'One Man, Two Guvnors' Theatre Royal, Haymarket ****

With only a month to go before it closes, and for all those who haven't yet been able to witness 'One Man, Two Guvnors’, Richard Beans contemporary adaptation of the commedia dell'arte piece ‘The Servant of Two Masters ‘ is one that is guaranteed to make you laugh hysterically at. The play is now set in the 1963 Brighton criminal underworld and most certainly is a comical and intellectual scenario that oozes humour and charisma throughout.  ‘One Man, Two Guvnors’ is the National Theatre's second consecutive West End transfer and this casts suggests that the play has had a pretty successful run. The company is led by the productions original understudy Owain Arthur as the bumbling fool, Francis Henshall ,who stupidly becomes involved in an awkward situation where he's been hired by two people as a kind of servant. Unbeknown to Francis these two people know each other very well, in actual fact they are romantically involved. For me, Arthur is exceptional throughout the entire performance in particular the movements that he conveys with such hilarity that makes me think that detailing has been dramaturgically been thought of with such integrity. I must admit his Welsh accent seems to add even more comedy gold to his outstanding betrayal of the immensely hungry employee. Angela Griffin is amazing as Henshall’s love interest Dolly, Dominic Thornburn provides a humorous performance as the pretentious actor Alan Dangle, Amy Cuddle presents us with an interesting take as the slightly troubled Rachel Crabbe and Kellie Shirley is wonderful as the immensely stupid Pauline Clench. Overall the entire company are exceptional and if you don't see them then you are slightly idiotic as it is an entertaining production with brilliant comic timing. The director of this energetically rib-tickling production is the National Theatre's Director, Nicholas Hytner. He has directed this entirely fast paced show which has incredible comical impetus. However Cal McCrystal's physical comedy direction is this shows main spectacle where all moments leave you crying with laughter, especially the scene involving a doddery old waiter who continually falls down stairs during the course of his duties due to the his pacemaker becoming slightly accelerating out of control. I found the design by Mark Thompson to be one of a good enough standard of panache. On the other hand, the thought behind it seemed quite lacksidasical  as it felt too pantomime like for ones gratitude. Unfortunately the design element has let this show down somewhat. Apart from this I found ‘One Man, Two Guvnors’ to be a good show and well done for the shows duration in London's West End.

'War Horse' New London Theatre *****

The National Theatre's West End production of ‘War Horse’ has been entertaining audiences since 2009 and my first experience here is just magical. The play is centred around the beginnings and through the whole of the First World War and suggests the love a young boy of 16 has with his beloved horse. The show is an adaptation of Michael Morpurgo’s novel and it's most successful and emotive work by legendary puppetry company Handspring Puppet Company has fully encapsulated the idea that the lead protagonists is in fact a skeletal bamboo frame and internal hinged horse. Within the entire production I thought that the use puppetry and human beings worked incredibly well through careful and coherent characterisation. The relationship of Albert, played so beautifully by Sion Daniel Young and his horse Joey is something very special and spectacular that no other show since ‘The Phantom of the Opera’ has been able to move me so much and Albert’s pursuit to find his best friend through the diabolical war zone clearly conveys that the romance plot is between the human and the animal. The puppeteering throughout this spellbinding show without doubt the star of the production as they have been able to comprehend the animalistic nature of not only the horses but others such as the duck to the most elegant of finish imaginable. For me personally I would like to see much more puppetry in the West End shows as it enhances another dimension of a production. Nick Stafford’s stage play is engaging at all moments and it promises to still amaze audiences at the New London Theatre for years to come. Once again the legendary theatre director Marianne Elliott has proved as to why she is the director of the decade and ‘War Horse’ is by far her best production out of them all as we seem to even forget that the puppeteer even exists and that Joey is actually alive. It feels that careful rehearsal time as enabled the show to be a profound success and the play deserves it most strongly. The design by Rae Smith is simply amazing as fully shows the misery that surrounded the First World War as well as the journey that Albert takes been reunited with his extraordinary horse. The use of video projections by Leo Warner and Mark Grimmer were brilliantly captivating and allows you to feel the full sense of atmosphere of World War I. I found the whole experience of 'War Horse' to be one of such splendour and enjoyment.

'Mojo' Harold Pinter Theatre ****

The recent revival of Jez Butterworth's 1995 play 'Mojo' is a production that is full of joyous dark comedy moments and sections of your shock. This was clearly apparent by audiences reaction to it. This version is directed once again by its original director, Ian Rickson and seems to have been a theatrical hit since its press night. The casting here is phenomenal with Harry Potter's Rupert Grint starring in his first West End show and Downton Abbey's very own Mr Bates,Brendan Coyle. As well as he ever wonderful David Mays, Ben Wishaw and Colin Morgan completing this sublime cast. Set in the a 1958 sordid Soho nightclub there is a huge event happening where they have found the newest rock 'n' roll heartthrob Silver Johnny (Tom Rhys Harries) who has been hired by its owner Ezra to entice the local ladies. However he's a gangster and been doing a deal with a showbiz head-hunter by the name of Mr Ross. The play is very compelling and makes you think whether Butterworth had taken influences from the Krays and the Teddyboys to exude through his characters. I find that this show is not for the most faint hearted of person so people please be aware as some sections are highly violent. The event preparations are ruined due to the fact that Ezra has been brutally massacred and the infamous Mr Ross has pinched Johnny for his own dastardly deeds. The performances by the entire male cast is exceptional and certainly captures the feeling of the dominance of the man in the 1950s. The comic start between Sweets (Rupert Grint) and Potts (Daniel Mays) suggest this dark reality of being involved in the life of pure illegality. The physicality within the fight sequences directed by Ruth Cooper-Brown and Rachel Brown-Williams have been beautifully staged, some moments make you laugh hysterically and some make you cringe beyond belief. Ian Rickson's direction here is outstanding as he has fully interrogated Butterworth's themes with such tenacity and ease and his staging within the Harold Pinter Theatre is nothing more than wonderful. This shows designer Ulltz has done a great job with 'Mojo' as he encapsulates the brutality of the gangsters world and the drudgery of the 1950s which has been clearly defined which is beautiful to see. The production is amazing in all aspects through to design, direction and performance. Congratulations to all involved.

'The Wind in the Willows' Duchess Theatre *****

'The Wind in the Willows' has been a children's favourite since it first published in 1908 and the very first West End transfer from the Royal Opera House is one to be seen. This adaptation is centred around the original author Kenneth Graham's  intriguing metaphor of an attic and the use of discarded furniture fabrics involved close to portray the fantasy world of the riverbanks and woods were an interesting decision to make. The show is highly dance based and is told through exceptional narration by the ever popular and incredibly engaging Tony Robinson and indicates that the production does not need hardly any spoken dialect whatsoever. The entire dance cast were beyond mystical and extraordinary. Chris Penfold captures an elegant flow of diligence of Toad and his delivery in his dance excerpts were lovely to see. The performances by Will Kemp and Clemmie Sveaas as Ratty and Mole provide the romanticism of the story and the swashbuckling moves really suggest the emotional poignancy of the whole performance. Ewan Wardrop conveys the rock 'n' roll feel of the Chief Weasel was brilliantly thought of and his dance presence with nothing more than spectacular. The other members of the company were phenomenal and makes you feel that this production and performance fully deserve a place on a West End stage. What can I say about Will Tuckett's direction and choreography? It is simply beautiful and encapsulates a wide range of audiences as 'The Wind in the Willows has been a part of British childhood that over one hundred years. This show is blissfully moving and leaves you feeling good once you leave the Duchess Theatre.  He has done a brilliant job here. The Quay Brothers' set design was outstanding and most definitely captures the rugged atmosphere of Graham's fantasy story. The. textures of the scenic material were greatly thought of and makes you value the time taken to rehearse and construct a show that reverts you back to your childhood. Personally I found the production to be wonderful in all areas.

'The Duck House' Vaudeville Theatre ****

We all have had our opinions on the shocking events of the 2009 expenses scandal, where politicians would purchase items such as a glitter toilet seat, manure, hanging baskets etc. and some words claimed that money back out of the UK taxpayer’s pocket. So when Dan Patterson and Colin Swash decided to write a comic play about this event, you would have thought it would be an utter disappointment. However, it's the total opposite as it is a production that's full of comic genius and wonderful acting performances. The play is about this disloyal Labour MP, Robert Houston, who is incredibly desperate to save his seat in parliament that he resorts to the ultimate betrayal by moving to the Conservative party. As well as his fellow politicians he has been claiming expenses, which the Tories find woeful so he tries to cover up his dastardly deeds. One, in suggesting that is his own wife, Felicity is his secretary and two, he his young son, Seb, who's at University's is his technical advisor. The play is full of hilarious dialogue and the timing is comedy gold. The setting from a traditional family home to a derelict London flat is a clear reminder of who you can trust within politics. The acting is brilliant here as they convey the realisation of how cunningly lacklustre politicians were throughout this horrendous situation. Ben Miller as the lead role, Robert Houston MP provides an amazing comic through comprehensive timing in the delivery of one-liners and slapstick comedy. Nancy Carroll performs the MPs wife, Felicity to an eclectic standard of finish that makes you understand the role a politician wife plays in their career. Debbie Chazen is outstanding as the illegally employed housemaid Ludmilla. James Musgrave is excellent as the MP's troubled son, Seb and former X Factor star, Diana Vickers is wonderful as Seb's fiancé Holly. The direction by Terry Johnson is phenomenal as he has captured quite controversially a disgusting scandal and presents it with such comic flare and precision that makes it a well-deserved success of a farce. The set and costume design by Lez Brotherston was of a sound level of professionalism but some of the textures thought of wasn't as beautiful as you would expect from a West End show. With all of this considered it a play full of delight. Purchase tickets if you can.

'Stephen Ward' Aldwych Theatre ***

The master of London's West End musical theatre, Lord Andrew Lloyd Webber has made a welcome to return with his latest offering 'Stephen Ward'. For me it's a show that leaves me quite confused as to whether I really like it or whether I found it a really boring production. The musical takes its back story from the controversial 1963 scandal of Stephen Ward and the Profumo Affair which for me, is a slightly strange subject matter for a musical. The narrative begins at The Chamber of Horrors in Blackpool where Stephen Ward is one of the mannequins and is amongst such villainous figures such as Adolf Hitler and many more. From this we are taken on a journey of how the idea of this man was earning money from prostitution which caused a nationwide controversy.  The plotline is clearly thought of with care and attention but what disappoints me about the adaption is the dull and dreary nature that the musical numbers present and whilst observing the reactions from the audience it seems that they didn't appreciate them much either. The score just lacks the spectacle you'd expect from a musical from the legendary Lord Andrew Lloyd Webber especially his hit musicals 'Joseph and his Amazinf Technicolour Dreamcoat', 'The Phantom of the Opera', 'Cats' and 'Starlight Express' and you know the rest. The performances by the company however will have a good standard of finish. Alexander Hanson's portayal of the central protagonist Stephen Ward was wonderful as it captures the actual person with such tenacity and shows the man's fight for justice in a situation that caused a huge uproar in the early 1960's. Charlotte Spencer's Christine Keeler is acceptable as she performs one of Stephen's conquests quite well and fresh from the Royal Central School of Speech and Drama Charlotte Blackledge's Mandy Rice-Davies is brilliant. So well done to her for her West End debut. I found Richard Eyre's direction for 'Stephen Ward' to be vastly satisfactory and this upsets me slightly from a man who was in charge of the National Theatre from 1988-1997. This shows choreography by Stephen Mear was far too poor and is not up to the standard you would like to see from a West End performance. On the other hand, Rob Howell's design for both the set and costumes well wonderfully and unbelievably thought of with the highest calibre and this annoys me when the score, direction and choreography is of a meagre standard. This production is definitely not for a variety of audiences so be aware when booking tickets for this.

'Fortune's Fool' The Old Vic *****

 I have seen a large amount of theatre productions over the past year and Mike Poulton's version of Ivan Turgenev's 1848 play 'Fortune's Fool' is one at that has amazed me because of how wonderful it is. The production focuses around the character Kuzovkin who's a poor man and is living in a cupboard in a Russian country estate becomes happy and excited when the young woman Olga Petrovina returns home as a married woman to the strong minded Government official Pavel Nikolaith Yeletsky. However there celebrations are ruined by their ghastly neighbour Flegont Alexandrovitch Tropatchov and here's unflattering friend Karpatchov who nastily get Kuzovkin incredibly drunk and make him feel like the court jester of the party. I found the entire narrative to be vastly captivating as well as being highly clear and coherent which is wonderful to witness. So a massive well done to Poulton on a miraculous version of this classic text. It's a production that makes you value the people you socialise with daily and questions he you should avoid at all costs. Sarah Bird's casting for this production is nothing more than exceptional as her decisions have made a huge impact that has proved successful here. Unfortunately, due to their indisposition of Iain Glen, Patrick Cremin played the lead role Kuzovkin and for me he performs the character with such precision and ease that you don't seem to mind that the style is unavailable. Richard McCabe's portrayal of the arrogant and unlikeable Tropatchov it's phenomenal as he captures the lacklustre aspects of the characters personality to the highest level of characterisation imaginable. Lucy Briggs-Owen is brilliant as the Lady of the Manor Olga Petrovina and Alexander Vlahos is amazing as her new husband Pavel Nikolaith Yeletsky. The director of this touching and engaging play Lucy Bailey is electrifying as she has encapsulated the sadness and pain that Kuzovkin has had to endure his whole life. The precision in her direction and timings are nothing but perfect and emotive. William Dudley's design is just simply beautiful as it details the life of the wealthy people of Russia of the time period. It seems that there has been great thought behind the design. It's safe to say that The Old Vic has returned to producing outstanding productions compared to its previous woeful Shakespeare production of 'Much Ado About Nothing'. It's a production that you should purchase tickets for.

'Twelve Angry Men' Garrick Theatre ****

One of Britain's leading produces Bill Kenwright has returned to the West End with Reginald Rose's 1964 theatre play, taken from the 1954 teleplay 'Twelve Angry Men' and it's a show that gets the brain working in leaps and bounds. The play is centred around an American jury of twelve men who were faced with the challenging task to decide whether a young boy, charged with the murder of his own father faces his ultimate nightmare, the death penalty or to be freed. The narrative is quite simplistic and questions whether, we the audience think the young boy is guilty or not guilty, but also to understand the reasons why each member of the jury has come up with their decisions. I thought that the concept of Juror 8 being the sole person who stands up and expresses his opinion that the defendant is not guilty for the crime he is accused of and attempts to obtain the other members of the jury on his side to allow the young boy to be cleared of all charges against him. I did become intrigued by the anger and frustration that the twelve men, all from a variety of different ages had with one another and this was captivating to see. The performances by the entire cast were acted with such elegance and allow you to understand the differences of class that are exuded through careful characterisation. I found Martin's Shaw's performance as Juror 8 to be one of such conviction of how we maintain uses vocal dialect throughout the whole production. The legendary Robert Vaughn portrays an outstanding Juror 9 with Nick Moran conveying a wonderful performance as Juror 7 and Jeff Fahey playing an acceptable standard of performance as Juror 3. Christopher Haydon's direction is brilliant as he directed play that definitely makes your brain think and clearly question is how you judge people on a regular basis either through appearances and such like. It definitely reflects on how Brecht made audiences think throughout the entire play. The design for 'Twelve Angry Men' has been crafted so intently by Michael Pavelka as he works quite consistently with the use of the trusses that holds the set lighting together. It seems a lot of careful work has been undertaken to work with not the most perfect of plays but a performance that is worth watching. I had a wonderful experience so I urge you to book tickets for the play that fights for justice.