'Rapture, Blister, Burn' Hampstead Theatre ****

I have been entering the Hampstead Theatre's doors for over a year and a half and my latest visit at the feminist play ‘Rapture, Blister, Burn’ was a pleasant one indeed. The playwright, American Gina Gionfriddo, became quite known in the United Kingdom in 2011 with her play ‘Becky Shaw’ a one minded account of a latter-day Jane Austen. She is now back in Britain and presents us with another humorous and witty comedy that bounds wonderful dialogue and well performed characterisation. However the narrative hasn't got quite as much flare and energy that you'd expect from a Hampstead Theatre production. On the other hand, ‘Rapture, Blister, Burn’ has an impressive and watchable script. The setting behind the play is in a miniature town in New England which stars Don and Gwen Harper, a couple in their early-mid forties, but their lives are not as what they'd expected. Don who is a Dean of Studies at a rather unrefined local college which he doesn't seem to enjoy. To save his rather lacklustre work life he turns to marijuana and internet porn, which soon escalates on him wanting a better sex life. His spouse Gwen, a stereotypical housewife has made it her calling to devote her life to their children and has a slight mental problem, she becomes quite apprehensive when her son's babysitter arrives with a black eye and immediately dismisses her thinking it may cause nightmares for her three-year-old. However a woman from Don’s past arrives, Catherine, a lavish academic and media personality he returns to her hometown to look after her mother who has just suffered a heart attack. Her ultimate motive is to rekindle her romance with Don. Catherine is a devout feminist who looks into the theory of politics within pornography and starts up a class of people to discuss the issue. Unfortunately only two people attend. I found the performances by the entire company to be one of such splendour. Emilia Fox is outstanding as this as sharp and smouldering Catherine, who proves to be a hit with the audience this evening. Emma Fielding's portrayal of the overly obsessive wife Gwen is excellent and I thought that Adam James was extraordinary as the sex fanatic. The direction by Peter Dubois is an interesting one to comprehend as it's very unusual for a male to direct such a feminist piece of work but he constructs it in quite a glorious fashion that can engage both males and females from all corners of society. I found the whole production to know thanks to both pose questions on how feminism works with society today and whether it means anything at all.

'Carthage' Finborough Theatre ***

The intimate fifty seat Finborough Theatre has been presenting new plays and musicals from up and coming writers since it first opened in June 1980 and my first experience here for Chris Thompson’s ‘Carthage’ was a good one to start off with.  ‘Carthage’ draws from the playwright’s experiences of 12 years as a Social Worker, of who he dealt with young offenders and he creates an unflattering portrait of life within a young offenders institute and the pressures of social work.  We see teenager Tommy being forcedly controlled by three prison guards because Tommy is a live wire and makes his social workers, Sue’s life a living nightmare and his mum, who was 15 when he was conceived is not a brilliant influence towards him and it is shocking to learn that there are 73 files to document her incredibly frenzied history. Thompson’s writing is of a good standard for an emerging playwright, but some scenes are far too long for one to really engage with and the over use of foul language is unnecessary especially “c***t”. On the other hand, the characters are well developed and satisfactory wit through Thompson’s dialogue. I thought that the performances were very good, in particular the three lead characters. Jack McMullen, who you may know from popular BBC drama ‘Waterloo Road’ portrays Tommy’s mix of vulgarity and vulnerability to a good standard of finish. Toby Wharton provides us with a sensitive approach as the guard Marcus, who’s incredibly harsh with his words and actions but the character can be subtle when he needs to be. Claire-Louise Cordwell is ultimately petrifying as Tommy’s mother where she is full of anger and an intense range of sarcasm that makes you gasp by her immense rudeness towards authority figures. Robert Hastie’s direction is an interesting one as we are made to feel like voyeurs and court jurors in traverse styled staging and as the Finborough Theatre is an intimate space it feels somewhat uncomfortable due to the fact that the play is full of fury and violence. It does make you question the responsibilities a parent has in ensuring a good life for his/her child. I found James Perkins’ design to be one of such emptiness and allows the audience to focus more on the actual action that the performers are trying to convey, which is wonderful indeed.  I will definitely see more work at the Finborough Theatre in the near future. 

'Strictly Come Dancing Live!' The o2 Arena ****

The annual ‘Strictly Come Dancing Live!’ tour has recently finished its journey across the United Kingdom and the performance I saw at The o2 Arena was simply glittering in all elements.  The tours’ basic plotline is simple, it’s a live version of the ever popular television series that has been engaging audiences of all ages on Saturday nights since 2004 and the tour is a welcomed addition to this elegant format. One of the aspects that make the show as spectacular as it is is the audience’s reactions to it and the 10,000 seat arena that is always full really captures this. I think that this year’s casting is amazingly thought of with the reigning champion Abby Clancy and runners up Natalie Gumede and Susanna Reid leading and of course firm favourites Ben Cohen, Nicky Byrne, Mark Benton and Deborah Meaden which brings the production to focus. The show is directed and written by ‘Strictly Come Dancing’s Mr Nasty, Craig Revel Horwood and it’s a superb piece of direction and writing and it brings the BBC television format to arenas and it’s a wonderful entertaining performance. I found the judging panel formed of the TV judges Craig Revel Horwood, Len Goodman and Bruno Tonioli (Darcey Bussell is absent here) were greatly performed and again captures the essence of the television programme to a good standard of finish, and of course provides the comical elements of the production. Lisa Riley’s role as the host was of an acceptable level of finish, but I thought that her voice sound rather breathy and the clarity in her pace and projection needed more work to establish a well-rounded performance.  The dance routines by ‘Strictly Come Dancing’s popular professional dancers Artem Chigvintsev, Kevin Clifton, Karen Hauer, Natalie Lowe, Iveta Lukosiute, Kristina Rihanoff, Aljaz Skorianec and Robin Windsor were beautifully performed and the reaction from the vast audience towards this was electrifying. I would have liked to have seen a Ballroom and Latin American dance company being involved in this aspect of the entire production. I found that Allan Roger’s musical direction were graciously thought of and encapsulates the atmosphere that you are part of the ‘Strictly Come Dancing’ experience.  The use of television cameras and LED screens on either side of the set were a great touch as it immersed you into the world of television making and in a television studio. It was a wonderful show.

'From Here to Eternity' Shaftesbury Theatre ****

Throughout the end of 2013 we have seen that one-time collaborators Sir Tim Rice and Lord Andrew Lloyd Webber staging two rival shows ‘Stephen Ward’ and ‘From Here to Eternity’.  This review is based on the production ‘From Here to Eternity’, which is set on Pearl Harbour, just before the Japanese attack where Sgt Milt Waden (Darius Campbell, who takes his accent from Clark Gable) is becoming lustful with his commanding officer’s beautiful wife, Karen (Rebecca Thornhill). Milt is a man who is direct to the point and within 15 minutes of the entire show he says to Karen “I want to go to bed with you” and from this they are having sexual intercourse on the kitchen table. It feels that circumstances happen too rapidly for one’s liking so the narrative and writing needed more work in ensuring that romantic moments are thought of with tenacity and ease.  This meant that the narrative did disappoint me slightly. In addition to this, I think that Campbell’s portrayal as Milt was slightly unromantic to other male-leads that deal with passionate moments e.g. the Phantom in ‘The Phantom of the Opera’ and Jerry Travers in ‘Top Hat’. His characterisation in these crucial scenes would have made more of an emotive statement to the whole show. The performer, for me that steals the limelight from Campbell and the entire company is Ryan Sampson who plays Private Angelo Maggio and his rendition of “I Love the Army” after the interval is a showstopper and nearly leaves a lump in the throat. It is a definite contrast to his performance as Luke Rattigan in ‘Doctor Who’ where he played a young genius who thinks he is far more intelligent than everyone else. I find that male leads should learn from Sampson as he provides the magnificent moments in this musical theatre piece. Tamara Harvey’s direction for ‘From Here to Eternity’ is amazing as she has been able to capture the elements of war and how young men felt that to make their families proud that they would have to enlist to the army to make this possible.  She has thought about the attention to detail in putting on a good production.  I have to commend Javier De Frutos for his outstanding and ingenious choreography as the precision of the dance sequences were performed so brilliantly by the entire company.  Once again, another gracious set and costume design by Soutra Gilmour and as I have mentioned in previous reviews I think that she is a sublime in every piece of design she set her mind to.  I have to say it is a shame that ‘From Here to Eternity’ is closing far too early but that’s the nature of the Theatre Industry.  

'The Phantom of the Opera' Her Majesty's Theatre *****

One of the most successful musicals of all time ‘The Phantom of the Opera’ has been moving audiences from around the globe since it first premiered in 1986 and for me twenty eight years later it still has that sparkle that it must have had all those years ago. For those who do not know of the story, written by Gaston Lerouse in 1905, we are transported to the Paris Opera House, of course in 1905 where an auction of old theatre props is taking place and from this Lot 666 is explained which is a shattered chandelier, this has become a spectacle in British musical theatre and this soon rises out into the audience and posited as it once stood and from this the plot begins. I have not seen ‘The Phantom of the Opera’ since 2010 and for me four years later it still amazes me at how the narrative still captures audiences imaginations and emotions from when Michael Crawford stepped out as the original Phantom nearly thirty years ago. The current Phantom, Geronimo Rauch is outstanding as he encapsulates a disfigured man who becomes obsessed with Christine Daae, a Swedish chorus girl and coaches her from behind a mirror in the art of opera to make her a miraculous singer and performer. It’s a romance story that turns into a tragedy as Christine, played so effortlessly by Olivia Brereton takes advantage of the Phantom’s gift and forms a love story with the slightly pompous Raoul, Victome de Changny (Sean Palmer) and this aggravates the Phantom immensely as he feels that Christine belongs to him. The musical is most definitely Lord Andrew Lloyd Webber’s fruitful show to date and it’s a personal one as it was intentionally written for the woman who has was passionately in love with at the time, Sarah Brightman, who was cast as the original Christine. The production’s musical numbers are without doubt engaging and will still move an audience of both men and women to tears. “The Phantom of the Opera” and the “Overture” always gives me goose bumps and this was not lacking here and “Masquerade” provides an electrifying moment that will make you want to join in with the action. Charles Hart’s lyrics are simply magical and this show was his West End debut and he has never looked back. The direction by the brilliant Hal Prince still has the believability that it must have had way back in 1986 and the work in creating the romance between the Phantom and Christine is outstanding as Prince has worked with this in comprehensive detail. What a wonderful job it is too I might add. The sequence with the boat is extraordinary. Gillian Lynn’s chorography is captivating throughout and Maria Bjornson’s design is phenomenal. Here’s to another twenty eight years and long may it continue to inspire audiences. 

'Happy Days' Young Vic ****

You may be quite surprised by this statement that I am about to express to you today but I have never seen a Samuel Beckett play before. So when the Young Vic’s newest offering ‘Happy Days’, Beckett’s 1961 play was announced, it seemed fitting that I should go and witness this and from going to see it I feel it is a show you should most likely go and see and my fellow critics have been quite unanimous in that. The role of Winnie, one of the most formidable parts for a woman has been portrayed by the likes of Madeleine Renaud, Felicity Kendall, Natasha Parry and the ever wonderful Fiona Shaw.  However, the role of Winnie this time around is Juliette Stevenson whose version of Winnie seems very British through clear and concise thought of the middle class people in society. She seems to have incredible strength in her lower body due to the fact that Stevenson is submerged from her waist down throughout the first act and when we return after the interval she is covered from the neck down. She definitely has such diligence as she never moves from one spot in the entire performance so an enormous well done to her for her tenacity and bodily strength during the whole show.  Her movements are exceptionally executed and conveys the eccentric and whimsical personality that Winnie flamboyantly presents to us and I found her vocal delivery to be one of unbelievable pace and intonation that you soon become enthralled by the troubles that Winnie’s experiencing and at points you become moved by what she is speaking. It has been gratifying to see Stevenson returning to the British stage and her attention to detail when it came to using Winnie’s possessions such as her handbag, toothbrush and mirror were beautifully achieved. The sound within this production is vastly frightening as to convey a claxon or a pneumatic drill, just like Winnie herself who appears to have a panic attack every time she hears it, we seem to feel her pain due to the intense vibrations through the auditorium floor. Well done to Tom Gibbons for his extraordinary sound design here.  I thought that Natalie Abrahami’s direction for ‘Happy Days’ is outstanding as she captures the rise and fall of society where in the 21^st Century we are always being careful with money etc.  She seems to have worked with Stevenson so affectionately that I do not care in the slightest that the play is female dominated. What can I say about Vick Mortimer’s design here? It’s simply spectacular and engaging in the most positive way imaginable and when you enter the auditorium you will be stunned at how phenomenal it truly is. I enjoyed my first Samuel Beckett and one you should go and see. It’s worth the money.