'The Commitments' Palace Theatre ***

What can I say about the musical production of Roddy Doyle's 'The Commitments'? The performance is rather satisfactory is terms of the plotline and the direction is somewhat average but pleasing nevertheless. The storyline focuses around a small Irish community in Dublin 1986 and how a young aspiring music producer who is desperate to make a success for himself decides to form a soul group with members of his community as the musicians themselves. The narrative is far too simplistic for my liking as it seems that the community is a mixture of working class and pretentious beings and the dialogue leaves a lot to be desired. There's a lot a negativity that ran through my body throughout the performance. However the performances by the company were well presented through to the delivery of the acting, singing and dancing (or lack of). The producer of the band Jimmy, played by the outstanding Denis Grindel suggests a young mans wish and passion to form a group that could send a wave of splendour to Irish communities who are going through difficult times. In addition, the character explores the power of music producing and it seems there are influences of Stock, Aitken and Waterman exuding through the research of the music industry during the 1980's to devise spectacular soulful music. I found Killian Donnely's performance of The Commitments' lead singer Deco to be of a good standard as he conveys quite an uneducated man who seems to find music to be the only worthwhile skill he has in his life but his constant arrogant personality seems to make the other band members full of immense hatred towards him. The direction by Jamie Lloyd was of an acceptable and sound quality as he has worked with Doyle's dialogue and narrative in such a creative way and that his understanding of Irish communities of the 1980's seemed to be highly comprehensive. On the other hand I do feel that the staging could have had more precision and ease as it seemed for too improvised for ones critical opinion. The set and costume design by Soutra Gilmour was pretty impressive as she has captured the bleak atmosphere that surrounds 1986 Dublin and the tough situations that Ireland were going through at this time with the IRA. On the whole a brilliant design that was thoroughly thought of with care and attention. Gilmour never fails to amaze me and I feel that she deserves to win an Olivie Award next Spring. I think that 'The Commitments' is a musical that can appeal to a wide range of audience from a variety of different ages.

'The Scottsboro Boys' Young Vic ****

The Young Vic this autumn has a success it it's midst. 'The Scottsboro Boys' written by David Thompson depicts a group of nine young black men from Scottsboro, Alabama in the 1930s who are arrested due to a supposed rape but we understand was completely false and wrongly accused. It's quite a poignant show that conveys a historical theme which is racism and it makes you think about how you have to respect other people no matter what race you are and your background. The narrative is clear as it is a timeline from 1931-1937 and explores the young men's journey within their imprisonment and the story is superb. I found the music and lyrics by John Kandor and Fred Ebb were emotionally captivating as it suggests the themes in a most creative way indeed. It also encapsulates the liveliness energy the company does in performing those musical numbers. I think that the performance by the entire cast were beautifully presented as they engage an array of audiences through spectacular acting, dancing and vocals. The leader of the Scottsboro Boys Haywood Patterson who endeavours to clear his name has been performed spectacularly by Kyle Scatliffe as he understands the raw historical and political contexts that are exuded through the script and the delivery of his performance were heart wrenching and was highly believable. In addition, Julian Glover's portrayal of The Interlocutor is especially pleasing as he plays quite an unpleasant individual who tries to imprision these innocent young men for his own personal gain. Susan Stroman's direction and choreography is phenomenal as she seems to capture the Southern USA views on black people to a more sensitive approach but some aspects do incense you because of the racist dialogue. A well directed and choreographed production. The set design by Beowulf Boritt and costumes designed by Toni-Leslie James were wonderfully designed as it depicts the higherachy of faces within the USA from the 1930's in an extraordinary way. I think that 'The Scottsboro Boys' is the musical theatre production of this autumn and one you should attempt to see.  

'Jersey Boys' Prince Edward Theatre *****

The West End run of 'Jersey Boys' has been entertaining audiences for the past five years now and for my first experience here I found that I enjoyed myself immensely. The musical is based on the legendary music sensations Frankie Valli and the Four Seasons and how they continually strived and persevered to become a worldwide success. I think Marshall Brickman and Rick Elice's narrative is sublime and to as it fully expresses the story of the 1960's band that took the world by storm both emotionally and comedic. It also makes you think about success within the music industry and how much money plays a vast issue into musicians and music producer's egotistical minds. The music by Bob Gaudio and Lyrics by Bob Crewe were outstanding as they combined both existing material and new material to convey the jukebox musical that entertains and engages audiences throughout the entire production. In addition it seems that both commercialism and creativity were thought of equally which is how theatre in London's West End should be (actually all of theatre should be). The performances by all of the company were exceptional. Frankie Valli (Ryan Molloy), Bob Gaudio (Edd Post), Tommy DeVito (Jon Boydon) and Nick Massi (David McGranaghan) as the original Four Seasons were phenomenally conveyed as they presented exquisite musicality and their dancing abilities were second to none and could not fault them on their energy. Well done to these four brilliantly talented performers. Des McAnuff's directing is exceptional as he has captured the full environment that Frankie Valli and the Four Seasons were in and I found that every ounce of rehearsal time had been taken seriously to produce such a flawless and effortless production. I thought that Klara Zieglerova's set design and Jess Goldstein's costume design for this production is beautiful and professionally delivered as again it captures the mood is which the performance focuses on. I valued the vibrancy of the colours chosen for both the costume materials and the textures of the set and it seems to me that careful consideration was thought of to be able to construct this wonderfully executed show. It definitely appeals to everyone from all walks of life. I enjoyed myself and "Oh what a night!" 

'Strangers on a Train' Gielgud Theatre ***

The production of 'Strangers on a Train' has definitely proved that the work by the legendary film director Alfred Hitchcock definitely deserves its place of the theatrical stage. The play written by Craig Warner has encapsulated the atmosphere created in the 1951 blockbuster of a film. The play is centred around architect Guy Haines who seems quite frustrated with his marriage that he even contemplates ending his wife's life and when he stumbles upon Charles Bruno a domineering stranger of whom he meets on a train seems that his plan may actually succeed . The plot has been cleverly constructed as to not damage the narrative that audiences know and understand from the movie. I feel that the subtle changes have been thought of with such ease and affection so that it can appeal to people who have not seen the motion picture. The performances by the whole company were incredibly impressive for such a new play. I found Laurence Fox's interpretation of Guy Haines was an outstanding piece of acting as he conveys an architect that becomes aggravated by Charles Bruno's constant occurrence in his life to a high standard of finish. It seems that he has understood the level of detail needed to engage an audience of over 1000 people. In addition Jack Huston's performance of the possessive Charles Bruno is amazing as he embodies a character that seems highly troubled and mentally unstable and it seems that he uses Guy as a comfort blanket. The director Robert Allan Ackerman has captured the essence of Hitchcock's film direction but with his own creative decisions to appeal to the theatregoers of Britain and to tourists. I almost became quite intrigued as to why he has chosen to direct an adaptation of the world renowned film that can engage with contemporary audiences. I was quite pleased with the direction of the play. The set design by Tim Goodchild was an interesting piece of craftsmanship as it conveyed the late 1940s and early 1950s time periods and this has been successfully thought of and constructed. As well as, I liked the black and white scenic arts and concepts to depict the atmosphere of a film experience. Even though the performance I saw was in previews and needs refinement I feel that it will be a successful production. I was engaged and entertained and that is what I like in a piece of theatre.        

'Liola' National Theatre, Lyttleton ****

The National Theatre has been providing an eclectic array of productions for the past fifty years and the revival of Luigi Pirandello's 1916 play 'Liola' is a brilliant production overall. The play set in 19th century on the small Itallian island of Siciliy suggests the themes of community and economic issues in their place in society. I think that Tanya Ronder's adapation of this quite social and political text has been highly successful and appealing to contemporary audiences as it does convey some of the issues that particular arease in the world are facing currently. The narrative's clarity is exceptional as it features a slightly misoganistic man called Liola and that over the course of the production we start to admire him as he is a brilliant father to three sons and will do anything to support his family. Of course in a legal fashion.The acting by the entire company were wonderfully presented here. I found Rory Keenan's acting as the lead male Liola to be one of such tenacity and precision that I began to understand the characters' motives to live and support his mother, Ninfa (Charlotte Bradley) and his three children Tinino, Calicchio and Pallino. Moreover, the performance by Jessicaa Regan as the slightly nieve Tuzza Azzara was extreely appealing as you can see that she has worked to a high standard of finish to embody a youngwoman who becomes pregnant at the hands of Liola. The direction by the National Theatre's former Artistic Director from 1988-1997 Richard Eyre is nothing more than outstanding as he directs a socially indepth production that encapsulates the idea of a tightly knit community and how what ever happens within the community will inveitably become common knowledge. A superb directng masterpiece and wondeful to see Eyre back at his former home. Anthony Ward's design is sublime as he has been able to craft a small Itallian community on a very subsidised scale that exudes perfection , especially in the choices of the textures that were used to make the design such a revelation of creativity. Travelex's annual £12 ticket deal has established the productions presence within the Lyttleton auditorium and it seems that it has been full every performance. I very much enjoyed my experience here. Happy 50th birthday to the phenomenal National Theatre.      

'The Light Princess' National Theatre, Lyttleton *

In my opinion I think that the musical theatre production of 'The Light Princess' has to be the most lacklustre show I have seen this year, even worse that 'Viva Forever!'. The musical written and composed by Tori Amos and Samuel Adamson features a mediocre musical score and storyline that leaves a lot to be desired. The show is focused on the princess of the Royal City of Lagobel Althea who has a form of a disability or charm that refraines her from staying on her own two feet. The narrative is extremely pantomime like and not of the standard of a spectacular musical such as 'Matilda: The Musical' and 'Once'. Such a disasterous storyline that makes me range with anger! The performances by the company were pretty ugly here in all aspects such as acting, singing and dancing. The shows main character Althea played so appallingly by Rosalie Craig seems to be quite cheesy for ones particualr liking and the delivery  is not up to the standard of a well polished musical performer that makes me smile with gratitude. In addition to this Nick Hendrix's portrayal of Althea's love interest Digby seems far too forced in terms of the emotion and movements and his acting needs to be much more believable  to achieve his main aim of performing brilliant. But this is not the case in this ridiculous farce of a musical. Overall the acting in atrocious throughout the entire performance. Not a happy critic indeed. I am very disppointed and dismayed by the musicals director Marianne Elliot as it seems to me that she has created a production that does not believe that quality is the priority and her use of the Lyttlton stage is nothing more than diabolical. Again I am astonished that this production is not on par to her previous National Theatre sucesses 'War Horse', 'The Curious Incident of the Dog in the Night-Time' and 'Port'. This has to be her most woeful production ever. Rae Smith's design has to be critcially described as a disgrace to the National's fifty year history of beautiful and extraordinary scenic designs.  It feels way too childlike and definately looks lie a child has designed this set as no refinement and precision has been thought of here. I think that 'The Light Princess' needs to close now and spare others in seeing this heinous show. I hated it from beginning to end. 

'Raving' Hampstead Theatre **

Well so what can I say about Simon Paisley Day's newest play 'Raving'? It's a production that needs much more refinement especially in terms of the narrative because it seems quite statuesque. The play is set in a converted Welsh farm barn that features three comparatively different married couples who are having a supposedly relaxing weekend retreat. I thought that the story could have been thoroughly refined to establish clarity and professionalism. A slightly disappointing piece of comedy by Paisley Day. The performances by the company were satisfactorily conveyed here and the delivery of the comedy was far too forced for ones liking. I found Tamzin Outhwaite's portrayal of the overly protective mother Briony was quite depressing as it seems that all of her lines were based on the same subject of returning home to her precious son. Her childlike husband Keith (Barnaby Kay) who is fixated by Briony's breast milk makes me think about the stupidity of this piece of theatre. The casting of 'That Mitchell and Webb Look' co-star Robert Webb as London PR guru Ross seems to be the only pleasing performance here as he conveys a man who is desperate for inch of excitement in his life. This was portrayed to a good standard of finish. The direction by the Hampstead Theatre's Artistic Director Edward Hall was quite lacklustre here as it seems that he hasn't fully understood the context of Paisley Day's woeful script and the quality of his directing was poor from start to finish. On the other hand, I did find some parts of the play to be somewhat amusing but on the whole not too much. Even though the review seems quite negative I must congratulate Jonathan Fensom's beautiful design as it seems to capture the essence of a Welsh farmyard barn conversion retreat pretty successfully and the attention to detail was brilliant. It defiantly redeems itself from the rest of this tomfoolery. Overall I thought that 'Raving' was an nauseating and appallingly constructed show to have seen.

'The Pride' Trafalgar Studios 1 *****

I have to admit that 'The Pride' is an outstanding production that conveys the rise and fall of homosexuality. The play written by Alexi Kaye Campbell is set in both the 1950s and the present day and suggests the progression of change towards the homosexual act. The story is highly emotive that leaves a tear running down my cheek and you're taken on a journey that conveys acceptance of the gay community. The performances are exceptional throughout the whole production. The shows central protagonist Oliver (Al Weaver) and Phillip (Harry Hadden-Paton) compassionately portray a potential gay couple who in both time periods suggest that they are destined to be together. But in the 1950s scenes when Phillip is married to Sylvia (Hayley Atwell) it seems that that relationship is never meant to happen. I thought that the performances were compelling throughout and emotionally convincing. In addition to this I found 'Gavin and Stacey' star Mathew Horne as the other characters to be as entertaining and professionally performed and it's really pleasing to see him as someone else. The director Jamie Lloyd seems to have an immense passion for this production and his direction is phenomenal Ashe directs a quite sensitive and poignant issue to an excellent standard of finish. It seems that he has read through Campbell's script intently with a keen interest into the issue of acceptance of the gay community and that it can engage with a range of audiences for  over eighteens. I thought that Soutra Gilmour's design was quite inventive and incredibly mysterious as it encapsulates the transitions of the 1950s to the present day. As well as I liked the choices of textures chosen for the set and the mirror like illusions as a form of projection. This enables me to be quite encouraged and comfortable in knowing that every decision made had a clear dramaturgical meaning. I feel that 'The Pride' establishes the Gay Theatre genre has a place and I had a wonderful experience which makes me stand up and say "I'm proud to be gay".