapointing first production in this revolutionary season, this piece puts Trafalgar Transformed solidly back on track.

Henry IV, Donmar Warehouse ****

The cast of Henry IV at the Donmar Warehouse

The Donmar is undoubtedly the most exiting space in British theatre and all the productions I have seen there have been ambitious, with varying levels of success. Therefore, it is no surprise that Henry IV could not be just played as Henry IV. The result, admittedly not instantly lovable, is a great success. I had not seen Julius Caesar so the prison setting was totally new to me. It set the atmosphere in a way that no other play I've seen has done, with the possible exception of Dominic Dromgoole's plays at the Globe.The part of the play itself is the fact that they develop the lives of the inmate's characters as well as the character's they play. It is set up as a play within a play, with these female convicts putting on a production of Henry IV. The cuts are extensive, with a 6 hours of material cut  into a 2 hour show without an interval. Therefore, most of part 2 is cut in order to cut back to the main story line of choosing between two father figures. It also diverts away from the play,with a last scene which made me cry. Ashley Mcguire's Falstaff, whilst not particularly funny, is a character for whom more pathos can be felt. Erivo as Poins and Douglas is also a notable performance from a truly great actress. The other actors are also fantastic.The Donmar also seem to have prioritized experience over fame, with theatre- virgin Sharon Mooney being given one of the less substantial roles despite being one of the most recognizable faces in the cast. It also good to have normal women playing the roles instead of the 'perfect', idealised woman which is so often the case. For me, this love letter to feminism has met my expectations of what a good Shakespeare play is like, and far exceeded them.

Tenors Unlimited, Churchill Theatre

Tenors Unlimited

Unfortunately, having seen this act, I don't think I can give an unbiased evaluation of their performance. This is primarily because I performed in it as well in their choir. It was an absolute privilege to perform with such talented musicians with a very polished act. From what I saw of  the show, the majority of pieces were delightful to listen to and they are great people to work with. As I said, I can not give a star rating or proper review but I would seriously recommend this group to anyone wanting a fun night out. I don't think we were too bad either.