'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. 

'Breeders' St James Theatre ***

We have seen a gargantuan amount of progress with the acceptance of gay and lesbian relationships, and with marriage now acknowledged as legal, the next stage is the positive reception of gay and lesbian couples bringing up children. Contrariwise, this still proves problematic. Ben Ockrent’s up-to-date play, ‘Breeders’ exclaims the penetrating pressures of making babies within peculiar circumstances, and how titillating it is to witness such processes in actions. The production commences with Andrea, and her wife Caroline, who are both exceptionally successful people; they have abundant jobs, a passionate relationship, and have just moved into a colossal home. Regrettably, something is absent from their lives, and this is a baby to call their own. Whilst on a traditionalist Christmas atmosphere, along with Andrea’s brother, Jimmy, and his partner Sharon, a solution could be solved so that a baby could be conceived that combines both Andrea and Caroline’s genes. This is by utilising Jimmy’s sperm to make this strategy a rewarding one. To ensure a trusting alliance, Jimmy and Sharon are invited to reside with Andrea and Caroline, and they agree to their request. The play does demonstrate uncharacteristic conditions, such as when Jimmy has to masturbate almost daily to guarantee hopeful results and Caroline has to use an array of instruments to insert the sperm cells into her uterus. However, after months and months of endeavours, there are less than pleasing outcomes. Unescapably, friction between both couples exudes, and Sharon is driven to moving out of Andrea and Caroline’s, as well as parting company with Jimmy. Jimmy appears vastly depressed, and is compelled to consume enormous amounts of alcohol to soften the pain. Ockrent’s narrative is of an agreeable standard here as it’s absorbing to observe an abnormal situation become explosive. Paradoxically, some of the comic elements within the dialogue were unnecessary, but the audience in attendance here at the St James Theatre seemed to revel in this hilarity. One found the performances by the company of ‘Breeders’ did present some charming moments. Tamzin Outhwaite and Angela Griffin are fascinating as the lesbian couple, Andrea and Caroline. The two actresses conveyed the desperation that the characters need to ensure that the desire for a baby becomes reality with such sensitivity. Furthermore, their performances enabled us to observe the strenuous pressures that Caroline has to deal with from her overbearing spouse Andrea’s obsessive persona. Nicholas Burns and Jemima Rooper are pleasing as the other duo, Jimmy and Sharon. We almost become sympathetic towards Sharon as she is isolated from the other three, who are concentrating on the baby making processes. Tamara Harvey’s direction is complimentary as she is captured the realisation of conceiving a beautiful specimen from obscure circumstances, and she presents this subject with amassed delicacy. James Perkin’s set and costume designs are excellent as he’s engrossed the environment of a newly renovated home with grandeur. Additionally, it enables us to become hopeful that this will ultimately become an actual family environment. Overall, I found the experience of ‘Breeders’ to be congenial one, despite a few of the amusing moments should've been preventable as it lacked finesse.

'Ghost from a Perfect Place' Arcola Theatre ****

Gang culture has changed dramatically over the decades, especially within the United Kingdom with female gangs becoming tremendously apparent, and Philip Ridley’s play, ‘Ghost from a Perfect Place’ indicates the modifications between male mobs from the 1960's, to the expansion of female gang culture throughout the 1990's. ‘Ghost from a Perfect Place’, written in 1994 introduces us to senior-citizen, Torchie Sparks, who's been nurturing her granddaughter, Rio since her daughter died in her teens. On one morning, she is impolitely interrupted by someone from my past, former gang leader, Travis Flood,  a somewhat suave and sophisticated person who adores silk tailored suits, and is known for is humongous personality. The two reminisce about their greatest moments; such as when Travis used to covertly sneak into the cinema where Torchie and a husband used to work. Unfortunately, such memoirs prove too much for Travis as it reminds him of the unrefined and brutal person he once was. His dastardly activities included burying his victims within the drying concrete of the Bow flyover over when it was in construction. The character Travis Flood is a reminder of the notorious Kray Brothers who tormented their targets in any situation imaginable; this inevitably commences the dark nature of the production itself. Over the course of the evening, when Rio and her two accomplices, nicknamed Miss Sulphur and Miss Kerosene arrive, we see the inhumane nature that the girls possess, especially the ghastly scene where they violently burn cigars on to Travis's face, leaving significant scorches. One must advocate that there was a momentous amount of shudder that radiated through one's body. The production designates that each side is flawed with their attempts to change how people perceive them and their immense strength to eradicate anyone who doesn’t prove their worth. Ridley’s narrative is severely dark and increasingly gripping as we hunger for what will happen next. The performances by the company of ‘Ghost from a Perfect Place’ were spectacularly fascinating to witness. Sheila Reid is excellent as the doddery Torchie Sparks. One thought she conveyed the innocence of a woman who is none the wiser that Travis is in fact Rio's father. It is pleasant to see Reid in a completely different persona than the one she portrays in hit ITV sitcom, ’Benidorm’. Michael Feast is gratifying as the former gangster, Travis. He signalled an intriguing insight into the dishonourable act of being a leader of a gang with brilliant vocal projection and characterisation. Florence Hall is vivid as the troubled female gang leader, Rio, in particular how she feels about the lack of both mother and father figures, and she proved quite frightening with her collaborators, Miss Sulphur (Scarlett Brooks) and Miss Kerosene (Rachel Redford). Russell Bolam's direction is delicate here, as he has captured the comparisons between how gang culture developed since the 1960’s, and with the introduction of the female gangs were well considered. Such a sublime revival that saw In-Yer-Face-Theatre become established. Anthony Lamble's design is gorgeous as he is encapsulated an East London flat, that has probably seen better days with exceptional attention to detail, especially the palpable effects of the  aftermath of a recent fire, which was caused by Rio. Overall I found the experience of ‘Ghost from a Perfect Place’ a most cherished one and they definite visit to the Arcola Theatre.

'Albion' Bush Theatre ****

There has been a misconception within contemporary society as to what is English culture, exclusively in London where there is a multicultural civilisation, and the Bush Theatre’s newest production of Chris Thompson’s, ‘Albion’ is one that sensibly and humbly teaches us how ethnic groups should endeavour to work in good harmony. ‘Albion’, Chris Thompson’s second published piece of work is set within an East London pub called The Albion, where the many karaoke nights are taking place with youngest brother, Jayson, an early-twenties gay man is a key enthusiastic  with this medium of entertainment, is having a closely private relationship with Aashir, a mid-twenties Asian. The romance has been kept secretive due to the fact that Jayson's eldest sibling, Paul, and black friends, Kyle are both extraordinarily racist towards the Asian community, and are somewhat homophobic too. In addition to this, the pub is the unofficial home of the English Protection Army, which is governed by Paul, and assisted by Kyle because Paul and Jayson’s sister, Poppy, a soldier Poppy has been massacred and publicly lynched on the tree. Understandably, both brothers and Kyle are furious and hell-bent on revenge by instigating a protest, pleading with the government to remove the entire Asian race from Great Britain. Conversely, it appears that Jayson and Aasir’s relationship seems unaffected by this, and Aasir makes the effort by practising some karaoke to arouse Jayson's passion towards him. In contrast, the performance conveys a mayoral campaign between Paul and former social worker, Christine who believe that we should retain English values.  Their tactics to win are extremely poles apart, as Christine’s persona gives the impression of warmth and charisma, compared to Paul’s vile approach, as he is unaccepting  to changes within the English culture. Thompson's narrative is hugely compelling, as the combination of well-known karaoke favourites were ingeniously creative, as it expanded the play’s themes in comprehensive detail. The performances by the company of ‘Albion’ were enthralling throughout. Steve John Shepherd is divine as this somewhat idiosyncratic Paul. One thought he showed the prejudiced individual with incredible supremacy. Tony Clay is magnificent as Paul's young gay brother, Jayson, in particular his undying passion towards his beloveds karaoke evenings. Dharmesh Patel is beautiful as Jayson's love interest Aahir.  His determination to become confident in singing in front of everyone without any trepidation whatsoever, and the elements of love with Jayson were extremely captivating. Natalie Casey is elegantly unmatched as Christine, in particular the scenes with her former client, Leanne, and how manipulative she can be especially in her campaign to become Mayor of Tower Hamlets. Ria Parry’ direction is fetching as she has captured quite thought-provoking themes with spectacular panache, and the attention to detail through impeccable characterisation proved such amazement. James Button’s design is phenomenal as the atmosphere in the interior of The Albion has been created with increasing richness and the scenic transitions were quite flawless. Rebecca McWalter’s production carpentry is mesmerising, especially the realised bar area, as well as the other scenic components of the production. It appears that the Bush Theatre is on top form, with the popularity of the previous occupant, ‘Perseverance Drive’, as this one is on par too. In conclusion, the experience of ‘Albion’ was exceedingly pleasurable, and I'd recommend this to you.  

'The Flouers o'Edinburgh' Finborough Theatre ***

What a fearful experience the United Kingdom has faced with the indefinite independence of our beloved Scotland, thankfully today the results were announced with a 54% majority to remain as part of our phenomenal nation. The Finborough Theatre's recent premiere of Robert McLellan’s 1948 piece of playwriting, ‘The Flouers o’Edinburgh’ was one that required further vigour, especially within the narrative, then again the performances were well accomplished. ‘The Flouers o’Edinburgh’  is  set in the mid eighteenth century Edinburgh, where tension is massively strife as Scotland has become entwined with England, and when the  pretentious Charles Gilchrist has returned to his home city, after his English higher education gives the impression he hungers for his fellow Scots to refine their spoken language and stance. At the start of the production the action takes place at the apartment of Lady Girzie Athelstate where she is anxious for her niece, Miss Kate Muir of Primrose to find a possible and suitable suitor for her. Nonetheless, the expectant husband is her childhood friend, Charles, and since his English education has left him with a warped accent, and dissimilarities are increasingly cosmic does not appear that this is that the most fruitful solution. This leads to an array of arguments, and when English Captain Simkin develops a fascination toward her, a slight insinuation of jealousy exuded through Charles, and tension becomes apparent between the two men. The play allows us to witness the interesting relationship between Lady Athelstate, and her servant, Jock Carmichael, as it appears that they have one of exceeding wit, especially when Jock’s blunt honesty is spoken openly when he’s been given a humongous list of chores, and his uncouthness is increasingly jaw-dropping. McLellan’s  narrative is quite mediocre in places, as the speed and course becomes dwindling , in particular within the first act as there were not ample gripping aspects here. Paradoxically, the performances by the company of ‘The Flouers o’Edinburgh’ were immensely complementary indeed. Finley Bain is agreeable as the pompous, Charles Gilchrist. One found he engrossed the characters’ growing determination of a man destined to become a member of politics with a good sense of ease. Leigh Lothian is respectable as the niece, Miss Kate Mair. I thought she immersed the pretence of a woman who admires her Scottish heritage and accent with opulence. Jenny Lee is cordial as Kate’s eccentric aunt, especially with in her conversations between her frequent visitors and her most trusted servant Jock, and played so amusingly by Lewis Rae. Jennifer Bakst’s direction is particularly special as she has captured the core of a nation divided on how the newly formed an alliance with England would be positive or problematic one, this provides such poignancy here with the country’s recent vote. Philip Lindley’s set design is beautiful as he is liberated the atmosphere of a mid-eighteenth century environment to such lavishness, in particular in the stencil art on the walls on Lady Athelstate’s flat. Overall, I believed the experience of ‘The Floures o’Edinburgh’ was very watchable, despite the awkward narrative.

'True West' Tricycle Theatre ****

The programming currently within Off-West End and Fringe Theatre, this year has proven to be quite successful and the current production that is presently amusing people at Tricycle Theatre, ‘True West’ was one that has been portrayed with such integrity with shocking elements as well. ‘True West’, originally written by Sam Shepard in 1980 portrays the mammoth differences between two brothers, who give the impression that they need to regularly quarrel with each other to show who is the harder sibling. The play is set in Southern California where ambitious television and film writer, Austin, who is is caring for his mothers’ house whilst she's on holiday is frustrated with his older brother, Lee arrives, after being on one of his adventures appears to endeavour to undermine Austin’s aspirations. From the outset, Lee is an unsavoury character who thieves other people’s possessions due to the fact that his life is hardly thrusting, whereas Austin’s recent project, a romance script has received positive conversations with a producer, where they hope it will inevitably be realised within a studio atmosphere. Unluckily for Austin during a meeting with Saul Kimmer, the producer, Lee rudely interrupts them and instigates a dastardly concept of a Western film idea, which comprehends Saul’s interest with Austin's work to diminish vastly. The production sympathises with the youngest brother, and when he completes a challenge to steal the local residences toasters to show to Lee that he can be prosperous with how he lives is superbly comical, and the array of toasted bread and chaos that is increased throughout the performance was somewhat outrageous. Shepard’s narrative it's exceedingly fluid and amazingly engaging as we witness the rivalry between brothers who have such opposing personalities, and how their prospects changes in ways that one found unfair.  The performances by the company of ‘True West’ were admirably brilliant throughout. Eugene O'Hare is ideal as the hopeful scriptwriter, Austin who engrosses his repugnance when his brother is creating a mockery of his art, and his drunken moments were executed with such magnitude. Alex Ferns is grand as the unpleasant, Lee. I did become slightly scared with the violent rage that he exposes when he is confronted about his journeys across the American desert, with a negative expression. Steven Elliott is marvellous as the traitorous producer, Saul. He suggested how spiteful the entertainment industry can be with such effect and precision. Philip Breen's direction is excellent here as he has staged a revival that can turn and audience’s reaction from laughter to sheer shock. Furthermore, I found that he apprehended the fraught environment of brotherly relationships with tenacity and ease. Max Jones’ set and costume designs are spectacular, as the atmosphere of South Californian home works wonders entirely and the destruction which is progressed through each scene transitions were particularly thrilling. I commiserate with the whole Stage Management team, especially after each performance. Overall, the experience of ‘True West’ was incredibly enjoyable and entertaining, and well worth a ticket purchase.

'Wolf Hall' Aldwych Theatre *****

The first production as part of the Royal Shakespeare Company’s Hilary Mantel’s season has been charming audiences at the Aldwych Theatre since May and ‘Wolf Hall’, which has been dramatically adapted by Mike Poulton, and one thought the performance was flawless in all aspects. ‘Wolf Hall’, originally written by Mantel in 2009 depicts the story of the immense growth of Thomas Cromwell, who was raised in a working-class family to becoming the well-respected right-hand man of Cardinal Thomas Wolsey. We are transported to England, 1527 where King Henry VIII has been leading the country for virtually twenty years, and is growing ever so frantic to obtain a male heir to takeover him once he’s passed away. Determined to divorce his current spouse, Katherine of Aragon so that he can marry Anne Boleyn, he hassles the Cardinal to convince the leader of the Catholic Church, the Pope to grants the annulment he's desperate for. Henry VIII grows impatient as there does not appear to be any significant progress, which contributes to the Cardinal’s working relationship to cease, and he soon converts alliances with the Cardinal’s right-hand man, Thomas Cromwell, a major politician, lawyer and doting father who endeavours to award the king’s yearning for an annulled  marriage to Katherine of Aragon. On the other hand, Cromwell is a ruthless individual who has a secret agenda to somewhat ruin the monarch’s immense power. Additionally, ‘Wolf Hall’ advocates a slight father-son relationship between Cardinal Thomas Wolsey and Thomas Cromwell as we are welcomed to eyewitness a tender moment where Cromwell is worried about the Cardinal's health and well-being when King Henry VIII has banished him from working alongside him. Poulton’s narrative is supreme and the writing is vastly comical and emotive equally. Such a divine rendition of Mantel’s novelisation. The performances by the company of ‘Wolf Hall’ were sublime throughout the entire show. Ben Miles is spectacular as the slightly callous, Thomas Cromwell. One found that he portrayed a malicious attempt to make Anne Boleyn to appear increasingly pompous to such precision and characterisation. Paul Jesson is wonderful as the church’s representative, Cardinal Thomas Wolsey. He created a gracious performance when he feels quite betrayed by the King, who has inevitably made him homeless, and he thinks he will never be as popular as he once was. Lucy Briers is affluent as the King's current wife, Katherine of Aragon. I particularly admired her determination to not be overlooked in the King's eyes, especially their daughter’s status in the Royal hierarchy. Once again Jeremy Herrin’s direction is brilliant as he has condensed the story of Thomas Cromwell's rise of status with such flair and élan. Christopher Oram’s set and costumes were unbelievably spellbinding and fully stylised the era with pleasurable realisation and creativity.  Nick Powell’s sound design here was predominantly curious and I found the soundscape when I entered the auditorium encapsulated a stimulating atmosphere.  Overall, I found the experience of ‘Wolf Hall’ to be an elegant to one. 

'King Charles III' Wyndhams Theatre ***

Once again, another production from Islington's Almeida Theatre has transferred to the West End. This time, we are welcomed with Mike Barlett's latest play, ‘King Charles III’, and one thought that the writing was not as enthralling; however the performances are vastly appealing. ‘King Charles III’ is a futuristic play that portrays the events after the demise of Queen Elizabeth II, and how Prince Charles is finally being allowed to reign over United Kingdom and the Commonwealth. The timing of Charles's supremacy is faced with glitches from the outset as King Charles III and the country's current Prime Minister, Mr Evans appears increasingly oppressed. Furthermore, the performance conveys the question whether Charles is appropriate to rule the country, or should he abdicate so so that Prince William can become the monarch of our great nation. Charles inevitably makes a humongous amount of mistakes during this time on the throne; such as not allowing the Prime Minister to walk away with a willing signature on changes to the law, meeting with the leader of the opposition and the eventual dissolving of Parliament. In addition, ‘King Charles III’ invites us to witness the conniving nature that both Prince William and Kate possess so that they will command the country, and we see them conjuring a plan to ensure that Charles abdicates, in collaboration with the Prime Minister. This ultimately instigates a somewhat bitter contension between them and Charles and Camilla. The friction is emancipated when Charles is faced with this treacherous stipulation. One thinks that the play is to devise a negative representation of the Royal family, in particular the approaches Charles has to protect himself and Buckingham Palace, with excessive protection of the armed forces and the ridiculous position of a tank outside the palace itself. Barlett's narrative is not that satisfying and some moments are inadequate; such as the ghostly figure of Charles’ first wife, Lady Diana Spencer, or as we know as the elegant humanitarian Princess Diana. Paradoxically, a number of aspects were slightly amusing, which pleased me immensely. The performances by the company or ‘King Charles III’ were delightful and captured the spirit of the Royal family. Tim Pigott-Smith is sublime as the slightly cantankerous and idiotic, King Charles III. One thought he encapsulated an old man who is desperate to have his chance of running to a pleasing and watchable standard. Adam James is gracious as the British Prime Minister, Mr Evans, in particular when his frustration becomes apparent when Charles appears confrontational when explains that the monarch should not obtain enormous power. Oliver Chris and Lydia Wilson are intriguing as the Duke and Duchess of Cambridge. I enjoyed how vindictive they were in their quest to become the crowned heads of the United Kingdom of Great Britain and Northern Ireland. Rupert Goold's direction is courteous as he is summarised the fictitious nature of the Royal family and their secretive quarrels excellent standard of precision. Thomas Scutt’s design is outstanding as he has crafted a regal atmosphere with tenacity and ease, and I found it quite mesmerising actually. Overall, one found the experience of ‘King Charles III’ to be an affable one.