'Emil and the Detectives' National Theatre, Olivier ***

The National Theatre's annual family production has a long and prestigious history and this years show of Carl Miller's rendition of Eric Kastner's 'Emil and the Detectives' is one that will keep the children entertained but for the older audience member it fails to stimulate you somewhat. The narrative was far too simplistic and it felt that the production was the only appeal to the younger audience member rather than the entire audience. However when you consider that Kastner's classic children's book was like the Harry Potter of its day I believe it does belong on the Olivier stage . We are taken on a journey of young Emil Who attempts to rediscover and find the 140 marks that he was robbed of on a train journey to Berlin to visit his grandmother. The play accomplishes an array of outcomes, it focuses on the idea of children who form a kind of detective agency decide to break away from that young people shouldn't be listened to and to help Emil with his mission to find the bowler hatted thief. I thought that they show lends itself to let the vast city that is Berlin, which acts as its own. character through the fast pace of every day commuters using cars, trams and buses. The acting by the company will wonderfully acted and this gives me a slight sense of ease about the whole production. I found Ethan Hammers' portrayal of the central protagonist Emil was brilliant especially in the section where he is in the city's very claustrophobic and frightfully smelly sewers. Stuart McQuarrie is captivatingly menacing as the thief Mr Snow and Naomi Frederick is exceptional as Emil's over protective mother Ida Tiscbein. Even the child performers were incredibly entertaining and engaging. The direction by Bejan Sheibani was off an acceptable standard of finish but the flow of the show seemed somewhat primitive. I thought that Bunny Christie's spectacular design captures the expressionistic atmosphere of the story and the director's vision through wonderful video projections by 59 Productions as they suggest the setting and environment really meticulously. Bunny Christie has definitely done well here. I think that this is the production for children to enjoy and one that would make the parents and/or grandparents have a relaxing time without having to think about the children throughout the proceedings.

'Jumpers for Goalposts' Bush Theatre *****

What can I express to you about the Bush Theatre's current production 'Jumpers for Goalposts'? It's a play that definitely resonates a hint of emotion in everyone, even the masculine of men. Written so effortlessly by Tom Wells it depicts the story of a pub five-a-side football team, who a part from one are all gay and shows the struggles of being accepted in and an array of different circumstances. I found the narrative to be incredibly infectious as it makes you realise the pressures of being gay in a sport that's not stereotypically associated with people of this sexuality. I would like to convey my immense gratitude in Wells' approach to this issue that has been in society, worldwide for decades. As well as, I particularly admired the setting as it enables audiences to recognise the way they should speak in daily situations by thinking whether homophobic language is acceptable. The acting by the small company were beautifully and emotively performed and it's the standard you'd expect from even the best West End productions. Vivienne Gibbs' portrayal of the coach Viv is intellectually superb as she encapsulate see lesbian woman trying to break the boundaries by acting as a football coach that motivates and pushes the players in them most professional way possible. Jamie Samuel's Danny is sublime as he captures and out and proud homosexual who has been living with an immense secret and is desperate to find the love and happiness he most desires. This becomes possible when 19-year-old Librarian Luke (Phillip Duguid-McQuillian) joins the team and romance is afoot for Danny. The others, Geoff (Andy Rush) and Joe (Matt Sutton) where extraordinary as well that means comprehensive characterisation was key to the shows success. James Greive's direction is beautiful from beginning to end as he has created a production that moves an audience from laughter to tears in a matter of seconds. I like the decision to have a hint of actor musicianship through the character of Joe. The design by Lucy Osborne was wonderful as she has interpreted a football club's changing room with impressive detail and even though the design is somewhat simple it doesn't make a humongous to the professionalism of the production. I feel that all aspects of 'Jumpers for Goalposts' were phenomenal and should be recognised as a nominee for many theatre awards next year. I think the Bush Theatre has fundamentally established why it is one of London's greatest Off West End theatres.

'Charlie and the Chocolate Factory' Theatre Royal, Dury Lane ***

The musical adaptation of Roald Dahl's classic children's story 'Charlie and the Chocolate Factory' is a production that's full of moments of golden magic but with moments of pure annoyance. I thought that the narrative written by David Greig was brilliantly clear and concise and definitely captures the atmosphere that Dahl had envisioned for his children's book of how we we see a boy, Charlie Bucket who comes from a less than wealthy family becoming the bearer of a golden ticket and from this is his dreams finally come true. Greig's decision to adapt it from the novel compared to the movie version was clever as many musicals have been adapted from films. I found Marc Shaiman and Scott Wittman's music and lyrics to be of an acceptable standard of creativity and wonder as the score does hint essences of humour and emotion. However some numbers are far too cliche someone liking in particular 'Veruca's Nutcracker Sweet' and 'The Amazing Tale of Mr Willy Wonka'. It would have been more appealing if some thought had been undertakes here. The company for 'Charlie and the Chocolate Factory' where beautifully executed in all aspects of acting, singing and dancing.  Douglas Hodges portrayal of the fastly eccentric chocolate factory owner and inventor Willy Wonka was extraordinary as he embodies the character with such tenacity and ease that we the audience become fascinated in everything the role delivers. A lovely casting decision. The child performers were incredible and I must congratulate Jenson Steele for his comedic excellence as Augustus Gloop. I was amazed by his confidence in his small section of the show. The direction by award-winning director Sam Mendes clearly establishes his versatility in both theatre and film work but I did feel that the vast Theate Royal, Dury Lane stage could have been used to it's for potential and this saddens me as the production has taken years to finally get to this stage. Mark Thompson's set and costume design was highly satisfactory as the detail felt underdeveloped. I fought that the chocolate room was extremely lacklustre as it seems that budgetary constraints had a visible in imapct to the limitations of what could be achieved for example the chocolate river. Even though the musical is rather young it does make you question the use of the budget here. It is a production that you should see especially if you have children. 

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

The musical was the hottest ticket in London 'The Book of Mormon' is a show that's full of humour and splendour. Written by Trey Parker, Robert Lopez and Matt Stone controversially tells the story of Mormons Elder Price and Elder Cunningham Who are sent to a very deprived area of Uganda do you gain new members to a church community that's dwindling. The district is being ruled by ruthless man where the locals seem to not to want to learn about the Mormon's ways to improve themselves. I thought that the narrative was vastly clear and coherent but I would urge a hint of caution as the dialogue is quite insulting to religious groups and the comedy elements do mock them. However it does clearly identify poignant themes make a question the person you are and how you can change for the better. The entire company has been exceptional here as the level of precision in their acting, dance and vocals is second to none. Gavin Creel's portrayal of the slightly arrogant Elder Price was brilliantly performed as the captures a Mormon's aspirations to be highly successful but for his own personal gain. I particularly valued the comical integrity he had in musical numbers such as 'Man Up'. As well as, Jared Gertner's elder Cunningham is outstanding as he encapsulate's a young man who seems to have a problem in making things up and through this he actually accomplishes their outcome with the Ugandans becoming members of the church. Trey Parker's and Casey Nicholaw's direction is wonderful as they capture the essences of the comedy value is in the most humorous way imaginable and I thought that the variety of styles worked very well. This was particularly impressive as this is the standard you'd expect from a musical that has had such a vast marketing budget that has never been seen before. I found Scott Pask's scenic design to be wonderfully designed as he crafts the Ugandan community to a high standard of panache and the costumes designed by Ann Roth were brilliant as the research taken seemed rather comprehensive and the detailling of the costumes were superb. 'The Book of Mormon' is a musical that definitely delivers in all aspects and is one that you should endeavour to see.

'The Woman in Black' Fortune Theatre ****

' The Woman in Black' has been horrifying audiences for over 25 years and as this is my first time seeing it I found the whole experience to be as spine tingling as I'd expected it to be. The production is that the adaptation on the horror novel by Susan Hill and it depicts the fictional events of Arthur Kipps who as a young junior solicitor was summoned to be in attendance at the funeral of Mrs Alice Drablow who lived at the proud and elegant Eel Marsh House and the older Mr Kipps has decided to stagy rendition of these events on the Fortune Theatre stage. The narrative written by the late Stephen Mallatratt is incredibly thrilling as it conveys quite a bleak story of a subject that it engages you from the very beginning to the very end. I found it to be of the highest level of creativity and suggests scary consequences that makes audiences scream at the top of their voices. I thought it very intriguing that the company consisted of only two people and their acting is wonderfully performed.  Crawford Logan's portrayal of the real Arthur Kipps was beautifully embodied as the role contains a dark past who desires to exorcise ghost of the past through the re-enactment of the solicitors experiences at Eel Marsh House years years and years ago. Tim Delap as The Actor is outstanding as the carefully characterises the younger Arthur Kipps with brilliant seen all angles and funny encapsulates the fear that the audience has faced in witnessing such a chilling story. Robin Herefords direction is phenomenal as the direct a production that frightens and shocks avast amount of audiences and has done so successfully for over 25 years. I particularly like the atmosphere's direction gave to the play through the horrific encounters with the ghostly Mrs Drablow. I thought that Michael Holt's design for 'The Woman in Black' to be quite simplistic but with exceptionally ghastly feelings that run through the entire body especially the scenes that involved the eerie Eel Marsh House. I think that there has been an immense level of collaboration and with successful outcomes. What a fundamentally beautiful production.

'Spamalot' Playhouse Theatre ****

What do I have to say about the West End's version of 'Spamalot'? For me the musical oozes charisma and comic value of the highest quality. 'Spamalot' originally from the hilarious film Monty Python and the Holy Grail is a spoof and is loosely based on the legends of King Arthur Sir Lancelot and the Knights of the Round Table. The musical makes fun of this well-known fantasy by presenting it with their mystical charm that Monty Python has mastered by leaving people in hysterics for decades. I found the narrative to be incredibly clear as it suggests the ideas of British fantasy history in an amusing way and making it appealed to quite a diverse range of audience. In addition I thought that the comedy moments within the dialogue to be highly appropriate and due to it being Monty Python it definitely worked superbly.  The acting by the majority of the company was of a brilliant standard of delivery and panache and this is what you would expect from a West End production, especially with the success of the Broadway version. The casting of see CBBC's well-known presenters Richard McCourt and Dominic Wood as the leading role is King Arthur and Patsy where an interesting but wonderful decision nevertheless. I became surprised by the exceptional tenacity they had in performing roles with such care and attention. This pleased me most strongly. On the other hand, Carley Stenson's portrayal of The Lady of The Lake was vastly disappointing as the level of precision in her vocals when are exceeded with such success and became quite screechy which led to it feeling often strained. With this to consider I became unimpressed by this and made me question why they decided to cast her for such a audacious role. Christopher Luscombe's direction was fantastic as he creates the wonderfully comical franchise of Monty Python into a musical format and directing it with such outstanding precision. Paradoxically  I thought that Jenny Arnold's choreography was of a substandard proportion as the execution of the performers show that the dance elements were not creatively phenomenal and eye-catching. Certainly not spellbinding here sadly. Hugh Durrant's set and costume design is amazing as it captured the spirit of what you'd expect from Monty Python through simplistic detailing. The costumes were thought off with a sensitive and thorough touch which was lovely to see. I think that 'Spamalot' is a novice comic genius of a musical theatre piece which definitely makes you "Look on the Bright Side of Life". You should definitely see this production.

'Dirty Dancing: The Classic Story on Stage' Piccadilly Theatre ***

I am often concerned with the theatre industries decision to adapt well-known films and adapting them for the theatrical stage. The world-renowned 1987 blockbuster 'Dirty Dancing' has now been revived again for the for the West End stage and for me it's rather disappointing in quite a significant number of aspects. The narrative is exactly the same as the original film version where we are transported to the summer of 1963 and introduced to a Young teenage peaceloving girl Frances 'Baby' Houseman who along with her family spends their holiday at Kellermans. Throughout her vacations she becomes besotted by Johnny Castle, a very muscular and talented dancer at the holiday and baby does a favour by dancing on behalf off a fellow dancer who has recently been raped and illegally has an abortion. However this is a problem as Baby has no previous dance experience whatsoever and it's up to Johnny to teach you how to become a world-class dancer answer love begins to exude through them at romanticism of the passionate routines. I feel it quite unattractive as a theatrical writer Eleanor Bergstein has solely based on your entire film narrative and I feel it's a shame as the production does have potential to be a phenomenal musical production. The performances by the shows to lead actors Paul-Michael Jones as Johnny Castle and Rebecca Hodge as Baby of a satisfactory nature as it showed that the relationship was and disingenuous.  However their dance however presence was effortless so a huge congratulations to Kate Champion for her beautiful choreography. Sarah Tipple's directing style for  'Dirty Dancing: The Classic Story on Stage' was of a lacklustre quality as it seemed that the show had not been rehearsed as much as a West End production should be and this meant that a vast amount of queues were missed and mistakes appeared which aggravated me immensely. It feels that the Piccadilly Theatre is a cursed theatre venue as its previous tenant was in fact the financial flop of a musical theatre piece 'Viva Forever!'. Moreover Stephen Brimson Lewis' set design was of the horrendous fashion as the musical only allowed as design to be of a simplistic nature and this is not what you would expect from a musical of this kind. The only musical that had achieved this form of design is the wonderful 'A Chorus Line'. Even though I did somewhat have 'The Time of My Life', I didn't have 'Hungry Eyes' for it though. This is certainly a 'Dirty Dancing fan then this is the show for you.

'From Morning to Midnight' National Theatre, Lyttleton ****

Once again the National Theatre presents another outstanding piece of pure class. Dennis Kelly's new version of Georg Kaiser's Expressionist play 'From Morning to Midnight explains the interesting story of a bank clerk who with with extreme issues steals a wealthy sum of money from his place of work. The narrative is very clear and concise due to the flow of the characters own personal journey and I thought it particularly interesting to see the bike race scene and how the idea of a large share of cash entices the competitors to push themselves to the ultimate limit to obtain the prize. It makes me think about the pressures of living especially in early 20th century Germany and this relates to how the entire world today has been because of the credit crunch and the idea of being highly wealthy is the only way to be successful. The acting is exceptional here and Adam Godley's portrayal of The Clerk is is wonderful as he captures a man who is pressurised with trying to clothe and feed not only himself but the rest of this family leads him to stoop so low and thieve from his own workplace. I found his movements and vocal delivery to be of the highest quality and as well as I found the acting from the other performers to be of the most professional standard. I must congratulate Charlotte Bevan for her amazing casting decisions for this production that has fluidity and ease running through the entire performance. The direction by Melly Still is of a brilliant standard of finish because she encapsulates the German expressionist movement to contemporary audience and with collaborating with Dennis Kelly to present to play that conveys both Kaiser's original themes and concepts with fresh ideas to successful outcome. Once again the brilliance of Soutra Gilmour's design is extraordinary as she has designed an intriguing German environment on the Lyttelton stage with wonderful and creative detailing especially within all of this scene changes and how the fluidity of how intellectual her concepts were worked beautifully. I do think that she is the set and costume designer of the year and thoroughly deserves an array of awards in 2014. Overall I was I was particularly impressed with this play and I feel it is a production for you all to see. You will not regret it!

'Much Ado About Nothing' The Old Vic *

The closed Old Vic production of William Shakespeare's classic play 'Much Ado About Nothing' has to be most disappointing version of the text I have ever seen. The show is about two people Beatrice and Benedick who at first seem to actually detest one another but through the persuasion of the other characters there seems to be a love story exuding through the narrative. I became confused by the casting of vastly older actors Vanessa Redgrave and Charles Earl Jones as the roles are generally performed by younger actors and for me this concept did not work as they did not seem to grasp the youthful characteristics and try and present them into the older versions of the characters. To go into comprehensive detail Vanessa Redgrave as Beatrice was surprisingly unattractive in all her performance aspects such as movement and voice due to the fact that she seems to instead of Beatrice being a friend to the other girls it almost fells more like a grandmother figure. This left me quite appalled as Redgrave is regarded as such a phenomenal theatre actor that this made me question as to why she wanted to appear in this play and quite obviously an integral part of the company. In addition, Charles Earl Jones' portrayal of the male lead Benedick was rather lacklustre for ones liking as the character does not seem to present the naivety of the young man's quest for love but since Earl Jones is significantly older for these aspects to become apparent that they became disregarded and this annoyed me most strongly. Make me wonder why they cast these two actors in these roles? Maybe to sell a seat or two but the auditorium was quite empty that night of performance. The direction by Mark Rylance I found to be critically truthful, not a wonderful piece to witness as the concept of staging it in a 1940's military atmosphere seems very uncreative due to the recent National Theatre production of 'Othello' where the idea of presenting it in a heavily focused war zone environment seems that repetition is becoming the latter and I think this should not be the case at all. I disliked the simplicity behind the characters movements and the absence of many of Shakespeare's techniques was very noticeable. I thought that this did not feel like a Shakespeare play whatsoever and found it particularly woeful from beginning to end.  Needless to say that I found it as enjoyable as seeing the horrendous musical theatre production of 'The Light Princess'.        

'Barking in Essex' Wyndhams Theatre ***

I do not think I have ever seen such a production in my entire existence that has so much obscene language that 'Barking in Essex ' has, but it is one that definitely makes you laugh in hysterics and regurgitate at the same time. The comedy is centred around the Packer family who obviously reside in the now infamous Essex where they begin to panic as the youngest of the rather dysfunctional family is about to be released from prison and expects to come home to a share of quite a reasonable amount of money from a criminal act. However it seems that his mother Emmie Packer has spent all of this money that her son has commandeered from illegal means. I found the narrative by the late Clive Rowe to have been of a good and hilariously linear fashion as it portrays a highly shameful family who desires one thing and I mean one thing only and that is to own lots of money even if it is from awful conquests. I did however repulse at the shocking and vastly derogatory dialogue but I did feel that this suited the characters pretty successfully. The characterisation and delivery from the cast were of a satisfactory standard of quality that seems to desensitise me. Lee Evans' portrayal of the dimwitted older sibling Darnley Packer was vastly substandard as his comedy is rather cliché and stereotypical of the kind of roles Evans generally conveys. Again I was highly dismayed by the acting sensation Shelia Hancock as the grotesque and chav like mother Emmie Packer as she embodies a pretty uncharismatic woman who does not seem to care and value the idea of a family atmosphere and is fixated by the power of money and commercialism. I would have liked to have seen more precision and flare in her performance as it seems that she hasn't understood the characters' persona and motives. I thought that Harry Burton's direction for the piece of theatre was of a good level of creative decision making and he creates a quite contemporary view of today's society with the influence of the reality television programme 'The Only Way is Essex' in vein.  It also seemed quite messy within the scenic transitions which is very disappointing really and Simon Higlett's design was shambolic. For me it did not feel altogether right and appropriate for a West End production. It was a satisfactory performance and production that leaves me vastly underwhelmed.