Othello, Shakespeare's Globe ****

Perhaps my favourite experience of all time was watching my first Shakespeare play. It was in 2010 and I saw the magnificent display of Henry IV part 1 with Roger Allam and Jamie Parker as Falstaff and Prince Hal. I had never realised that Shakespeare could be so funny and, combined with politics and a great battle sequence, cemented my love of te Bard and theatre in general. So how great it was for me to accompany a good friend to his first play. It is a joy to see someone lose that dread of iambic pentameter and all that goes with schools teaching of Shakespeare's plays. The play itself is a heavily cut version of Othello and aimed especially at schoolchildren. This is a daunting task as, as one myself, I know how difficult it is to engage them for two hours without either the audience giving up or the actors. However, if any production can do it, it is certainly this one. It is highly charged and energetic in its telling of the tragic tale, with songs right from the beginning to a charleston dance in place of the traditional jig at the end. The actors are superb in their roles and the design from Hannah Clark wonderfully suits the Globe in transforming it to a battlefield. What was so great is that my newcomer to the world of theatre understood what was going on and has now caught the theatre bug. This is an extremely good start to what I hope to be another successful Globe season.

The 39 Steps, Criterion Theatre ***

 The 39 Steps is efficient enough to tell a spy caper in the space of 100 minutes, including an interval, and is extremely fun, but I am not sure it is anything more than that. True to say that the four actors are extremely admirable, with character changes which are incredibly amusing. However, the fact that it is not the funniest play on the west end is difficult as that is really what it relies on in it's advertising. Therefore, now the only pull it has for staying in the west end is the appeal to tourists for the over-use of union jacks in all forms of advertising. The tricycle theatre is known for experimental stuff, but this just feels a bit safe for the group, with all members of the cast being white and very stereotypically 'British'. It doesn't seem to challenge the rules of theatre-going to make this particularly interesting. That being said, it is fantastically fun for the duration, with the actors mocking the whole absurdity of the piece throughout. I certainly did not feel like a wasted any money or time coming to see this fun sow, even if it wasn't quite as funny or different as I would have liked.

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.

The Mastersingers of Nuremburg, Colliseum *****

There are so many reasons for the ENO not to stage this opera. In the financial hell the company has dug themselves into, why did they think that they could fill a 2,500 seat auditorium for a 5 and a half hour opera known for it's link to Nazism? However, the triumphant overture began to a packed auditorium and, more impressively, ended with a full, enthusiastic audience. The scarily long running time seemed to fly by faster than the 2 hour Happy Days which I saw 2 days earlier. What's more, it is extremely funny in a way that no other opera can possibly dare to be. It is a luxury to be presented with such quality from Richard Jones' production for such a long time. The pitfalls that Jones could fall into are avoided extremely well, especially the final scene which is clearly a piece of nationalism  but is now concentrated of the genius of German art. Also, the anti- semitism often associated with Beckmesser is totally avoided, now just being a comic 'baddie' which suits much better. The lyricism is surprising to me, with rousing melodies and magnificent choral parts in the third act. Before, I thought this opera just was an example of a composer being indulgent but after you appreciate every note this genius has created.

Arcadia, Churchill Theatre ***

Arcadia is widely regarded as a masterpiece from Stoppard. I am not so sure. It is true to say that it is spectacularly clever but does not seem to have an emotional core. It seems to be very intelligent yet I had to concentrate stupidly hard to keep up with each scientific theory and my two companions could not get to grips with it at all despite this being their second viewing of the production. This may be to do with McIntyre's staging which is problematic due to the actors not always facing the audience when speaking, therefore obscuring lines. This is unfortunate as she is a fantastic director and my favourite to take the artistic director post at the Globe. This, however, is a mis-step. Also, due to there not being a backdrop to Fensom's set design, a bright red fire box was distracting for the most part. Despite all of these things, I did like a lot of what was presented. The acting is fantastic, especially as the majority of the productions I see at the Churchill are amateur dramatic musicals with acting that fits the stereotype. I would especially like to point out the marvelous job Wilf Scolding does as the tutor Septimus who is wonderfully comedic. I also commend the casting choices by Ellie Collyer- Bristow, with two black actors in a play which would be easy to cast a completely white cast. Lastly, some of Stoppard's work does provide satisfying moments within the piece but, like Beckett, needs to be studied to gain full enjoyment. There is plenty to enjoy in this production but it needs a way to communicate key ideas better to keep it's audience on side.

The Book of Mormon, Prince of Wales Theatre *****

Ever since this show first arrived on the West End, I have always wanted to go. However, extortionate prices have prevented me from seeing this critical acclaim. Two years later, after having the soundtrack playing on repeat in the meantime, I finally got a ticket as the best birthday present ever. After failing to win tickets at the lottery and sizing up how many of my belongings I would need to sell to get a seat, I finally had one! Despite this, would the show meet my exceedingly high expectations.

I needn't have worried. The show is a magical romp and I loved every minute of it. From tap dancing Mormons to a book being placed somewhere quite uncomfortable, this show has well deserved it's 2 year residency at the Prince of Wales. It has not just relied on a readymade storyline from a film or real life event but has created a musical totally independent of any other medium. The creators of South Park, along with Robert Lopez, have created a simple story with clever and catchy melodies which pay homage to, but do not copy, the best musicals of all time with nods to Lion King, Singing in the Rain and Wicked to name but three. It has a dig at the Mormon church in a hilarious way but packs a serious message about the role of religion in modern day society. This is the third cast at the Prince of Wales but they are still so energetic, talented and fun, especially Nic Rouleau and Brian Sears as the Elders Price and Cunningham who, after performing in the show in the States, are brash and joyful in their leading roles. If you are in anyway easy to offend or find genitalia, expletives or blasphemy offensive, you should stay away but if not, you will have one of the best experiences you could ever have from commercial theatre.

Happy Days, Young Vic ***

People always say with Shakespeare that people should study his plays before seeing them performed. I strongly disagree with this as I believe Shakespeare, if played in the right way, can be accessible to all who see it. However, in the case of Samuel Becket, I think that extensive classes are needed in order to make sense of his plays. I was at 'This Comedian' at the Duchess when a 'lost Becket play' Pointless Anger, Righteous Ire was performed by Arthur Darvil. This involved two men perched in a bin whilst Darvil read stage directions a violently cut a cake. Coming out of Happy Days at the Young Vic, I think that Pointless Anger made more sense. With more time to think about the play, I understand it better but at the time it felt like intellectuals being intellectual whilst looking down at those which didn't understand the clever references or 'nuances of the piece'. However, I can appreciate it more with some distance, especially the admirable performance the ever- wonderous Juliet Stevenson gives. For an actress to be buried up to the neck in sand and give pretty much a one woman show for two hours 7 times a week is astonishing and her Willy also does as well as a man which is only given grunts and murmurs can do. Whilst I love contemporary, experimental theatre, I fear that even I struggled with this piece and, whilst I admire it, I could never engage with it.

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.