'Thriller Live' Lyric Theatre **

Supposedly a musical tribute concert to commemorate the transcendent music to the King of Pop, Michael Jackson ,’Thriller Live’ was a production then left a lot to be desired. The musical concert, conceived by Adrian Grant has been attempting to entertain audiences in London's West End, since 2009, but one did not fully understand the fluidity of the production and the narrative was non-existent here, which is highly disappointing. At the commencement, we are introduced to the young Michael Jackson, when he was one of the members of Motown sensations, ‘The Jackson 5’ and how he became known for not only his wondrous music, but his innovative dancing abilities i.e. the famous moonwalk, throughout and incredible music career. Furthermore, the production allows us to recognise his humanitarian work, and how his music and dancing inspired generations of young people to pursue their careers in the performing arts industry. Unfortunately, the flawed narrative confused me quite significantly, in particular the many performance portraying the characteristics of Michael Jackson. One thought the production was vastly vague, and this aggravated me immensely as a musical concert should endeavour to devise a coherent story that can engage an audience of all nationalities. This is why the audience’s participation and reactions were incredibly limitless. Another musical concert , ‘Let It Be’, which is recently playing at the Garrick Theatre,  incorporated a clear narrative and conveys the progression and popularity of sixties musical icon, ‘The Beatles’. This is shameful that Grant fundamentally forgot to incorporate this into ‘Thriller Live’. Paradoxically, the production’s musicality fully excluded Michael Jackson's electrifying music and the delivery of the choreography emancipated his incredible talent. With this in mind, the performances by the company of ‘Thriller Live’ were of a satisfactory level of theatricality. Kierann Rogers-Bedminster was tolerable as the young Michael Jackson. His vocal delivery in “I’ll Be There” was adequate, then again I do feel he has a promising future in the theatre industry as a talented individual. Ricardo Afonso was conventional as one of the many Michael Jackson personalities. On the other hand, there needed to be a variety of a vocal range in many of the musical numbers. Brett Quintin Gilbert was substandard as another element of the King of Pop. Cleopatra Higgins was agreeable as one of the female vocalists, and it was quite intriguing to see a female sing the music of a music icon to a pleasing standard of vulnerability and immense power. The direction and choreography by Gary Lloyd was slightly distasteful, and it appeared under rehearsed, as many transitions are frequently chaotic, and it seemed that he focused more on the chorography  rather than the direction of the production. Lacklustre directing here I have to advocate . Jonathan Park’s set design was rather horrendous as it fell that there appeared to be an immeasurable clarification as to the concept of his design. One found the experience of ‘Thriller Live’ to be pretty heinous and the Lyric Theatre needs complete renovation as the seats were horrifically uncomfortable. 

'The Importance of Being Earnest' Harold Pinter Theatre ****

The West End play has definitely overtaken the musical this year, and a revival of Oscar Wilde’s highest and most regarded comedy, ‘The Importance of Being Earnest was an enjoyable experience and a gracious production indeed. The play, originally written and performed in 1875 conveys a man's desire to create a fictitious persona, as to improve his social status. In addition to this, Wilde’s writing advocates the extreme importance of the elite statuses, just as the prominence of marriage. This rendition of the playwright’s classic has been adapted by Simon Brett, where an amateur theatre company called, ‘The Bunbury Company of Players’ are hectically rehearsing the play. Brett’s adaptation combines both originality and the original writer’s traditional values to a pristine finish, and one found it encapsulated the perception of high society to incredible stylisation. One found the performance, especially the narrative engrossed one’s intrigue, and how Brett was capable of combining Wilde’s hysterical comedy and integrating his inventive concept of rehearsing the play itself. As well as, it was pleasing to see a somewhat brotherly relationship between Algernon Moncrieff, and the central protagonist, John Worthing, “Earnest” developing during the proceedings. Unbeknown to the both of them, they are closely related. Unfortunately, the performance needed to expand Wilde’s witty lines, as in fact an amount of the humour was decreased from the audience’s engagement, which is a slight embarrassment for such a prestigious British comedy. On a more positive note the revival did offer some agreeable moments, such as the awkward meeting in the Manor House in Wooton, where Gwendolyn Fairfax and Cecily Cardew presume that they are engaged to Earnest. On the contrary, the mischievous Algernon is posing as Earnest to cause friction between John’s situations. One found the performances by the company of ‘The Importance of Being Earnest’ were incredibly well delivered and enjoyable to witness. Nigel Havers is brilliant as the socialite, Algernon Moncrieff. I thought that he conveyed the realism and pretension of the individual with incredible flair. Martin Jarvis is extraordinary as John Worthing “Earnest”. He was vigilant in creating an alter-ego personality as to improve his prospect which was a pleasant one to have seen. Cherie Lunghi is wonderful as John's love interest, Gwendolyn Fairfax. I found she depicted the harsh and conceited nature that the character has with anyone that could corrupt her engagement to John. The direction by Lucy Bailey was divine, as she's worked with such a classic play and reinterpreting it to work within a rehearsal process format. William Dudley’s design was admirable as it enabled us to focus on both on and off the rehearsal process and to see how amateur companies sometimes work to rehearse their productions. The experience of ‘The Importance of Being Earnest’ was an enjoyable one, despite some of my negative comments.

'The Colby Sisters of Pittsburgh, Pennsylvania' Tricycle Theatre ****

Another production has now closed at Kilburn’s cute Tricycle Theatre. It was the world premiere of Adam Bock's, ‘The Colby Sisters of Pittsburgh, Pennsylvania’, which was a sublime performance indeed. ‘The Colby Sisters of Pittsburgh, Pennsylvania’ explains the often fraught relationships a group of five sisters have with one another and the effect that this can cause them throughout their lives. Moreover, the play indicates the bitter and twisted rivalry that the siblings need to maintain the structure of the hierarchy within the family. Bock’s writing clearly portrays the point that none of the Colby sisters are in fact happy, and they merely wallow away in their own self-pity, which of course is the fundamental foundation to their quarrels. The performance introduces us to Willow, India, Gemma, Garden and Mouse, who are frantically preparing for a charitable benefit that they are closely connected too. Obviously, the arguments begin almost immediately as Willow has been experiencing money issues and appears to be vastly wounded by the circumstances that are restricting her to purchase extraordinary dresses, like her sister s constantly do. Gemma, her sister, pretentiously parades herself in beautiful dresses, in spite of her own sister, which continues Willow's disappointing period in her life. The play focuses on a few distinct themes for example, rivalry, sorrow, bitterness, and the playwright has worked and constructed the performance to an excellent standard and one that intrigues you. One became moved to the point to tears during Willow’s funeral and it instigates the remaining four sisters to aid one another in their grief and to somewhat overlook that her problems with one another. The narrative flows incredibly well and for me, I did not become confused with the play’s events whatsoever. The performances by the company of ‘The Colby Sisters of Pittsburgh, Pennsylvania’ were performed with incredible tenacity and ease. Charlotte Parry is superb as the snooty sister, Gemma. There was such elegance and how she moved around during the benefit and how she seemed to feel more important than her other siblings. Claire Forloni is graceful as the poor and depressed, Willow, she portrayed a woman who is on the brink of despair because of her overwhelming problems. Alice Sanders is splendid as the youngest sister, Mouse. The scene where she becomes terribly emotional during her sisters funeral conveyed her youthful and rebellious nature. The direction by Trip Cullman was of an acceptable standard of directing. He has been able to, and quite surprisingly to present a play the only features six female characters and allows us to see what occurs behind closed doors and the qualms that it a collective of sisters have with one another. Richard Kent's designs were evidently astonishing as he has incorporated a traditional format of design with contemporary style four example the video projections. Overall, ‘The Colby Sisters of Pittsburgh, Pennsylvania’ was a very good production indeed and it's a shame you cannot go and see it now.

'Shakespeare in Love' Noel Coward Theatre ****

One of the most anticipated plays for 2014 has officially premièred in the West End, and it's Lee Hall's stage adaptation of Marc Norman and Tom Stoppard's film, ‘Shakespeare in Love’. One found that the play celebrated the phenomenal world of theatre and the complications that Britain's leading playwright, William Shakespeare faced in writing his romantic tragedy, ‘Romeo and Juliet’. In addition, the performance conveyed the relationship that was that formed between the Bard and the well-respected lady Viola De Lesseps, and a society where royalty appreciated the dramatic arts. For me, I have always become apprehensive about the reworking of films for the stage. However, Hall’s script works productively well and it appears that the concept of rehearsing for productions, as well as the troubles of writers’ block seems correct and alluring for a theatrical piece of work. The production, understandably takes place in Elizabethan London, 1593, where William Shakespeare is sat, despairingly at his desk who cannot seek any inspiration in writing his latest play. He asks his closest friend, Christopher Marlowe, another playwright to aid him in devising a play that combines the emotions of laughter and tears and one that can engage an audience of uneducated people. The narrative, written so stylised by Hall welcomes us into witnessing the rehearsal process, which generally does not appear on stage, and allows us to question why women were not permitted to act on stage, or any such employment whatsoever. The dialogue is absorbing too as it enables you to fully encapsulate with the productions circumstances; such as the romantic elements that occur between Shakespeare and Viola. The performances by the company of ‘Shakespeare in Love’ were exceptionally convincing throughout and a real testament to the electrifying world of theatre making. Tom Bateman's portrayal of the Bard, William Shakespeare was sublime, in particular when he becomes besotted by Viola’s beauty and his emotional capability in the sonnets were vastly tender. Lucy Briggs Owen is outstanding as Will's love interest, Viola. The transformation from female to male, when she attempts to perform was exceptionally delivered and remarkably fluid. David Oakes is marvellous as Will’s closest friend, Christopher Marlowe, especially when he vocally projects, angelically in supporting Will within the finale. The direction by Declan Donnellan was miraculous, as he has captured the atmosphere of Elizabethan London, and the staging on the Noel Coward stage worked extraordinarily well. Nick Ormerod’s scenic and costume design is excellent as the world of Shakespeare’s creativity has been presented to a high standard indeed. Overall, 'Shakespeare in Love' is a well-rounded play, and one must admit that after considerable observations over the course of two years, adaptations from films to theatre plays and musicals are worth its place in the industry.

'Great Britain' National Theatre, Lyttleton ****

Quite possibly the most secretive production to have ever been produced by the National Theatre in its fifty year history, which is Richard Bean's newest offering, ‘Great Britain’ is an incredibly controversial play that clearly establishes the vulgar industry that is tabloid journalism, and the effects of the phone hacking scandal. ‘Great Britain’ was first announced ten days before press night and explains the work had to be kept top secret as to not offence the personalities and general public that were affected. This was due to the provocative themes that are radiated through the performance. The play takes place at the headquarters of tabloid publication ‘The Free Press’ and introduces us to News Editor, Paige Britain, a conniving woman, who stop at nothing to sell newspapers and to increase how own prospects for promotion. One such day, when she obtains information by tracking celebrities mobile and phone home phones to seek out their private and sordid life stories such as cricketer, Jasper Donald's affair and within this she publicises this to the nation in a hope to sell a couple of copies. This proves to be fruitful in her aims and continues to phone hack a vast amount of personalities who are withholding horrific information that needs to be exposed. Bean’s narrative and dialogue combines both disgust and humour with incredible style and ease and the references of actual people in the public eye was exceedingly mesmerising i.e.The Mayor of London, Boris Johnson. This play continues Richard Bean’s reign as the comic playwright of the last four years, with his previous one ‘One Man, Two Guvnors’ now touring nationwide, and it leads you to question whether the tabloids are being ethically coherent with the stories that their journalists are writing. This appears to not be the case in ‘The Free Press’ newspaper. It's a definite replication of Rupert Murdoch’s deceased paper, ‘The News of the World’ which explains that your personal life cannot be kept undisclosed. The performances by the company of ‘Great Britain’ were brilliantly captured in all elements of the production. Billie Piper is wonderful as the disgraceful newspaper News Editor, Paige Britain. One found the strategies she would use to pay people off were well conceived and instigated has vindictiveness to such panache. Roberts Glenister is superb as the Editor, Wilson Tikkel. The scenes where he'd called the weekly meetings which were unprofessionally led were vastly amusing to witness. Aaron Neil is marvellous as Commissioner Sully Kassam, and provides the majority of the comedy elements, in particular the police investigation videos that you would see on the news channels. The National's director, Nicholas Hytner directs and it's exceptional as he's been able to work with divisive themes and present it in a courteous manner and you're just found the production to be hilariously engaging. Tim Hatley's design is brilliant as it undoubtedly states the revolted atmosphere of the publications world. I thought that ‘Great Britain’ was a fun experience that conveys a current situation to glorious standard and once it transfers to the West End you should not miss this thought-provoking performance.

'The Crucible' The Old Vic *****

The Old Vic’s in the round configuration has proven to be a success with its previous productions, ‘Other Desert Cities’ and ‘Clarence Darrow’ and the third in the season, Arthur Millers’ highly regarded play, ‘The Crucible’ is an emotive spectacle and a real endurance challenge. This is due to the fact that the play lasts for three and a half hours, which is the longest one has ever spent in a theatre, not only this year but one’s entire existence. ‘The Crucible’, originally written and performed in 1953 conveys is a somewhat fictional dramatization of the Salem witch trials that occurred during 1692-1693, in America, and the paranoia that exudes the community and the justice system. We are introduced, immediately with Reverend Parris' daughter, who believes she is a witch and thinks she’s communicating with the devil. As such this frightens the entire Massachusetts people and prompts a hunt of all females who are experiencing these symptoms. The narrative is exceedingly appealing throughout as you feel slightly empathetic towards the male characters, as it suggests that the women are being deceitful to prove their own power and dominance. Miller’s plot advocates the idiocy that surrounded Massachusetts during the time, and how the influence of the supernatural commenced one of the supposed witches husbands to prove his wife’s innocence and purity of the other hypothetical witches. One found it interesting that the playwright wrote ‘The Crucible’ in an environment that was fearful of American culture becoming worldwide, and this is clearly evident in the plays flow and the superiority of the woman in a male dominated society. In addition, Miller’s narrative is enthralling throughout the three and a half hours, and this shows that this is his masterpiece of writing, even more so than ‘A View from the Bridge’, which has recently been staged at nearby Young Vic. The performances by the company of ‘The Crucible’ were excellently portrayed. Richard Armitage is outstanding as central protagonist, John Proctor. The monologue section, prior to his execution was vastly moving, and I noticed many audience it members crying at this moment. Jack Ellis is extraordinary as the main witch hunter, Danforth especially in a moment where he's incredibly chilling in interrogating the women for the truth. Natalie Gavin's betrayal as Mary Warren who tries to demonstrate her innocence is exceptional. Yaël Farber’s direction is phenomenal as she has been able to instigate the bleakness of the situation and allows us to make our own conclusions. Once again, Soutra Gilmour’s designs are spectacular as the set is incredibly simplistic, but effective, especially when we enter an auditorium that is consumed of only wooden chairs. She can clearly design performances of all styles and genres. Overall, ‘The Crucible’ is an experience that was truly memorable and would be worth a visit.

'Daytona' Theatre Royal, Haymarket ****

 What an audacious moment this has been for the year old Park Theatre, who has now had its first West End transfer. The quaint theatre, in Finsbury Park, has presented the theatre world with such wondrous works, such as the revival of ‘Thark’ and new works. Oliver Cotton’s ‘Daytona’ clearly explains how revenge can cause horrific circumstances for an old man's life and the only solution to protect himself is to seek refuge with his older brother and wife, who he hasn't seen in over thirty years. The plays setting is in a Brooklyn apartment during 1986 and it features a semi-retired accountant, Joe and his wife, Elli, who are rehearsing and preparing to dance in the seniors’ Ballroom and Latin American dance competition. They are constantly arguing with one another as with many stereotypical old couples are become dismayed that a person missing from their lives returns and ruins the rest they desperately need to dance exceptionally. Billy, Joe's youngest brother is hiding from a media spilled investigation due to the fact he’s murdered his arch nemesis. Whilst on vacation, with his wife on Daytona beach, on the hot Florida coastline. Both Joe and Billy have previous grievances towards the recently deceased as the man in question is a person from that on one past. Cotton’s play also focuses on the previous affair that Billy and Elli had with each other, and that passion is still unresolved, which is evident when they are romantically kissing behind Joe’s back. It appears the revenge and betrayal are quite prominent themes exuding throughout the performance and leads you to think about who is the innocent party. Frankly no one is as Joe can become slightly volatile. Oliver Cotton’s narrative is remarkably charming as there is a constant flow of energy that is displayed through the brilliant dialogue. I'm pleased that the performance has little technical requirements and that the plot is at the forefront of priorities. The performances by the minute company of ‘Daytona’ were transcendent during the entire production. Harry Shearer is magnificent as accountant Joe, who strives for a discrete old life and without any unwanted disruptions. Maureen Lipman is glorious as Elli, who endeavours to support in Billy's quest even though Joe does not want her to. This role was made for Lipman as it’s her most impressive piece of acting. Cotton, the playwright himself is outstanding as the murderous Billy. His flamboyant Hawaiian flower shirt brings a light relief to a character that's full of dread. I thought that David Grindley’s direction was wonderful as he's been able to combine both humour and sorrow together with flair and elegance, in particular when Elli conveys to Billy the time when she tried to run to him so that they could be together. Ben Stone's design is superb here as the Brooklyn apartment has been able to work wonders on the Theatre Royal, Haymarket proscenium arch with such elegance and panache. The entire experience of ‘Daytona ‘was a pleasurable one and a must see.

'Wonderland' Hampstead Theatre ****

It's incredibly weird that the British miners’ strike happened exactly thirty years ago and one thinks that a play signifying the struggles between the state versus the union seems rather poignant. Beth Steel’s second play ‘Wonderland’ is a piece of theatre that reminds you of the extreme pressure that politics had on the working class life and it's an emotionally captivating production that can engage with people, even if you were not living or breathing in the 1980’s. In addition to this, the play is allowing you to question whether the government is attempting to help their own people whose livelihoods are at the verge of collapse. ‘Wonderland’ enables you to fully empathise with the striking miners and to oppose everyone in authority, in particular the first and only female Prime Minister, Margaret Thatcher, who still proves that she is “not for turning”. The setting is in Midlands 1984, and introduces us to two young men who hope to make a living as miners, as countless generations have done. Unfortunately their desires are about to be destroyed as the British industries are becoming privatised and soon you will eventually be unemployed, or out on strike. Through impeccable scenic transitions, we are transported to Britain's political home, London where a conflicted Conservative MP, a direct American CEO and a quirky road are planning to fight against the prevailing miners and force them to return to their duties. Steel’s narrative is exceptionally riveting due to the consistent flow from the minute the performance commences through to the finale, which will be tear-jerking moment, even for a grown man. The play instigates that the government will always be the dominant force and that change is inevitable which the working classes will have to do as they are told. I wonder what the Arts Council will be making cuts to this year? The dialogue has any engagement and this was noticeable in the Hampstead Theatre auditorium. The performances by the company of ‘Wonderland’ were portrayed with incredible grandeur. Nigel Betts is wonderful as Robbo, and he appears to be a kind of father figure to the two new recruits and would stand up to anyone who would be troublesome to the mining community, for example the police force. David Moorst is outstanding as Malcolm, one of the two new recruits. I found it increasingly saddening when he's having problems providing  for his wife and baby, and when he considers and eventually massacres his dog, it's a moment that would deeply move you. The Hampstead Theatre's Artistic Director, Edward Hall directs and his work here has been successful in captivating the heart of the mining environment, especially the upsetting moment when we see them stealing miniscule amounts of coal to heat their homes. Ashley Martin Davis’ design is phenomenal as the transformation of the Hampstead’s auditorium into the mine shaft left me fixated and engaged throughout the performance. This is something that one should not give away and for you to witness yourself. The Hampstead Theatre is definitely is proving to be the Off West End venue of the year and ‘Wonderland’ is a beautiful performance and a spectacular experience that one enjoyed immensely.