'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.