Wicked, Apollo Victoria ***

The Cast of Wicked

Note: Due to a lack of programmes at the theatre, I do not know the names of any of the actors in the show.

As music theatre is what started me off on my obsession with theatre and the stage, it seems slightly shameful that I have not seen one of the most famous musicals ever. Luckily, thanks to kids go free month, I got the opportunity to go.

The story line is surprisingly deep. It tackles animal rights and racism in a way that engages it's audience. The songs, whilst not my style, are well thought out, however there are very few that progress the plot in any way. Elphaba, naturally was superb and Galinda was reasonably impressive even though some words were not clear. There were great numbers  of references to wizard of Oz if a bit in your face and the ending seemed a bit convoluted. Despite this, I did enjoy myself as, from the response from the audience, did they.

Antony and Cleopatra, Shakespeare's Globe ****

Eve Best and Clive Wood as the titular characters in Antony and Cleopatra

Copyright Manuel Harlan

So far this season at the Globe, they have relied on blood, gore and shocks to interest the audience. Holy Warriors uses overly loud gun sounds and blood capsules every few scenes whilst Titus Andronicus has had people fainting at each performance due to the gore. How refreshing, then, to see the Globe rely on Shakespeare's words to engage the audience. This production of the tragedy could easily climax in a blood fest but it shows a truly great production who would make the Bard's words a priority. This is a true return to form from the Globe as it is productions like this which made me excited about Shakespeare. Eve Best gives a admirable performance as Cleo. This production sidelines physical beauty for a queen with a great personality. Clive Wood is also fantastic as her Antony and the ensemble gives some of the best performances of the year. What this production highlights to me is the atmosphere created with ensemble singing. The Globe should put on more musical pieces here. Jules Maxwell has composed some great accompaniment to the play. This is the best production of the season at the Globe so far.

The Ring Cycle, The Scoop ***

The Cast of The Ring Cycle

One of the many things that astound me about theatre in London is the varying price levels you pay to see it. You can get £5 tickets to the Globe and National to £125 to see the Book of Mormon and Skylight. However, the More London festival has taken it to new extremes by giving us free theatre. Now in it's 12th year, an adaptation of Wagners masterpiece has been transposed to a 4 short plays in the scoop. Whilst by no means great, this performance is astounding in the feat free theatre can achieve. A quote from the Evening Standard said it was "Grittier than the Globe." Now, I'm not sure if they have seen Titus Andronicus there but I can assure you this production or arena can not compete with the West End. When I saw King Lear yesterday I talked of amateur acting, but even the worst of them are like Laurence Olivier to these actors. However, it brings theatre to a whole new audience and for that it must be thanked.

King Lear, Shakespeare's Globe **

Joseph Marcell in King Lear

Having seen this production last year, I was intrigued to what changes they would make to a far from perfect rendition of Shakespeare's great tragedy. However, whilst I was engaged for the best part of it, there was no great change. There was an overhaul in the actors with only Lear, the Fool/ Cordelia and Regan staying in their roles. Apart from Beth Cullinane and Marcell, I found the actors slightly overacted their roles. It just seemed like a student production. They did seem to enjoy the experience of performing at the globe but that  response was not equaled by the audience.

Henry IV Part II, Royal Shakespeare Theatre **

The cast of Henry IV  Part II

Photo by Kwame Lestrade

As I had a week in Stratford, it seemed a good idea to finish what I started at the Globe by seeing part 2 of the Henry IV saga. After the production, everyone was entusiastic about it over different points. My moother was suprised she  could understand the soliloquies; my uncle was impressed by the costumes and my cousin's favorite scene was  Hal and Poins or 'those fit guys' took their tops off. It just shows how Shakespeare can appeal to anyone. For me, whilst this production does not have the life of the Globe production, with Allam giving a better Falstaff than Sher's, it does keep the attention of the audience during the more serious scenes such as the decline of Britton's king which is performed superbly. However, what impressed me most was the set. It is basic with a crack down the middle to emphasise the crack in the kingdom and the rebellion. The main thing that annoyed me was the start where the chorus, Rumour, is in modern day clothes whilst the rest of the show is in period costume! It also gives the programme producers the most contrived piece in a programme that I have ever seen. Overall, this performance has as many things to be enjoyed as to dislike meaning that it never paricularly impressed me. This is not the show to see for a first RSC performance.

A Streetcar Named Desire, Young Vic *****

A Streetcar Named Desire at the Young Vic Theatre. Gillian Anderson as Blanche DuBois, Ben Foster as Stanley

On a whim, I went along to the Young Vic hoping for returns for an addition to my National Theatre Platform with Kate Adie. To my delight, I managed to get front row seats so, after an interesting interview, I was full of  anticipation for the show.

I wasn't dissapointed.

Gillian Anderson's Blanche is the best performance in stage or screen that I have seen in my lifetime. The plunge into insanity is made so real by her physicality in the role. At the end, I defy anyone to look into her eyes and not turn into a blubbering wreck. Some of her actions towards the end triggered laughter from the audience. To me, it signalled a tragic woman destroyed by her own actions. Her supporting cast also don't let her down. Foster brings true menace to Stanley and the sister is played with real compassion. It isn't all perfect. Whilst I found the set design original, at times my view was obscured by it's constant rotation. However, the idea of bringing American classics into the modern world is an inspired idea and should be done more often. At curtain call, I have never seen a reaction from an audience before. The warmth towards Anderson was tangible. I also have never seen an actor more appreciative. It is a spell- binding show.

Holy Warriors, Shakespeare's Globe ***

John Hopkins (Richard the Lionheart)
 Sirine Saba (Berengaria of Navarre/Queen Sibylla)
 Alexander Siddig (Saladin) and Daniel Rabin (King Guy of Jerusalem) in Holy Warriors

 In this new play by David Elridge, he takes us on a journey through 800 years of history and how the crusades have had affected events through time. This visceral piece is delightful the whole way through. It starts with an atmospheric Arabian chant and makes you stand back out of sheer admiration for this piece. As an altar boy, throughout I experienced severe thurible envy (see picture top centre) and multiple scenes, including the opening one, reminded me of the sacred ostent of church. However, the grandure and pomp is also what detracts from this piece. It is so awe- consuming that it is hard to be drawn in and be immersed in the piece. Perhaps it is the fact that 800 years is perhaps too ambitious a time range to capture or whether it is just that the characters are too hard to break into so when they die, little pain is felt by the audience. The premature death in the play, I thought, should have had more impact but instead was just taken in; another piece of information for the audience to digest. However the scale of this production is rarely done by the Globe, except perhaps in Titus Andronicus, so designer Mike Brittonmust be applauded for his fantastic set.

The whole piece is spectacular and is yet another triumph for the Globe and, whilst not emotionally engaging, succeeds in a feat that few people would dare do.

Richard III, Trafalgar Studios ***

Martin Freeman in Richard III at Trafalgar Studios

If you want gore,Titus Andronicus at the Globe is for you. If you want Shakespeare retold in a modern context, you can't get much better than King Lear at the National. For a great Richard III, Mark Rylance's is hard to top. What I am trying to get at is that Jamie Lloyds adaption of this play does not have a USP; a sticking point. Yes, he has put a big star at the helm and has dramatically cut it to make sense to a younger generation but there is nothing particularly dangerous or different about it. Others have criticized the Winter of Discontent theme but I don't mind it. Whilst it does not make dramatic sense, if it wasn't for the sake of it being the only thing anyone in the production seemed to talk about, it would have been glossed over by many of the critics. Freeman himself seems to have developed the typical Shakespearean accent which was quite off-putting but his physicality was excellent. Gina Mckee was superb as always, as was the majority of the cast although the little child who played York overacted hugely and rather amused me when,in the dream sequence, he bumped into a desk. Whilst the deaths, publiscised for being overly gruesome, were pretty ordinary, the lighting was the stand out part of the show. It was stunning how it showed Richard's private and personal life. It is the one thing in this play which is awards- worthy. 

What really excited me, however, was the fact that there was an impromptu question and answer session after the show. Having see Jamie Lloyd at West End Live and much of the cast interviewed across the BBC, I was not expecting anything original but I was wrong. What is so good about these sessions is that, because you have just seen the show, the director and cast do not need to worry about revealing spoilers about the play. This led to some intriguing answers as well as astonishment to hear the schedule for ensemble member Alasdair Buchan who understudies 5 roles. These events, which are intended to go on for multiple dates in the season, are an absolute delight.

Richard III is playing at the Trafalgar Studios until 27th September.