'JOHN' National Theatre, Lyttleton ****

One rather admires when performances combine dramatic genres together to devise a gratifying production that conveys one man's plight from all phases of his life. DV8 Physical Theatre, one of the United Kingdom's leading companies of the genre have linked physical theatre, LGBT theatre and verbatim theatre to create their latest production, ‘JOHN’. One found the performance was particularly motivating, moreover, the performers’ portrayals were singularly charismatic. ‘JOHN’ was conceived and directed by Lloyd Newson who compresses the biography of the anxious man, John into a 75 minute performance, where we are introduced by the vehement experiences that John had to face with his father, and how abusive he was with not only himself, but his mother, who is immensely unhappy with her marriage. Additionally, she shoplifts regularly to allow her son to be nourished. The father horrifically whips John's brother on the back and bottom continually until he bleeds. Through unblemished movements, as a way of scenic transition, John enters the life of binge eating and excessive drug use, and he ends up in prison where he sets the hostel, where he is living, as he is homeless alight. This instance proves to be quite helpful as he decides to lose weight, and this idea works wonders as he loses a gargantuan amount of stones, which helps him through his mental instability. However, the crucial aspect in this performance is where he realises that he is fundamentally a gay man, as well as, this enables us to learn about what occurs in saunas suited for the gay community, and hazardous circumstances that surround unprotected sex. The unnerving moment is where we see graphical images of sexually transmitted infections, which does question about not only gay men, but heterosexual couples decisions to not protect themselves against such infections. John does revel in this lifestyle as he has the freedom to divulge in watching pornography, and an array of men who are desperate to have sex immediately. Newson’s story is increasingly thought-provoking, and severely fascinating as we are greeted with a number of aspects in how we must safeguard ourselves against STI’s, on the other hand, one would have liked a little bit more dialogue from the performers. One found the performances by the company of ‘JOHN’ were daring and stylistically wonderful through effortless choreographed sequences. Hannes Langolf is extraordinary as the main role, John; especially when we understand that he and his son, who is getting married are searching for one another, but most importantly his movements were spectacular and principally enigmatic at all angles throughout the show. Lloyd Newson also directs and choreographs this performance with an intriguingly supreme level of precision; explicitly at the gay sauna as he informs us of the horrifying circumstances that gay men living with AIDS, etc. have to endure each day. Anna Flesche’s set and costumes are appealing as her revolving set interconnects with Lloyd’s movements with remarkable grandeur, as well as, its simplicity allows you to fully engross in John’s story. Overall, one found the experience of ‘JOHN’ to be an educational and visceral one. Categorically recommended one thinks.

'Tiger Country' Hampstead Theatre ***

Staging productions that convey about the emergency services can be somewhat dangerous, in terms of how detailed it must be as to not offend certain people; such as doctors and medical practitioners. The Hampstead Theatre's existing play of Nina Raines’ 2011, ‘Tiger Country’ was one encapsulates the struggles of the medical profession, unfortunately their dialogue does lack an essence of flair. ‘Tiger Country’ was first performed at the same theatre in 2011, and set in a typical London NHS hospital, whose ethics in patient care leave a lot to be desired. In addition to this, we are acquainted with determined and hard-working registrar, Vashti who is on the verge of guaranteeing herself a promotion, on the other hand, her foremost disadvantage is gaining her promotion is her treatment of her co-workers; in particular junior doctor, Mark because she believes that educating him in a derogatory manner will enable him to become progressively fruitful in his career. Unfortunately, her relentless damnations towards his approach does not help his development, and his opinions of her are understandably negative, which does cause him to make a complaint about her. As well as the two of them battle against what would be the greatest solution in surgical procedures, which is quite unprofessional as they argue in front of their colleagues. Paradoxically, we witness Vashti’s softer side when the arrival of her incredibly unwell aunt, who is repeatedly neglected by Vashti’s colleagues, which sadly is the state of the NHS currently. Vashti is enormously angered by the lack of attention to her aunt, and makes a precarious decision to refer her privately so that the recovery is certain, and that medical staff are constantly checking up on her. Nevertheless, this decision does reducer probabilities of attaining her promotion, conversely, she realises that the care of the patient is paramount, and we learn that her professionalism is poignant to her. Raine's narrative is quite satisfactory, as the first act does not fully entice one into positive absorption as the scenes are too many skills to understand the premise of the play itself. Alternatively, the second act proves more compelling as we see Vashti coming to terms from an outsider's point of view on patient care with regards to her aunt. One found the performances by the company of ‘Tiger Country’ were vastly sound, and interestingly detailed. Indira Varma is brilliant as the central protagonist, Vashti; chiefly where her persona changes from an abrupt tone with her junior to one of compassion when the characters aunt arrives in the hospital where she works, and her vocal work was credible too. Raine’s directs her own play with a first-rate analysis of what happens when the NHS hospitals are overcrowded with people; in particular the Christmas period, gradually, the performance reminds me of an episode of former American drama series, ‘ER’. Lizzie Clachan’s design is clinically appropriate for the subject of the piece, and one likes the traverse format to suggest that we are in the operating room watching what happens in surgical procedures, additionally, the pressures of the doctors’ job to save people's lives. One must commend Dick Staker’s video designs and projections as they are impeccably intriguing to watch throughout the show; exclusively when we are looking into the body’s organs and skeleton, at the surgical elements. Overall, one found the experience of ‘Tiger Country’ to be entertaining one, despite the first half deficient of attractiveness.

 

'Behind the Beautiful Forevers' National Theatre, Olivier ****

The sole purpose of theatrical art is to inform, educate and entertain an audience that may not have awareness of the subject. The National Theatre's production of David Hare’s newest play, ‘Behind the Beautiful Forevers’ is a stage adaptation of Katherine Boo’s 2012 novel, is one that primarily enables one to understand what occurs within the slums of Mumbai, in addition to this, the performances were agreeably presented. ‘Behind the Beautiful Forevers’ is as previously mentioned, set in the objectionable slums of Mumbai, which have being bombarded by a complex of hotels and the city’s airport, and is now at titanic risk of being demolished by property developers. We are introduced to the Hussein family, who are somewhat wealthy, because they manage a business where the local children have to seek out materials such as; plastic bottles, cardboard boxes etc. as a means to make money. Furthermore, Zehrunia Hussein's eldest son, Abdul is regarded as the speediest picker within the slums, however he has meagre social interaction, and the lack of maturity due to the fact that he hasn't had the opportunity to go to school, and he, as well as his mother do not know his actual age. The Hussein family are at loggerheads continually with their neighbour, Fatima, and was they are conducting home improvements, because of the feeble materials that the bricks are made out of, a hole appears on the adjoining wall, which causes the humungous argument to occur. Progressively, Fatima endeavours to destroy the Hussein’s, and when she sets herself on fire she conveys to the police that her neighbours are the cause of this, and blames Abdul for abusing her, which we all know is untrue. The police arrest the entire family, additionally at the finale it seems that Hussein family have lost everything, and the court case against them is ridiculed and closed out right. Hare’s narrative is daring as writing a play about the slums of an Indian communities is exceptionally risky, but the one found it phenomenally gripping. It reminds me of the 2008 Danny Boyle film, ‘Slumdog Millionaire’, which one enjoyed and became intrigued by this culture. One found the performances by the company of ‘Behind the Beautiful Forevers’ are increasingly dazzling, and Wendy Spon’s casting decisions were spectacular. Meera Syal is beguiling as Zuhrunia; in particular when she emotionally breaks down as her whole world crumbles, along with a vocal work when we see her hatred towards the neighbour. Thusita Janyasundera is tremendous is the Hussein's crippled neighbour, Fatima;  especially when she lies in front of the police as a way to devise sympathy towards her, and he movements of the disabled person were executed brilliantly. Rufus Norris’ direction is fantastic here as he has established a production that indicates the pressures of living in poverty, and it's a real insight into what may be performed at the National Theatre when he takes over as director of March. Katrina Lindsay's direction design is gorgeous as you immediately transported to the saddening atmosphere of Mumbai, moreover, the scenic construction and attention to detail within the scenic art works wonders on the large Olivier stage, and it’s a sight to behold. Overall, one found the experience of ‘Behind the Beautiful Forevers’ was an exciting betrayal into Indian culture, and well recommend.

'Visitors' Bush Theatre ****

Suffering from a form of a mental health condition at any age is particularly upsetting to go through, and when the condition is the early stages of dementia, it can be disconcerting for the family, as well as those closest to them. Shepherds’ Bush’s, Bush Theatre’s current production of Barney Norris’, ‘Visitors’ was a play that explores this incredibly strong, moreover, the characterisations are extremely powerful. ‘Visitors’ is set within the farmhouse of elderly couple, the slightly quirky Edie, and her slightly apprehensive husband, Arthur. From the outset, it appears that Edie is quite forgetful as her conversations never remain consistent fundamentally, to help Arthur look after her, he hires recently graduated law student, Kate as he’s rather busy managing not only the farm, but the house itself. Kate is a pleasant and reliable carer to Edie, and is given the impression that her work is appreciated colossally by her employers. Furthermore, she seems that she does not know what she wants to do for a stable career path, so she does anything to obtain some financially firmness. During the play it is increasingly disappointing to see Edie’s recollect of memories to drastically weaken as she is forced to sit on plastic bags as a way of protection towards the material of the armchair that Edie is sitting on just in case she urinates herself. We are familiarised with Edie and Arthur’s only son, Stephen and the present situation of his mothers’ poor health is especially distressing for him to see, but he exclaims that his marriage is on the rocks, and as a mean to unleash some tension, he demeans Arthur’s decision to hire Kate to care for his mother. Gradually, Arthur understands that the home that he and Edie have lived in for an incredibly long time has to be sold so that Edie can move into a residence for the elderly, and when Stephen and Arthur pack up their possessions in the boxes, it’s an enormously tear jerker of a instance. Norris’ narrative is an undeniably beautiful story of how the deterioration of a woman’s’ psychological state, additionally, the hurt this causes the husband and the son. The pace is very fluid and particularly enjoyable too. One found the performances by the company of ‘Visitors ‘to be effortlessly portrayed and the attention to detail was flawless throughout. Linda Bassett is outstanding as dementia sufferer, Edie; predominately when she repeatedly darts through too many conversations within the one conversation. Robin Soans is fabulous as Edie’s husband, Arthur; essentially where he tries to help Edie into a clearer mind-set, in addition to this, the scenes with his son, Stephen suggests that their relationship is not as positive as you may expect. Eleanor Wyld is decent as Edie’s carer, Kate; principally the aspect where she states to Edie the reasoning behind her plan to eject herself from the practice of law, as well as, her alluring carefulness towards Edie was charming to witness. Alice Hamilton’s direction is transcendent here as there is an excellent combination of emotional and hilarious moments entwined with one another, and the work in capturing how old age can instil a sense of uneasiness within a difficult period of time. Francesca Reidy’s design is positively enthralling as the decision to base the design around the Bush’s exposed brickwork to encapsulate the farmhouse was phenomenally stimulating to observe, also the textures within the other elements were grand too. Overall, the experience of ‘Visitors’ was one that is thrilling and charismatic entirely. Work a visit to the Bush Theatre in this festive period.

'Accolade' St James Theatre ****

What happens when one single party appears to cause havoc and dishonour to one explicit individual, who is quite well regarded, and what consequences can occur because of this act? The final production in Stage One’s, ‘One Stage’ season at the St James Theatre of Emlyn Williams’ 1950 play, ‘Accolade’ was one that’s been delightfully revisited, as well as, the performances were faultless throughout. This interpretation of Williams’ text was originally staged at the Finborough Theatre, three years ago, however, the casting has changed with the likes of Alexander Hanson. ‘Accolade’ is set fully in the study of writer, Will Trenting, who has been given the nobility of a knighthood by His Royal Highness, The King for his services to writing. Trenting’s wife, Rona, and their son, Ian are of course overjoyed by Will’s superb news, and are now planning to celebrate this remarkable occasion. However, their plans are upturned during the celebration by the arrival of Will’s friends from his hometown of Rotherhithe, Phyllis and Harold, who seem to startle Rona due to the fact that she does not know of her husband’s sordid past where one event will soon come back to haunt him for the remainder of his existence. Progressively, after Will has collected his knighthood from the king, his luck deteriorates when he is introduced to drunken and disorderly, Daker, who explains that Will had undertaken sexual intercourse with his fifteen, which was an illegal act, even in the 1950’s. Will understood that she was greatly older as she was dressed as a young woman, additionally, her persona and maturity allowed her to seem older than she actually was. Once the story is exposed to the national press, Trenting’s house, in Regents’ Park is surrounded by tonnes of protesting people, who are disgusted by his actions, and with this, Will and his family think that they should vacate the country, and move to the island of Guernsey. Williams’ narrative is exceptionally entrancing as we witness how a repulsive and wicked situation can affect one man’s position of popularity; especially if he has become a Sir. One found the performances by the company of ‘Accolade’ were vastly well portrayed throughout the entire production; in particular their movements which capture the essence of the early 1950’s. Alexander Hanson is magnificent as the central protagonist, Will Trenting; specifically the moment in which he tries to comfort his son, Ian, (Sam Clemmett) when he states that he might have to leave him, and his mother for a while. Abigail Cruttenden is wonderful as Will’s wife, Rona; principally when she’s perturbed by the arrivals of some undesirables from her husbands’ past, furthermore, when her character cries at the news of her husband’s disgraceful past was slightly upsetting to observe. Bruce Alexander is sublime as the alcoholic, Daker; chiefly when he’s frequently manipulating Will into offering him piles of money and of course alcoholic beverages, such a comic moment within the show itself. Blanche McIntrye’s direction is charming here as she has taken a neglected play and given it a new and fresh lease of life, and her work to instil the troublesome circumstances of underage sex has been sensitively approached with grandeur. James Cotterill’s design is agreeable, but one found that there could have been more care and attention as one could see the backstage areas when the doors open during the performance. Overall, one found the experience of ‘Accolade’ to be an pleasurable one, and a well recommended production.  
 

'Silent Planet' Finborough Theatre ***

More frequently, playwrights do find it problematic in being able to discover a platform in which to stage their work. The Finborough Theatre’s ethos is to stage plays that are either pieces of vibrant new writing, and unique rediscoveries. Eve Leigh’s first full-length play, ‘Silent Planet’ was one that's well-developed, and comfortably characterised. ‘Silent Planet’ is set during the summit of the Cold War, where we are acquainted with rebellious writer, Gavrill, who is facing a lengthy stretch in a mental health prison. However, the main reason as to why he's in there is because literature is a hypothetically corrupting influence, but he can relax slightly there as he has open access to the prison library, under the watchful eye of the prison guards. Weekly, Gavrill has meetings with interrogator, Yurchak who surreptitiously requests that Gavrill reads one of the books in the library, each week, and is the purpose of these discussions are to deal with the political meanings behind the writers’ notions; in particular contemporary writers premonitions of the Cold War itself. Yurchak develops a colossal fascination in Gavrill’s passion towards literature, but he realises that he must maintain his professionalism at all times, and when one of the prison guards enters the room he vindictively demeans Gavrill, and demands that he be sent into a torturous like scenario, he soon apologises to him because of Yurchak’s action. Over the course of the play, we witnessed Gavrill's mental episodes where there is a mixture of seizures and twitches, which enable Yurchak’s delicate side to exude; one such aspect is when he offers Gavrill some scraps of quite luxurious food as a way to apologies to him for his ruthless nature at points. It appears that Gavrill has been speaking to someone else during these sessions, which leads to his ultimate downfall. Leigh’s narrative is increasingly inquisitive as we are taken on a journey of a cerebrally insane man, who seeks gargantuan comfort in reading literature, as his creativity has become dented because he is forbidden to write a single piece of literature. One found the performances by the company of ‘Silent Planet’ were appropriately conveyed, and the delivery of the penetrating moments was quite compelling. Greame McKnight is superb as the prisoner writer, Gavrill; specifically when he explains the importance and freedom to read novels as a way to express your individuality, additionally, the movements of the character’s metal episodes were executed with such panache. Matthew Thomas is rousing as Gavrill’s interrogator, Yurchak; principally when he violently punches Gavrill in the mouth, which does create a quite shocking moments within the performance. Tom Mansfield’s direction is tremendous here as his analysis of the writers’ vision has been dealt with careful ease and understanding, as well as, his companies characterisations have been directed elegantly over the duration whole presentation. Petra Hjortsberg’s design is pleasant and simplistically chilling as the atmosphere in the intimate space enables one to sympathise with Gavrill’s plight as a writer excluded from being accepted in a corrupted scenario. Moreover, the choice of instilling a slight Orwellian influence was principally effective too. Overall, one found the experience of ‘Silent Planet’ to be an enjoyable one, but some aspects of this production needs improvement slightly.

'Piranha Heights' Old Red Lion Theatre ****

Repeatedly, one has often commented on the quality of London's theatre scene, and the Off West End and Fringe segments have proven to be increasingly enjoyable, compared to the West End’s disastrous array of performances. The Old Red Lion Theatre’s present production of Phillip Ridley’s 2008 play, ‘Piranha Heights’ was an electrifying production that's bursting with enormous amounts of intimacy, and provided with charismatic performances. ‘Piranha Heights’ was first performed at Soho Theatre in 2008, is entirely set in the flat of the deceased mother of Alan and Terry, who are quarrelling on who deserves to be the rightful proprietor of this habitat. Alan the ragged and anxious taxi driver endeavours to seek possession of his mothers’ home, in the hope that his son, Garth and himself to move in as Alan is planning to divorce his wife. However, Terry a frequent fugitive has other ideas for their mothers’ property as he's already agreed that immigrant Muslim, Lily and slightly demented, Medic can reside that with him. Alan appears fuming and confused by this as he thinks that having himself should've spoken about this. Terry has become brainwashed by Medic, but this will infuse negative connotations as Medic is severely psychotic, this is shown when he sets his eyes on Alan for the first time, he maliciously assaults him. On the other hand, Medic explains to Alan that he does not want to live with Terry whatsoever, and states that he will be abuse Terry so that Alan can I own the flat. It seems that the psychotic being is quite poignant here as Alan’s son, Garth has enormous mental issues as he seems to presume that his only friend is invisible cricket called, “Mr Green”, and to show his appreciation his clothing accessories are of an luminous green, likewise, it appears that Garth has immense disgust towards his father, and uncle as he puts a gun towards their faces, with the assistance of Medic. Ridley’s narrative is enthralling as we are observing the traumas of mental health, and how unnerving the explosions can be for those who are closest to them, as well as, Ridley’s plot presents us with another thought-provoking plot, as seen with the Arcola Theatre’ summer production of ‘Ghost from a Perfect Place’. One found the performances by the company of ‘Piranha Heights’ was fabulous during the entire performance, especially within their movements and facial expressions. Ryan Gerald is marvellous as the aggressively frightening, Medic; in particular when we see his expression change dramatically when he sees Alan, additionally, it appears that he has understood how one must portray someone who has mental health issues. Jassa Ahluwalia is transcendent as Alan's menacing son, Garth; especially when we learn of his arsonist past when he when he was an early teenager, also his facial expression when he speaks to his friend, “Mr Green” was chilling too. Max Barton's direction is terrific as his interpretation of Ridley's play is spectacularly exhilarating; principally at the finale as the flat is destroyed by Medic and Garth, which is an unexpected moment indeed. Cecile Tremolieres’ design is uniquely brilliant as it's a surprisingly sumptuous as the quality of the detailing was principally fluid and precise. Furthermore, one was massively captured into this tale of seeking your identity and the uncertainty of life for the young person. Overall, one found the experience of ‘Piranha Heights’ to be an electrifying one, and congratulations to the Old Red Lion Theatre’s new artistic director, Stewart Pringle for his inaugural production.

'Pomona' Orange Tree Theatre ****

Should theatres experiment with comparatively different productions that they do not usually present? The Orange Tree Theatre's current play, Alistair McDowall’s, ‘Pomona’ was one that the venue has done wonders with. The play is completely delightful as the performances are beautiful. ‘Pomona’ was originally staged at the Royal Welsh College of Music and Drama this spring is set within the mysterious and gloomy surroundings near the M 60 ring-road, however there are solemn and destructive powers ahead. Pomona is an actual location, which is an island in the middle of Manchester where it's isolated by canals and one footbridge as a way to access this worrying island. The production is centred around the character, Ollie, who is frantically searching for her twin sister, who has recently become missing. She then comes across Zeppo, a quite unsavoury person, who is dressed in practically nothing but a vest, coat and underpants. Furthermore, he's a volatile individual as with the majority of the characters within the play. Progressively, throughout the performance there is a sense of intrigue when a somewhat disturbed youngster, Charlie and enigmatic loner, Keaton as the two of them play a childish game called, ‘Dungeons and Dragons’, as well as, the game creates the atmosphere of mystery especially when Keaton decides to wear a particularly disconcerting mask as a way to depict the terror of what's occurring beneath a deep drain, which one does not want to spoil it for you. There is a definite sporadic nature in terms of how the flow interconnects through a story of a dystopian environment where everyone is being controlled. McDowall’s narrative is exceptionally chilling as the concept of a world in which not everything is what it seems is somewhat challenging, but this is in a positive way. One found the performances by the company of ‘Pomona’ were impressively captivating, due to the fact that the voice and movements were excellently portrayed, and there's a sense of clear camaraderie between the company. Nadia Clifford is brilliant as the investigative sister, Ollie; in particular when she's pleading with people to aid her in a quest to find the missing sister, also her vocal range at this moment was excellent too. Guy Rhys is dazzling as the supposed tycoon of Manchester's underworld, Zeppo; singularly his obsession with McDonald's chicken nuggets was vastly comical, additionally, his intensity in not only the voice, but movements was superb. Sam Swann is charming as the geeky gamer, Charlie; explicitly when we learn that due to a lack of appropriate qualifications due to his naughtiness as a schoolboy, he cannot obtain a genuine job, which instils a sense of compassion for him. Ned Bennett's direction is heavenly here as he's enabled one to feel incredibly mesmerised by how this quite discombobulated world can impact on how people communicate with one another; moreover, the developments of the characterisations were impeccable too. Georgia Lowe’s design is alluring as you are immediately engrossed into a world that does not appear to be entirely truthful, and that the textures and the aroma within the auditorium made one feel quite uncomfortable, and complimented, stunningly by Elliot Griggs’ lighting design and Giles Thomas’ sound design.  Overall, one found the experience of ‘Pomona’ to be a fascinating one and definitely recommended, and most likely to succeed in this years’ Offies.  

'Electra' The Old Vic *****

It's continually pleasant when theatres programme productions that transport us to the foundations of what created theatre, and the final performance of The Old Vic’s in the round configuration is Frank McGuinness' interpretation of Sophocles’, ‘Electra’,  which was another outstanding performance, and complimented with stellar characterisations. ‘Electra’ was written, supposedly around 410BC, and widely regarded as Sophocles’ formidable creations is set within the estate of Agamemnon, where his recent homicide has enforced immense rage from Pylades, Orestes and the servant who are examining the identity of Agamemnon's killer. Orestes, Agamemnon’s son has been commanded by his sister, Electra to obliterate the eradicator, additionally, her grief is enormous and is a frequent visitor outside the palace, where they reside, as a reminder of the fond memories that she had with her father. Electra’s youngest sister, Chrysothemis materialises from the palaces’ doors, with another funeral offering, is unsurprised that Electra is sat outside mourning, however, compared to Electra, she appears to be coping, and demands that she must accept that their father is dead, as well as, this is annoying the mother Clytemnestra, and informs her that she will be locked in solitary confinement if she does not pull herself together. With this, Electra has frequent confrontations due to the immense grief and childish nature, and when they learn of Orestes’ death, whilst on his quest for their father’s murderer, this increases Electra’s emotional instability. Thankfully, there is a possibility that Orestes may not be dead, which enables Electra to develop some form of happiness, and when Orestes returns from among the grave, the identity of Agamemnon’s  slaughterer is exposed, and the murderer is exterminated at the finale. McGuinness' version of Sophocles’ narrative is spectacular, as the original tragedy has been cleverly retained with gracious panache, and allows contemporary audiences to abundantly engage with such an ancient piece of theatre. One found the performances by the company of ‘Electra’ were portrayed with flawless rigour, and the intensity of the emotion was extraordinary. Kristin Scott Thomas is sublime as the grief-stricken, Electra; especially when we see her pouring a heart are outside the palace, in addition, her vocal work was outstanding within the such moments. Jack Lowden is brilliant as Electra’s brother, Orestes; specifically when we observe his anger at the point where he's about to finally massacre his father’s obliterator, as well as his movements were executed effortlessly. Liz White is wonderful as the youngest sibling, Chrysothemis; especially the moment when she acts as the mature sipping when Electra is outside the palace sobbing, and her vocal ability was increasingly powerful throughout. Ian Rickson's direction is charming here, as the Greek tragedy has been elegantly constructed, and the attention to detail within the sensitive elements was pleasantly interesting to witness during the course of the show. Mark Thompson's design is opulent as one was immediately transported to the Greek amphitheatre style environment; furthermore, the textures decided here were exceedingly beautiful and attractive to the eye, seemingly blissful. Overall, experience of ‘Electra’ was one that should not be missed as it’s an spotless piece of theatre, and you'll be an idiot to miss it. 

'Sunny Afternoon' Harold Pinter Theatre *****

More often than not, current musical theatre performances have taken influences from the back catalogues of pop music artists, and the West End transfer of the Hampstead Theatre’s, ‘Sunny Afternoon’ , which conveyed the voyage of the notorious 1960s ensemble, ‘The Kinks’ was one that is truthfully outstanding, as well as reigniting the utmost quality of musical theatre. ‘Sunny Afternoon’ is set predominantly where ‘The Kinks’ began their tremendous music career, Muswell Hill, additionally, the musical explains how siblings, Ray and Dave Davies, two average lads face immense difficulties with coalescing work and family relationships. Increasingly, the show invites us to observe the troublesome attitudes that ‘The Kinks’; singularly the youngest band member, Dave cause the general public within their upsurge of popularity, in addition the misuse of alcohol and drugs. Furthermore, the atmosphere that’s surrounded by the band becomes slightly fraught as the lyrics for the songs have been conceived by Ray, Dave demands that he should have more of an input into the song writing process. However, this involvement proves disastrous at one of ‘The Kinks’ concerts, and Dave's rudeness towards the drummer, Mick Avory instils a fight, that soon ends poorly, and is their reputation is damaged somewhat. Also the pressure of the American tour demonstrates through Ray’s humongous homesickness where we see his phone conversation with his newly married wife, who has recently given birth to their first child. When he’s finally returned home, a sense of depression is apparent as he's hardly responsive with anyone who attempts to communicate with him. Joe Penhall’s narrative, of course with Ray Davies music and lyrics are phenomenal as they have constructed a musical that permits the audience to journey with ‘The Kinks’ through their triumphs and failures. One appreciated such musical numbers; “Lola”, “Sunny Afternoon”, “You Really Got Me” and “Waterloo Sunset” as they incorporate both bright and disconcerting aspects of the band, on and off stage. One found the performances by the company of “Sunny Afternoon” were delightful throughout the whole production.  John Dagleish is magnificent as the mind behind the music, Ray Davies; especially when we witness his emotional conversation with his wife as he explains his longing to return home, and to be a loving husband/father, of course he's vocal stamina was the electrifying too.  George Maguire is sublime as the rather insecure and transvestite brother, Dave Davies; specifically the moment when we see his youthful naivety at the point where he's drunkenly swinging on the chandelier in women's clothing. Adams Sopp is brilliant as the unpredictable drummer, Mick Avory, and Ned Derrington is amazing as the desensitised bassist, Peter Quaif. Edward Hall’s direction is mesmerising here as one found himself to be fully engaged throughout the show, and at certain elements, one became quite involved enthusiastically, which is exceedingly gratifying. Miriam Buether’s design is rather cool and quirky, as the concept of incorporating a catwalk in the centre of the stalls, and the decision to use masses of speakers as the scenic backdrop was particularly effective with the dramaturgy of the performance. Overall, the experience of ‘Sunny Afternoon’ was an enjoyable and riveting one. Exceptionally recommended, and you won't regret either.

'Jonah and Otto' Park Theatre ***

What happens when the homeless and the ministry encounter where wealth and trickery appear to remain completely unlike? The Park Theatre's current production of Robert Holman’s 2008 play, ‘Jonah and Otto’ was one that fundamentally conveys this; however the performance does lack some scandalous moments. ‘Jonah and Otto’ was first staged at the Royal Exchange Theatre, in 2008, which introduces us to ancient and nervous minister, Otto seems to be a lonely individual, even though he's married with four daughters, finds comfort in himself by talking to a wall, as was caressing it too.  He soon converses with homeless, impenitent, and practical joker, Jonah, who is carrying an immense amount of hurt in his heart, and has a mentally unstable mind. It appears that the two have some similarities; such as the mental instability, on the other hand, their backgrounds and position in society are massive miles apart. In addition, Otto is surprised when Jonah reveals that he's a father, so Otto takes pity on him, and offers him some money to support the child and Jonah’s mysterious nature is expressed when Otto’s wallet is supposedly missing, but it suddenly reappears from under a pavestone. Progressively, we come to learn that Otto’s eldest daughter has been left disabled due to a horrific accident when she was a young girl, this instils a sense of sympathy towards him, and of course it enables us to see his vulnerable side. Jonah is conjuring a plan as the mother is his child is actually in France, and is desperate to be reunited with her as his life can return to a more positive state. To ensure that this is completed with triumph, he astonishingly and magically changes into Otto’s more refined outfit to ensure he is well respected and well-groomed. Of course Otto is angry that this has happened, but he understands that Jonah has to dress appropriately to be really reunited with his lover. Holman’s narrative is somewhat compelling as you’re allowed to witness two men, in different stages of the life appear to be suffering with similar conditions, then again, the dialogue does lack some emotional strength when the characters are explaining the traumas that they have occurred. One found the performances by the company of ‘Jonah and Otto’ were quite pleasing to the critics’ eyes as their voice and movement executions were incredible appealing. Peter Egan is wonderful as the lonesome vicar, Otto; especially when we observe his compassion towards Jonah, and his daughter. Moreover, his understanding of Jonah’s plight was particularly comforting too. Alex Waldmann is intriguing as the charlatan, Jonah; particularly when we see him magically changing out of his unsavoury clothes into Otto’s smart attire, as well as his movements of the characters’ spasms were achieved with tenacity and ease. Tim Stark’s direction was discreet here as we are we have been allowed to witness the story of two troubled people who are experiencing quite a lots disappointing and upsetting moments within their lives, as well as understanding the mental unsteadiness within all types of people. Unfortunately, some of the scenic transitions could have worked more fluidly throughout the performance. Simon Bejer’s design is severely minimalist and disappointing as there appears to be a lack of full creativity due to the fact that the Park’s exposed brickwork is the only aspect of the set here, additionally, the cloud aspect of the set were not comprehended with as much precision as you’d expect, which is quite lacklustre. Overall, the experience of ‘Jonah and Otto’ was watchable, but one finds that there needed further work to enable a more cohesive production.

'Wildefire' Hampstead Theatre **

Should playwrights be writing pieces of theatre about the emergency services, and how their competence can become conflicted after a dreadful experience on the job? The Hampstead Theatre's recent production of Ray Williams’ ‘Wildefire’ conveys the life of one particular policewoman, but one found the play to be truly disappointing, and the characterisations were off-colour for one's fondness. ‘Wildefire’ is set within a South London council estate, where crime is exceedingly recognisable, and that the treatment of the police appears tense constantly. Moreover, we are welcomed with the presence of fiery policewoman, Gail Wilde, whose sizzling persona has given her the nickname, “Wildefire” by her fellow male colleagues, but due to the contemporary world of modern policing, it seems that the characteristic may not be as professional and appropriate to ensure her work is completed with attentiveness. In the course of one of our investigations is to see whether Kristal, a rather tattered young woman on the council estate is in fact suffering from domestic abuse, Gail startlingly mentions that Kristal should intimidate her partner in the hope that he will hurt her, and an enquiry can commence. It suggests that Gail is particularly corrupt, and her morals are non-existent, this includes her role as a wife/mother as she frequently misses her daughters’ football match, which upsets her husband, and with such abandonment as one of the family, he requests for a divorce. On the contrary, during one of the intense riots on the council estate, Gail’s working acquaintance, Spence is brutally murdered, which leads to Gail to instil a verse of rage, and she is on the defensive relentlessly after such an event. Williams’ narrative is rather disjointed as it seems that he tries to force too many scenarios into 85 minutes, and I could not fully engage with Gail’s journey as there are far too many characters onstage. One found the performances by the company of ‘Wildefire’ are vastly satisfactory as it looked too dull, and somewhat boring. Lorraine Stanley is unbecoming as the rampant, Gail; especially the moment where we see her unprofessionalism display with Kristal, as well as her scenes with her husband where their marriage is at the final straw. Ricky Champ is somewhat mediocre as Gail’s work companion, Spence; explicitly when he's massacred through one of the riots, in addition, the aftermath of Gial who comforts him in his final moments were quite touching, but not that emotive as you'd hope it would be. Sharlene Whytte is suitable as Spence’s adoring wife, Maxine; clearly when she's grieving after her husband's death, and the moments where she sings at his funeral is moving, to a certain degree. Maria Aberg's direction is passable here as the understanding of the dangerous employment within the police service has been explored with an acceptable level of precision and interrogation. Naomi Dawson's design is increasingly insufficient here for a Hampstead Theatre production, as one found it incredibly challenging to focus on one specific element at one time due to the troublesome concept and comprehensive analysis of the actual subject. Overall, one found the experience of ‘Wildefire’ to be inadequate, and not very worthy for the Hampstead Theatre. Thank goodness it's only on for a limited run.  

'The Bus' Above The Stag Theatre ***

Coming out as either a gay, lesbian, bisexual and transgender to your family and friends is most definitely one of the toughest experiences one has to go through; principally when you're a teenager. London’s only LGBT theatre, the Above The Stag Theatre's current production of James Lantz’s, ‘The Bus’ was immeasurably hard-hitting and poignant. ‘The Bus’ is set within a small American town during the 1980s where two teenage boys, Ian and Jordan, who in a world where sexuality cannot be acknowledged decide to show their affections to one another on an old and dilapidated church bus that’s situated in the grounds of a petrol garage. We grasp that their passion radiates categorically tenderly when they cuddle and kiss, on the other hand, due to Ian's religious upbringing, their coupling needs to remain concealed from the boy’s parents. Thankfully, it appears that Ian's mother, Sarah does not know that her son is gay, and in a relationship with a boy, so Ian presumes that he is in the clear, for the time being. Nonetheless, on one particular evening when Ian and Jordan are sharing an intimate moment, they hear that Ian's father, Harry the proprietor of the petrol station is endeavouring to see what one of the problems there are with the rusty bus, and this causes the two teenage boys to panic as they think that they will be found out. Luckily enough their presence is unnoticed, additionally their relationship is kept immensely quiet at school, and Ian even expresses that Jordan shouldn't communicate with him during this time. Progressively, Ian grows frustrated by the churches lack of advancement, of course due to the acceptance of the gay community, so any wreaks revenge by driving the bus into the church, and setting it ablaze. Regrettably, Ian's parents, and Jordan believe he is deceased, however this is untrue, and once Harry realises he is alive, he makes it clear that Ian is not wanted in his life, and logically Ian is increasingly upset. Lantz’s narrative is well-established, as we observe the confidentiality of a relationship of two teenage boys, who are coming to terms with their sexual preference, and the acceptance is enormously difficult to comprehend during the time period. One found the performances by the company of ‘The Bus’ were vastly emotional, and portrayed with excellent care and ease. William Ross-Fawcett is splendid as the fearful, Ian; in particularly when we see his anxiety increase when his father is checking the bus when he and Jordan are having one of their adoring instances. Kane John Scott is vivid as Ian's lover, Jordan; especially when we see his cheekiness exude during the scenes at the school, and how he doesn't appear too bothered if they get caught out by anyone, as he's quite pleased with his sexuality. Robert McWhir’s direction is spectacular as his comprehensive understanding of the subject feels surely polished, and the depth of the emotional aspects of the performance were thought of with serious intent and purpose. David Shield’s design is acceptable, but one found it problematic to understand as to where the action is taking place, and the scene changes were underdeveloped. However, the textures within the signage were quite appealing. Overall, one found the experience of ‘The Bus’ to be extremely enjoyable, and an amazing representation of LGBT theatre. A definite ticket purchased here I think.  

'The Play that Goes Wrong' Duchess Theatre ****

When theatre productions massively falter, it’s usually the critics who inevitably destroy and revel in such damnation's, but when the entire premise of the play is to express such instances openly is a work of pure comic brilliance. ‘The Play that Goes Wrong’ that is presently charming audiences at the Duchess Theatre suggest the amateur sector ought to avoid the privilege to perform on the West End stage. Conceived by Henry Lewis, Jonathan Sayer and Henry Shields, we are believed to be witnessing Cornley Polytechnic Drama Society’s production of ‘Murder at Havisham Manor’ was packed full of disasters from the very beginning when sections of the set start to disintegrate due to a lack of care and attention from its stage manager, and a member of the audience, who is then left on the stage alone. In addition to this, the calamities include such instances where the sound/lighting operator forgets to press the correct switch on sound cues, and hints of Duran Duran songs plays, which obviously creates an amusing affect. Moreover, we witness the rapid decisions that directors have to come up with when one member of the cast experiences an horrific injury, whilst on stage, and this is hilariously conveyed when the stage manager, Annie Twilloil has to perform as the vivacious, Florence Colleymore. The play allows us to see the struggles of the director, Chris Bean has bestowed upon himself as not only the director of the peace and actor, he is in fact the designer, prop maker, dramaturg etc. As well as, due to the gargantuan amounts of catastrophes that transpire from the show, he fundamentally breaks down, as his production is doomed entirely. Lewis, Sayers and Shields narrative is excellently amusing, as a concept of a play within a play shows how plays can unfortunately go completely wrong, and it's really interesting that their script began its journey at the sixty seat, Old Red Lion Theatre, in Angel. One found the performances by the company of ‘The Play that Goes Wrong’ were brilliantly rib-tickling and wonderfully characterised during the entire production. Henry Shields is transcendent as the disheartened director, Chris Bean; especially when we see him attempt to fix a number of disasters that exude through the horrid production that he has created, also his breakdown elements were really funny too. Nancy Wallinger is delightful as the haphazard stage manager, Annie Twilloil; in particular her transformation as the lead female, Florence Colleymore, as well as it was highly charming to observe her enjoyment on stage, and dislikes it when the original actress regains consciousness. Jonathan Sayer is exceptional as, Dennis Tyde; such as when he uses such force to make sure his character Perkins was powerful, and his movements were well executed throughout this comic performance. Mark Bell's direction is brilliant here, as you are able to see the destruction of an amateur production within a West End stage, and the attention to detail within the slapstick comedy was phenomenal which was positively received due to the rapturous audience reactions. Nigel Hook’s set design is beautiful as you can see the haphazard perception of amateur company’s admiration of their work. Furthermore, it appears that there has been a considerably fruitful collaboration between himself and Bell, as it’s very near perfection. Overall, one found the experience of ‘The Play that Goes Wrong’ was excellent, and extraordinarily hilarious. Well recommended.

'Speed-the-Plow' Playhouse Theatre **

One sometimes becomes flabbergasted by the West End’s casting of non-dramatically trained actors who do not comprehend the intensity of the process, and the revival David Mamet's 1988 play, ‘Speed-the-Plow’ most definitely depicts this with the tragic casting of Hollywood brat, Lindsay Lohan. ‘Speed-the-Plow’ is set within the office of Head of Production, Bobby Gould, who is frustratingly on the lookout for his latest blockbuster, and his long-time collaborator, Charlie Fox enters to explain that illustrious actor, Doug Brown has asked for a meeting with the two of them, in the hope that they can produce this film. Contrariwise, it appears that Brown has been sharing his ideas with a neighbouring studio complex, and has set Bobby and Charlie a deadline to consent on the deal by 10 o'clock the following morning. However, Bobby’s temporary secretary, Karen arrives with the coffee, and the two of them, along with Karen discus the history of the movie industry, which ignites her appetite for literature. Sadistically, Bobby probes Karen to read a novel, claiming that it's a “courtesy read”, and during an evening at Bobby’s apartment, Karen presents a radiant evaluation of the book. We then see Bobby’s sickening way of seducing his employees, and suggest that if Karen has sexual intercourse with him, that he would decline his involvement with the Brown script, in favour of the radiation concept that Karen has comprehensively evaluated. Outrageously, Karen learns that Bobby has been dishonest with the work she has undertaken, and her work inevitably was worth nothing, as well as, Karen is not as innocent either due to the affair she had with boss the previous night. Fundamentally, after a vicious bloodbath between Bobby and Charlie, they smarten themselves up and meet with Brown to seal the contract. Mamet’s narrative is exceptionally tedious and uneventful, as the notion of a play conveys the debauchery of the movie business is far too boring.  In addition to this, the dialogue really lacks imagination and cohesiveness. One thought that the performances by the company of ‘Speed-the-Plow’ were offensively shocking, due to a lack of creativity from its questionable Casting Director by Maggie Lunn. Lindsay Lohan is heinous as the temporary secretary, Karen; especially her voice that sounded too breathy, and her emotional capability appears incredibly melodramatic and uninspiring throughout. Richard Schiff is pedestrian as the repellent, Bobby; in particular the scene when they character is attempting to flatter Karen, and the fight element was vastly terrible, and falsely un-naturalistic. Nigel Lindsay is substandard is Bobby’s associate, Charlie; specifically his American accent was seriously disappointing and unrealised, and again the fight aspects were horrendously awful and underwhelming. Lindsay Posner’s direction is lacklustre here as one found the subject of the behind-the-scenes aspects of the process to be disengaging, and poorly apprehended. Moreover, his direction was probably the foulest in his incredible career as an outstand director. Robert Innes Hopkins’ designs are immensely woeful as one could see that the attention to detail looked too glitzy, even for me. This was likely as a way to decrease the focus of a performance that demeans the wonderful industry that is theatre. Overall, the experience of ‘Speed-the-Plow’ was an unbearable one, so don't go to the Playhouse Theatre currently.

'Unidentified Item in the Bagging Area' Old Red Lion Theatre **

The Off West End and Fringe sectors within London’s theatre industry often pose a problematic application into the sporadic quality of their productions, and the Old Red Lion Theatre’s current performance of aspiring playwright, Sarah Simmonds’, ‘Unidentified Item in the Bagging Area’ was one that never liberated the topic with a well-considered approach. ‘Unidentified Item in the Bagging Area’ is set around the post-menopausal state that women have to go through during their fifties, and how this expected change can influence marriages to eradicate quite suddenly. Victoria Burnham, a fifty-year-old woman is severely fed up, and obviously post-menopausal is unhappy with her husband’s constant ignorance towards her, and his main priority that concerns his garden, and their sex life is non-existent. In addition to this, her son has now ventured off to university to begin his adult life, which leads to Victoria to feel unacknowledged by her family, and she requires a lifestyle change that allows her to appeal gratified with the future. Thankfully, when she decides to attend a meeting with other post-menopausal women, she is introduced to extroverted, buoyant and exceedingly independent Meg, and her life will never be the same again. Meg welcomes us into an environment where any situation can occur; such as running a sex chat up hotline called Mature Madams. Victoria soon overlooks her husband’s presence, and painstakingly leaves her spouse to live more independently, but this plan and fundamentally actioned decision enables Victoria to learn that her spouse is suffering with the life-threatening disease that is cancer. Simmonds’ narrative lacks an array of cohesive structure as it shows that focusing an entire play on the subject of the post-menopausal stage was too far to peeving, and needed enormous amounts of revisions. One found the performances by the company of ‘Unidentified Item in the Bagging Area’ were mediocrely characterised, and the portrayals poorly interrogated the emotive context of the performances, and the dialogue was delivered with limited vocal panache unfortunately. Jenny Oglivie is unexciting as the central protagonists, Victoria; in particularly when we see her passion exude when she tries to be a sex chat up line female, and her facial expressions lacked a real sense of emotion. Paddy Navin is disappointing as the apparently confident, Meg. One found her comic timing was flawed as the audience seemed to respond extremely negative to such moments; moreover, her movements were mind- numbingly disgraceful. John McAndrew is satisfactory as Victoria’s husband, Jeremy; especially the aspects when Victoria and we learn of his upsetting poor health, and his desire for his wife’s return is somewhat agreeable. Louise Shephards’ direction is rotten here as the connection between the company appears under rehearsed, and one found it was not as engaging as one hoped it would be. Kay Howie Nunn’s design is intriguing as we are transported to many locations with acceptable precision, and it slightly vibrates one's happiness throughout this vile performance. Overall the experience of ‘Unidentified Item in the Bagging Area’ was appalling, and a real disappointment for the Old Red Lion Theatre’s quality of theatrical work.

'Uncle Vanya' St James Theatre ***

More often than not, certain plays become revived relentlessly, and contextualised to appeal to contemporary audiences, and Anya Reiss’ new version of Anton Chekhov's classic text, ‘Uncle Vanya’ is now bidding to engage audiences at the St James Theatre. Unfortunately, one found it does not fully achieve these aspirations as there's far too much melodrama acting, and not enough emotional capability. ‘Uncle Vanya’was first performed in Russia during 1899, and conveys how families conflict with one another, and how anger can strengthen one man into miserable state. The play it in the country state of the somewhat elderly gentleman, Serbryakov, along with the family of his first wife appears to be satisfied with his control, as they respect is intentions. Nonetheless, Vanya seems exceedingly frustrated by Serbryakov’s presence and his position of the man of the house as he knows that this role should inevitably be his. In addition to this, Vanya, and the rest of the family are becoming increasingly lethargic as their daily activities are continual, and there appears to be a lack of excitement within their lives. We observe a romance develop between the doctor, Astrov and Vanya’s sister, Sonia, but due to both their inhibitions, the only apparent passionate moment between the two of them is when they casually share a bag of Tyrell’s salted crisps. Sonia is slightly concerned with both Astrov’s and Vanya’s alcoholism, because they consume an array of alcohol products nearly all day, every day. Vanya himself is frequently despondent with his life prospects as his place as head of the family, and head of estate has been overhauled by Servryakov, which leads to his anger increasing, and inescapably causes him to explode by demanding that he, and is youthful wife to leave the house, and never return. This plea is actioned at the finale. Reiss’ interpretation of Chekov’s narrative is rather satisfactory for ones liking as the emotional capacity through the character of Vanya and Serbryakov does not stimulate ones engagement. On the other hand, some elements were amusing, however this is particularly rare. The performances by the coming of ‘Uncle Vanya’ were suitably pleasing through carefully considered portrayals as these roles have been constantly played by different people since its first production over 100 years ago. John Hannah is excellent as the central protagonist, Vanya. One found his despairing moments when he thinks his life is not worth living was singularly unsettling to witness, and suggest a negative consequences to alcohol. Jack Shepherd is gracious as the false head of the house, Serbryakov; especially when we see his plan to turn the estate into a prospective business to diminish, and his horrifically poor health has some unfortunate situations in his current marriage. Russell Bolam’s direction is acceptable here as an enormous amount of both emotive and comical elements appeared underdeveloped and the consistency needed more dramaturgical investigations. Janet Bird’s design is interesting as one appeared to be transported to the fraught atmosphere between Vanya and Serbryakov, as well as the entire family and acquaintances. Overall, one found the experience of ‘Uncle Vanya’ to be of a courteous standard, and an amiable contextualisation, despite the lack of cohesive emotional and comical moments.

'Grand Guignol' Southwark Playhouse ***

What happens when you combine both horror and comedy together to devise a thrilling experience? Southwark Playhouse's current production of Carl Grose’s, ‘Grand Guignol’ was one that features some chilling elements, but an array of such aspects lacked some sophistication. ‘Grand Guignol’ first premiered at the Theatre Royal Plymouth studio theatre is set within the Parisian theatre of horror the Theatre du Grand Guignol, which demonstrates not only the theatre’s impressive repertoire, but the work that happens backstage. Dr Alfred Binet, a panicky psychiatrist is an enormous theatre enthusiast, is presently conducting an intensive study into the traumatic experiences within a playwright’s life can have a humongous effect on his work. During the course of one of the theatres shows, Max Maurey, the theatre manager believes that the doctor is a theatre critic, because he's taking notes throughout, when Dr Alfred reveals he is genuine occupation as an academic practitioner, Alfred requests an interview with the theatres resident playwright, Andre De Lorde. The discussions between Dr Alfred and Andre establishes Andre’s piercing pain radiates through his father's fierce nature when he was a child, and the presence of his father generates the concepts of the work that he writes. Andre encourages Dr Alfred to collaborate with him, and write a play together. As well as, we come to learn that Dr Alfred’s childhood has prompted his enormous amount of anxiety, because of frequent bullying he had inflicted on him when he was at Boarding School. Grose’s narrative is tolerable as the play does stream quite naturally with the processes of each performance that the Theatre du Grand Guignol presents. Paradoxically, one found it required further fluidity within some of the horrific scenes. The performances by the company of ‘Grand Guignol’ were categorically watchable as we can fundamentally observe a wondrous camaraderie within the theatre’s company of actors and crew. Matthew Pearson is noble as the unnerved, Dr Alfred Binet; especially when we see his ferocious wrath shatter when he is confronted by the supposed appearance of the chartered bully who tormented him. Jonathan Broadbent is decent as the somewhat mentally unstable playwright, Andre De Lorde; exclusively when the ghost-like figure of his nasty father forcefully plagues him to write countless scary plays, and his pretentious characteristics were exceptional. Andy Williams is intriguing as the theatre manager, Max Maurey; in particular when he advocates his protection of his beloved venue, and his constant bribery to the theatre critics were extremely comical as one often wonders when I may be enticed. Simon Stokes' direction is acceptable here as you are allowed to see how special effects are constructed within the theatrical art, and how companies of actors and crew seem to bond quite meticulously to conceive and produce the plays. Alex Doidge-Green’s designs are opulent as it accompanies not only the processes on the proscenium arch, but the action in front of the curtains too. In addition, one admired the scenic art elements within this performance; such as the cloth of the blue skyline. Overall, one found the experience of ‘Grand Guignol’ to be vastly worthy, and even though one has been somewhat critical about the performance, it should be witnessed.

'The Rivals' Arcola Theatre ****

One has often wondered why certain dramatic genres rarely become re-staged; in particular Restoration theatre? The Arcola Theatre, in Dalston presents us with Richard Brinsley Sheridan’s 1775 play, ’The Rivals’, and one found this unique rediscovery was immensely charming and amusingly performed. ‘The Rivals’ takes place in Bath over the course of one single afternoon where we are familiarised with two youthful lovers, Lydia Languish and Captain John Absolute. To initiate the relationship, Jack decides to create an alter-ego, known as “Beverly”, who is a poor officer, and Lydia is enticed by the concept of eloping with someone from a lower class. However, her guardian Mrs Malaprop protests against Lydia’s ideas, and inevitably states that this plan will never materialise whatsoever Lydia has two other prospective suitors, Bob Acres, an idiotic country gentleman, and Sir Lucius O’Trigger, a penniless Irish man. Jack's father, Sir Anthony Absolute arranges for Jack to marry someone who he is never met. Jack obviously explains that he is already in love with someone else, and whilst they argue with one other, Jack learns that the woman his father has chosen is in fact his lover, Lydia. The constant quarrels when Jack's actual identity is revealed to Lydia as the wealthy Captain Jack Absolute allows us to witness the fundamental romance blossoming through this fraught atmosphere.  Bob Acres exclaims to Sir Lucius that another male is courting the woman that Lucius is hoping to marry. This instigates a battle to see who will ultimately become the woman’s soon-to-be husband. When the duel is supposed to occur, Acres is disinclined to fight “Beverly”. As well as, Sir Lucius is not as forgiving and endeavours to murder Jack. Nonetheless, when the confusion into who is courting who is resolved, Jack, Sir Lucius and Bob decided to finish the duel.  Brinsley Sheridan's narrative is vastly charismatic as we are observing a style that is rarely performed within London, and it appears to be an increasingly warm environment, even though you are sat down for three hours. The performances by the company of ‘The Rivals’ were excellently portrayed, and one found their characterisations to be really calming. Iain Bachelor is splendid as the quite attractive, Captain Jack Bachelor; in particular when we see his agonising desire to obtain Lydia’s affections as someone else. Nicholas Le Provost is fascinating as Jack's authoritarian father, Sir Anthony; especially when we see his vindictive nature exude when he exposes Jack as a wealthy and prominent individual, as well as, his comedy is brilliantly fluid throughout. Jennifer Rainsford is appealing as Jack's conquest, Lydia; singularly when she conveys her disgust by Jack's constant lies and her vocal work was grand too. Selena Cardell's direction is beautiful here as we are welcomed to fully interact with the actors, who at points come out of character and politely communicate to us as if they were in a general conversation. The comedy is enormously well considered as one laughed constantly, as did my fellow audience members .Emma Bailey and Rosalind Ebbutt’s sets and costumes are sublime here as one was immediately engrossed into the environment of the restoration period, and the scenic textures were quite interesting and phenomenally sophisticated. Overall, one found the experience of ‘The Rivals’ to be one of such splendour, and will never be erased from one's memory. Purchase tickets for this performance if you can.

'Evita' Dominion Theatre ****

Sadly, the year 2014 has not proved to be as merciful to musical theatre, with the closures of ‘From Here to Eternity’ and ‘I Can't Sing!’ Thankfully, the revival of Andrew Lloyd Webber and Tim Rice’s musical extravaganza, ‘Evita’ was one that has charmed one’s passion for the musical genre. ‘Evita’ first exploded in London's West End during 1978, and conveys the life and death of Eva Peron, the wife of the Argentinian dictator, Juan Peron. Throughout the production, the narrative is reported to the audience through a somewhat ghostly soldier, Che, who introduces us to fifteen year old Eva in 1934 where she has her first love affair with singer Agustin Magaldi whilst she’s at one of his performances. However, her flirtatious nature is revealed when Eva blackmails Magaldi in allowing her to join him when he travels to Buenos Aires, and once the two acquaint themselves with their surroundings, Eva rapidly loses interest in him, and ventures to comprehend what other men are available. Eva becomes quite successful, and her fruitfulness in enables us to be welcomed with Colonel Juan Peron, and their relationship develops especially when she moves in with Peron in 1946. As well as, Peron commences his presidential campaign at this specific moment in time, and Eva herself organises Peron’s rallies to gain support; in particular developing alliances with the Argentine army in which they would dispose of anyone who is against their quest. His bombardment proves immensely successful as he wins the presidential election in 1946. Eva seems to become self-absorbed, and insists on a glamorous image, as a mode to express the entire civilisation, and sets her sights in touring Europe. Her constant meddling begins to infuriate the army, and the generals request Peron to prevent her from doing so, but Peron protests and expresses his support to his wife. Unfortunately, she realises her health is at risk, which we learn of her cancer diagnosis, and it’s incurable, and she eventually dies at the end of the performance. Lloyd Webber and Rice’s music and lyrics continue to delight such as; “Don't Cry For Me Argentina”, “Buenos Aires” and “You Must Love Me”. One found the performances by the company of ‘Evita’ were exquisite indeed, and were characterised beautifully. Marti Pellow is gracious as the narrator of the piece; in particular when we observe his interactions with both the characters and audience. Nonetheless, one finds that Pellow is exceedingly typecast within musical theatre with the likes of ‘Blood Brothers’. Madalena Alberto is spectacular as the dictator’s wife, Eva; especially when we see her painful desire to become the Vice President during her final moments, and her vocal delivery is enormously emotive. Bob Tomson and Bill Kenwright's direction is incredible as we are allowed to transport ourselves to the whirlwind of Eva Peron’s rise and fall and their spatial awareness on the Dominion stage has been well considered. Matthew Wright’s design is courteous as one thought that we are absorbed through a specific era of Argentine culture, and explains the dictatorial reign of both Juan and Eva Peron. Overall, the experience of the ‘Evita’ was exceedingly enjoyable, and well worth a visit in its final week with in the West End.

'The Distance' Orange Tree Theatre ****

What happens when mothers abandon their young children, and have no real longing to return back? Richmond’s theatrical venue, the Orange Tree Theatre answers this meticulously with Deborah Bruce’s newest offering, ‘The Distance’, and one found the performance was phenomenally riveting. ‘The Distance’ is set on the outskirts of London at Kate and her former musician husband, Dewi's house, where one of Kate's closest friends, Bea has outrageously abandoned her two young children with their dad in Australia due to their impending divorce. Bea relies on the pretence that her soon-to-be ex-husband will be more contented in nurturing their children, compared to her. Paradoxically, Kate and their other friend, Alex completely disagree with Bea, and demands that she travels back to Australia and mother her children like mothers should do, and work to ensure that the divorce does not affect their children's well-being. We come to understand that Bea’s exceedingly depressed with her current situation, and request for some alone time, and rekindle a sense of youth, so when the London riots are becoming increasingly violent, Alex is concerned over her fifteen year old son’s safety, and asks that Dewi drives to her home, and bring them to stay at Kate’s for the night. In the process, Bea politely requests to join him, in the hope that she can spend the night partying in Brighton. Nonetheless, Kate and Alex condemn her actions because they exclaim that she is fundamentally irresponsible, and should be intelligent enough to purchase a plane ticket home, and face her duties as a parent. When she is reunited with Alex's son, Liam it appears that Liam is dumbfounded by Bea’s juvenile nature, and interrogates her for the actual reasons for rejecting her children. Contrariwise, when Liam secretly Skype’s her soon to be ex-spouse, she reacts quite sadistically, and slams the laptop shut. Liam responds angrily and nearly abuses her. Thankfully, Bea does return to Australia for her children and she acquaints herself with a hunky Australian. Bruce’s narrative is inspirational as she has allowed us to investigate the struggles of all relationships; in particular the role of the mother. One found of performances by the company of ‘The Distance’ were beautifully well characterised, and encapsulated the emotional moments with incredible ease. Helen Baxendale is tremendous as the troubled mother, Bea; especially when we witness her peril as she comes to terms with her hasty decision to vacate Australia, and leave her children with their father. Emma Beattie is exceptional as the slightly absent-minded, Alex. I particularly enjoyed the scene when she's immensely stoned due to her worrying state over her son’s location.  Clare Laurence- Moody is amazing as the somewhat assertive, Kate; specifically when we learn of the disgraceful actions that have occurred within her and Dewi’s marriage, which has caused a young teenager to never meet her father. Bill Milner is incredible as Alex’s mature teenage son, Liam; singularly when he attempts to educate Bea of her responsibilities as he's been abandoned by his father, and understands the traumas of such rejection. Charlotte Gwinner’s direction is vivid here as she has encapsulated the bothersome situation of abandoning children without actually assessing the consequences of this action. Signe Beckmann’s design is brilliant as I was immediately transfixed to the simplicity of the concept, and it does enable you to imagine the whole atmosphere of the family home even with the in the round staging. Overall, I found the whole experience of ‘The Distance’ to be superbly engaging and enormously enjoyable. Purchase a ticket for this performance. 

'The House That Will Not Stand' Tricycle Theatre ***

Another production that's revelling in Black History Month in Kilburn’s Tricycle Theatre is Marcus Gardley’s,‘The House That Will Not Stand’ was one that did not wholly absorb one's engagement, especially throughout the first act. ‘The House That Will Not Stand’ is set in 1836, in New Orleans, acquaints us with Beatrice, who has become colossally wealthy due to the fact she's been having an enigmatic relationship with a white man, who has become recently deceased. Unfortunately for Beatrice and have three daughters, Agnes, Maude Lynn and Odette their pleasure is about to disintegrate as racial divides is increasing and the arguments become unsettling. In addition to this, the house that Beatrice’s secret dead partner, Lazare appears to haunt the family and even the parlour maid, Makeda begins to panic, as well as they insinuates that the ghost will never leave them alone. Conversely, Agnes and Maude Lynn are bothered by their mothers’ relentless condemnation; in particular when they hunger for some male attention and to drink alcohol as most young females do. They attempt to sneak out, but the two of them realise that the youngest sibling, Odette may inform on them and explain to their mother of their whereabouts. So that this does not happen they decide to tie up against one of the pillars within the house. Unluckily enough for Agnes and Maude Lynn, she squeals for help, and explains to Beatrice to that they have gone out socialising, which causes disgruntlement when they return from their night out. Moreover, it seems that religion plays a major factor into Beatrice’s disapproval of the girls’ actions, and the use of Voodoo is used when the ghost of Lazare becomes apparent. Gardley’s narrative is very agreeable as it enables us to witness this destruction of the family who may ultimately lose all their wealth and property. Paradoxically, the plot lacks some dramaturgical cohesiveness, in terms of its style which makes me question what the actual stylisation is. The performances by the company of ‘The House That Will Not Stand’ were portrayed with graceful ease. Martina Laird is wonderful as the matriarch, Beatrice. One found she conveyed a real sense of importance when she's been given a lot of money from her deceased lover, and her vocal work within her upset was enormously captivating throughout the production. Tanya Moodie’s spectacular as the Alban’s slave, Makeda; especially when we witness her hope for freedom and for her life prospects can improve, as well as Beatrice’s trusting respect as for the work she undertakes each day. The Tricycle Theatre’s artistic director Indhu Rubashingham directs and one thought she has directed a marvellous piece of performance that encapsulates the essence of black history. On the other hand, some of the supernatural elements left a lot to be desired as it was not as mystical as one had hoped. Tom Piper's design was suitable here as you're immediately engrossed with a somewhat troubled situation, and the Albans’ house does appear to be increasingly fraught with terror with the presence of a ghostly figure. Overall, one found the experience of ‘The House That Will Not Stand’ was very appealing, but needed some coherency within the narrative. Worth a visit to the Tricycle Theatre.

'Seminar' Hampstead Theatre ****

One has often thought about what makes a decent and stimulating piece of writing, and the Hampstead Theatre's current production of Theresa Rebeck’s ‘Seminar’ was bursting with enormous amounts of humorous elements that encapsulate the word of creative writing. ‘Seminar’ officially opened on Broadway in 2011,and is set within the apartment of wishful writer, Kate, who along with three of her supposed friends embark on a writing course where their tutor, the creepy and precarious Leonard teaches them the virtuous and deprived aspect of their novels. However, Leonard hardly praises their work, and frequently demeans Kate’s work as uneventful. As well as, he appears to discover faults in Douglas’ work repeatedly, referring to his practitioner identity as a “whore” which visibly upset him. On the other hand, Kate's friend Martin is hesitant to present his writing to Leonard due to the endless amount of criticism that both Kate and Douglas have received week after week. Nonetheless, the other female student, the busty Izzy is singled out more positively by Leonard as it seems he desire to have sexual intercourse with her, this craving becomes fruitful after a dinner that the two of them and Douglas have after a weekly seminar. Douglas who has a profound infatuation with Izzy becomes disheartened and turns against the two of them after this action. When Leonard takes a working vacation to Somalia, Kate’s misery is enhanced, and she threatens to leave the weekly seminars and dispense from writing altogether. Furthermore, her fixation with Martin is obliterated when she witnesses his and Izzy’s passion becomes increasingly strengthened. Once Leonard returns, he continues to be as vile, and demands to see an array of progress; especially from Martin who has never handed any work for feedback. When Martin angrily requests for his money back at Leonard’s apartment, he is stunned to grasp that Kate has been sleeping with him, and he realises that Leonard has been secretly writing a novel too. Rebeck’s narrative is enormously riveting as we comprehend the difficulties of developing the craft of writing, and the trials of being taught by a vulgar individual who cannot praise any of the students work. One thought the performances by the company of ‘Seminar’ were exceedingly well characterised. Roger Allam is ostentatious as the lecturer, Leonard; especially when we see his undying fear when Martin starts to read the novel that he's been secretly hiding. Bryan Dick is sublime as the disgruntled student, Martin. One found his moments with Izzy were quite pleasing to observe as we start to learn the he can be a contented individual that can fully enjoy life. Charity Wakefield is mesmerising as the slightly solemn Kate. I thought her comedy value was quite appealing when we see the character drowning her sorrows with Ben & Jerry's ice cream and red wine. Terry Johnson's direction is transcendent here as we are taken through the artistic process of creative writing, and the trials and tribulations of teaching, as well as being taught by someone who is afraid of praising people. Lez Brotherston's design is stylistically spellbinding as the attention to detail in capturing the lavishness of a high-profile apartment was of an agreeable standard that engross the atmosphere of self-importance. Overall, one found the experience of ‘Seminar’ was very enjoyable, and most definitely recommend to you all.

'Forbidden Broadway' Vaudeville Theatre ****

We Brits do like a good parody, specifically when it derives from impersonating certain industries and people. The Menier Chocolate Factory’s revised version of Gerard Alessandrini's mockery of the theatrical industry, ‘Forbidden Broadway’ receives its West End transfer, and I thought it was outstandingly hilarious and engaging throughout. ‘Forbidden Broadway’ has been continuously reworked since its formation in 1981, and this interpretation includes witty quick jibes to the likes of musical flops, ‘I Can't Sing!’ and ‘Stephen Ward’. We are greeted with an understanding of the egotistical and commercialist business that is theatre, especially when one member of the company instead of playing The Engineer from’ Miss Saigon’, the role has been reinvented to mimic the most successful musical producer in the United Kingdom Sir Cameron Mackintosh with “America’s cream” and establishes the pretentiousness of practitioners in this wondrous industry. In addition, the satire enables us to think why the industry has mislaid its originality, and basing musicals on children's books, films etc. , this is shown when we are when we see impersonation of Alex Jennings’ Willy Wonka with “Come with me, and we'll see a show with no imagination.” Moreover, we observe the industry's desire to cut down on employing musicians with a sneering musical number to End a Walsh’s ‘Once’ “And have you seen Once? Once is enough.” As well as, the production ridicules the role of the children’s Casting Director, and how manipulative child labour can be with the musicals, ‘Billy Elliot’ and ‘Matilda The Musical’ where the child has to carry the show. There’s increasing poignancy here with the explanation of horrifically expensive ticket prices; in particular, ‘The Book of Mormon’. Even though Alessandrini has devised a rib-tickling production I did find the lack of a cohesive narrative to be slightly disappointing, but the dialogue was exceptionally tempting. One thought the performances by the company of ‘Forbidden Broadway’ was immaculate as their comic timing was beautifully precise. Christina Bianco is sparkling here; especially her performance as the iconic diva, Liza Minnelli with a burlesque atmosphere and her characterisation as Matilda were vastly laughable as her make-up was increased increasingly childlike. Anna Jane Casey is effervescent here; in particular when she plays one of the four members of juke box musical, ’Jersey Boys’ and her musicality is unprecedented in the Sondheim section. Damian Hambley is fantastic in the’ Les Miserables’ aspect which demeans the musicals longevity with “Ten Years More”. Ben Lewis is delightful as his Australian upbringing has being used meticulously when he insults Hugh Jackman’s portrayal in ‘Oklahoma’ and his balletic movements as Billy Elliot was riotous. Philip George's direction and choreography is brilliant as we are taken on a historical journey through what musical theatre is currently within United Kingdom and Broadway in an amusingly shameful expression. Morgan Large’s set design is dazzling as it appears that one has been invited to a cabaret style club where the entire industry of theatricality is mocked to smithereens, and the tinsel texture was increasingly eye-catching too and immensely camp. Overall, the experience of ‘Forbidden Broadway’ was a funny one and a well recommended show indeed.

'Rachel' Finborough Theatre ***

What an almighty moment it is as this month we are celebrating Black History Month, and the attractive Finborough Theatre presents us with Angelina Weld Grimke’s, ’Rachel’, and one found the performance was immensely enjoyable and increasingly poignant. ‘Rachel’ was first performed in America in 1916, and receives its European premiere, and is set within an apartment where we are familiarised with old clothes maker, Mrs Loving who lives with both her young children, Rachel and Tom. However, it appears that life has not treated them well whatsoever due to the enormous amounts of racist remarks they receive daily. Rachel who is eighteen has a real enthusiasm for life in the hope that their circumstances could improve, and with the aim that she will foster child who can live more tranquilly in a nation where there is no prejudice of any kind. Rachel's brother, Tom feels a humongous sense of disdain as he’s had a relatively noble education, but due to the colour of his skin he cannot obtain a well-paid job, and to make ends meet he becomes employed as a waiter. As well as, Tom believes that there will never be substantial progress in accepting people outside of their own race. Paradoxically, Rachel remains optimistic, and when she introduces Jimmy to her mother, she’s started by Mrs Loving’s hesitation towards him, as it seems there is an undisclosed story that both Rachel and Tom do not know. Gradually, Rachel's cheerfulness reduces massively when she learns that her foster son, Jimmy has received dreadful racial abuse from the older boys in his school, and each night he has continuous nightmares. Moreover, she experiences depression, and one found it unsettling when she terminates the bunch of roses that her admirer, John Strong has sent her. This allows us to witness her scornful representation of the world she's living in. Weld Grimke’s narrative is entrancing as we voyeuristically observe a society that cannot appreciate differences but I did find that two-an-a-half hours seemed to strain slightly. The performances by the company of ‘Rachel’ were comfortably characterised, but some of their enactments were too hurried as mistakes became noticeable. Adelayo Adedado is whimsical as the central protagonist, Rachel as she portrays a young woman who becomes hatred when she understands that both her son Jimmy, and herself are living in a cursed world due to the skin colour. Miquel Brown is abundant as Rachel's mother, Mrs Loving; especially when she attempts to be more accommodating with Jimmy's presence, and her domesticity is quite appealing to see when she is at the sewing machine. Zephryn Taitte is grand as Rachel's love interest, John Strong. One found he conveyed a somewhat positive approach to life, especially when we understand he's been decorating his uninhabited apartment in the hope that Rachel will join him, but this plan never materialises due to Rachel’s anxious nature. Ola Ince’s direction is delightful here as she's captured the paining of a family and acquaintances that realises their lives would never be as blissful as it should be. Unfortunately some aspects needed to be exceedingly fluid as props kept dropping on the floor, which lead led me to think that the rehearsal process needed more refinement. Alex Marker’s designs were particularly attractive here as we see the plunging world of Rachel’s depression, and it engrosses the early 20th century atmosphere with gay abandon where being unique in terms of skin colour etc. was fundamentally marginalised. Overall, the experience of ‘Rachel’ was enjoyable throughout despite some of the obvious faults. Still worth a visit one must advocate.

'The Vertical Hour' Park Theatre ****

One abundantly recognises the colossal strains of father-son relationships, especially when their differences cause a wedge between them, and that no love is apparent. David Hare’s 2006 play ‘The Vertical Hour’ is currently delighting audiences at Finsbury Park's fruitful venue, the Park Theatre, and one found the production was especially thrilling to witness. ‘The Vertical Hour’, which became the fastest selling production in the Royal Court’s history acquaints us with former International Correspondent- now University Lecturer, India and boyfriend, Philip have decided to visit Phillip’s father in the quaint English town of Shropshire. However, Philip and his father Oliver, a former medical physician do not seem to have the most comfortable of relationships due to the fact that the divorce that occurred with Oliver and his ex-wife was increasingly horrifying, and particularly traumatic when Philip was a very young man. India asks why Philip has so much hatred towards his father, and he states that Oliver is a vile womaniser, and disagrees is that with the Iraq War that India has exceptionally strong connections with. During an awkward dinner, and throughout the early hours of the morning, Oliver and India constantly debate on whether intervening with war on Iraq was an appropriate course of action. As well as, we learn that India has had the opportunity to discuss the foreign policy in relation to the Middle East and Iraq with the American President, George W. Bush, and actually advised him on what was necessary. Oliver articulates that the reasoning why the United Kingdom and America obliterated Iraq was problematic as the reconstruction of the country has never been successful, and no weapons of mass destruction were never found. Furthermore, Oliver explains to India the actual reason why he split up with Phillip’s mother, within the same conversation which was devastating and shocking. Phillip’s jealousy is emancipated with the thought of a possible affair between his father and his girlfriend, and of course is fundamental untrue, which causes his own relationship to falter. Hare’s narrative is exceedingly captivating as the opposed and fraught relationships that Oliver and Philip have with one another is stupendously emotive in places. One thought the performances by the company of ‘The Vertical Hour’ were delivered with such tenacity and ease. Peter Davison is sublime as the GP, Oliver; in particular when he does finally explanation why he divorced his son's mother was in immensely powerful moment and conveys a somewhat softer side to the character, which is not apparent at the beginning. Unfortunately due to the indisposition of Thusitha Jayasunda, we are welcomed with Rose McPhilemy performing a role with a script in hand. Although it was unexpected, she did convey the correct facial expressions and movements that were necessary for the characterisation. Finlay Robertson is brilliant as the despondent son, Phillip especially within the tension that is between him and his father, and the possessive nature was remarkable. Nigel Douglas's direction is exceptional here as the attention to detail of capturing a stubborn relationship between a father and son was phenomenally appealing and compelling throughout. Charlie Darry’s design is opulent as one was immediately transported to the Shropshire atmosphere, and the textures used within the set were charming and mesmerising. One must commend Harry Barker's incredible sound design as it added an extra layer to a pristine performance. Overall, I thought that the experience of ‘The Vertical Hour’ was incredibly charismatic, despite the lead female's absence. Well worth a visit to the Park Theatre if you can.

'The Love and Devotion of Ridley Smith' Old Red Lion Theatre ***

Some people appear to develop a mid-life crisis a lot earlier than expected, especially when corruption is at the forefront of their life at its current state. The intimate Old Red Lion Theatre presents hopeful playwright, Miran Hadzic’s ‘The Love and Devotion of Ridley Smith’, and one thought it needed additional flair in certain aspects. ‘The Love and Devotion of Ridley Smith’ is set within the demanding and economical London, where venomous businesswoman, Janet Sullivan and her most favoured employee , the somewhat humble Ridley Smith have just secured a multi-million pound deal, which inevitably forces an associate to commit suicide. Alternatively, when Ridley encounters street artist, Freddy the morning after he and Janet celebrate in a disreputable table dancing club, he gives the impression that he admires Freddy’s practice, as well as perceiving he is a vagrant. This is completely untrue and once Ridley’s melancholy advances, he contemplates changing his career path to become an artist. His employer when Ridley wants to resign and pursue a bemused path, she knowingly realises his mental upset, and exclaims that he's never going to be successful in his quest. Ridley, Freddy and Sylvie, the table dancer from the club decide to escape from the competitive London environment, to an empty barn in the countryside so that Ridley can concentrate on developing his sketching skills, which leave a lot to be desired. Obviously Ridley becomes aggravated, and childishly destroys a splendid portrait that Freddy has crafted of the effervescent Sylvie. Of course the consequences of such actions are catastrophic, and Freddy, and as such, the two of them reject him, and return to their beloved city London. When Ridley meets up with Janet, it appears that Freddy has sexually assaulted her, and he has been lying to Ridley’s face, and using him as a sort of pawn. Hadzic’s narrative is of an adequate standard, and one finds the story progressed too rapidly. The performances by the company of ‘The Love and Devotion of Ridley Smith’ were immensely tolerable. Tom Machell is congenial as the central protagonist, Ridley Smith as he conveys a distressed businessman who is depressed with his life, and his childish approach was exceedingly intriguing. Stuart Lockwood is charming as the street artist Freddy. One liked his defensive nature when Ridley desires to see his drawing of the building where Wrigley works, and his vocal work was spectacular. Lottie Vallis is wondrous as the raunchy table dancer Sylvie, in particular when we witness her talents exude at the point where she teaches Freddy a basic Ballroom Waltz, and a somewhat romance blossoms through this tender moment. Katharine Armitage’s direction is amazingly delightful here as she's been able to instil a fraught and saddening story of a young man who's despondent with both his professional and personal life, as well as understanding the beauty of art and its process. Georgia de Grey’s set and costume designs were predictable. Paradoxically, one valued the distasteful atmosphere that it extruded through the vindictive world of business. Overall, one found the experience of ‘The Love and Devotion of Ridley Smith’ to be of an acceptable standard.

'Ballyturk' National Theatre, Lyttleton ****

 It always amazes me of the vast amounts of style of plays that surrounded around London, and one's favourite theatrical venues, the National Theatre presents us with a bizarre and uncanny play, ‘Ballyturk’, which continues the playwright, Enda Walsh’s austere representation of the contemporary world. ‘Ballyturk’ was first seen as part of this summer’s, Galway International Arts Festival, and one found the performance fulfils us  with an amalgamation of amusing and provocative elements. The play takes place within a bunker inspired environment with two enclosed young men, who appear to have forgotten their individualities, and refer to each other as, One and Two. To prevent boredom due to their penetrating isolation, they undertake many silent-comedy ceremonials and hazarding a guess into the actions of daily life in a fictional town that has been devised called Ballyturk. This is shown when One expresses a disconcerting story about the town, and how ghastly some of the townspeople are, e.g. the old lady who manages the local corner shop. Comparatively, the character Two is extremely simple-minded who meanders around in his unsavoury underpants, and does not appear to be too perturbed by his seclusion from the events of the outside world. He likes a strict and cohesive routine and if his routine is disturbed, he becomes increasingly anxious and upset that something ruthless might occur. This clearly depicts a typical Asperger’s characteristic. However, when Three enters the frame, we see the obscurity of One and Two’s situation, and it seems that the fate of One and Two is undeniably fraught with danger, as one of them has to be obliterated if they want to escape. One imagines that he abducted both of them as a child, and quarantines them from the rest of civilisation. Walsh’s narrative creates the discombobulating situation of the plays premise, and one found the plot made you frequently think about what's going on throughout. The performances by the limited company of ‘Ballyturk’ were phenomenally imaginative and, thought-provoking indeed. Cillian Murphy is remarkable as One. I thought he conveyed and fascinating portrayal of a man who becomes fixated with the world that is truly false, and his self-harming scenes were infectiously wicked. Mikel Murfi is celestial as the dopey and dim-witted, Two; in particular his facial expressions that are truly mesmerising, this reminds me of John Steinbeck’s ‘Of Mice and Men’ character, Lenny. Stephen Rea is fantastic as the heavy smoking and disconcerting, Three. One thought he instigated the perplexing atmosphere that exudes through the performance, and his presence is unprecedented as the character knows exactly what is about to occur. Enda Walsh directs his own play with heavenly ease and polish. It undoubtedly makes you question why One and Two had been segregated from society, and why the somewhat bunker appear to be a slight replica of the Big Brother house, and how Three has been given the impersonation of the George Orwell character, Big Brother. James Vartan's design is impressive indeed here as he is created the environment of total depravity with opulent detail, and there is an essence of cabin fever that is apparent through the position of furniture that's been fixed onto their scenic flats. Overall ,the experience of ‘Ballyturk' was exceedingly splendorous and most recommended.

'As You Like It' Southwark Playhouse ****

There will never be a day when William Shakespeare’s work will become dull and tiresome, and Southwark Playhouse's current production of ‘As You Like It’ was progressively well-characterised, and provides us with laughable moments. ‘As You Like It’ was written around 1599-1600, and is set within a duchy, France, as well as, the Forest of Arden where most of the action takes place. The performance commences where Frederick has seized the opportunity to govern the estate, and scandalously exiles his older brother Duke Senior from the territory. Luckily, enough for Rosalind, Duke Senior’s daughter, she's permitted to remain due to the fact she’s closely associated with Celia, Fredrick’s only offspring. Rosalind does receive male attention from Orlando, a noble gentleman in the Kingdom has been obligated to leave because he's fallen out of love with his older sibling, Oliver. Unfeelingly, Frederick becomes livid and banishes Rosalind from the terrain, with this in mind Celia and Rosalind conjure up a plan, and decide to abscond with one another, and are accompanied by Touchstone, a jester. To decrease suspicions, the ladies disguise themselves with Rosalind obtaining the persona of young man, and Celia posing herself as a poor and desolate woman. Progressively, they arrive in the Forest of Arden; with their new identities, where Rosalind is now known as Ganymede, and Celia now called Aliena. Moreover, the expatriate Duke has taken residence there too, with his many devotees; such as Jaques, a disgruntled persona, who is an emotional person too. Intriguingly enough the Duke and his daughter never come into contact. Shakespeare's narrative is exceedingly pleasurable. Wretchedly, one ponders that the array of romance stories of in one play were too ample for one's particular liking and engagement. One believes the performances by the company of ‘As You Like It’ were well portrayed, and the decision to double up on roles was an interesting idea indeed. Steven Crossley is outstanding as both Duke Frederick and Duke Senior. It was particularly stimulating to see how comparatively different his voice and posture changed to convey both characters. Simon Lipkin a spectacular as the court jester, Touchstone. He intensified the comic moments within the performance; such as his use of puppetry with a sheep to convey his love interest, Audrey with a sense of emersion. Sally Scott and Kaiser Hammerlund were charismatic as Rosalind and Celia. One admires the trusting relationship they have to ensure that both of them are content with their decision to escape from Frederick’s disorderly and volatile approach. The actor musicianship within this production was impeccable from Joanna Hickman, who portrays Phebe, and recent graduate from the Royal Central School of Speech and Drama, Samuel Townsend, who also performs the roles of Le Beau and Silvius. Derek Bond’s direction is superb throughout as his version of Shakespeare's comedy encapsulates the themes of romance and social classes with flair and precision. Emma Bailey's design is abundant as we are clearly observing the progress of the season with vibrancy and considerable flamboyancy, with the use of confetti that drops from the ceiling. Overall the experience ‘As You Like It’ was and exuberant one indeed ,and well worth a visit to Southwark Playhouse.