'Hangmen' Wyndhams Theatre *****

Hanging was seen as a public event, but when hanging was kept off the record and prison officers and management executed the miscreants in such a barbarous manner without prior confirmation, what would transpire if an innocent man was hanged without a professional investigation? The West End transfer of Martin McDonagh’s play, ‘Hangmen’ which sold out in its run at the Royal Court was an unparalleled marvel of show, not to mention, the depictions were transcendently stunning.   

‘Hangmen’ is located in a small Oldham pub where we are familiarised with pub landlord, Harry who was infamous as the second-best hangman in England. The reason why he became a pub landlord was due to the fact that he and his colleagues wrongly hanged an innocent man by the name of, Hennessy (Josef Davies) for a crime he didn’t commit. Two years later, he along with his wife, Alice and daughter, Shirley (Bronwyn James) have adjusted to their new lives with an array of devoted locals such as; Bill (Tony Hirst), Arthur (Simon Rouse) and Charlie (Ryan Pope)who appear to spend their time sipping beer and chomping on peanuts at the same time, seven days a week.  They are informed that there is a serial killer on the loose and Harry’s former assistant, Syd (Andy Newman) explains that the serial killer is the same man who they were supposed to have hanged two years ago. When peculiar and youthful male, Peter Mooney arrives on the scene, people become suspicious of his presence, on the contrary, Harry’s daughter, Shirley seems drawn to him and as he gives her some level of affection, which she rarely receives. This gives Peter the perfect opportunity to manipulate her without her knowing this in such a cunning manner and as the days plod on by where Peter has become a regular of the pub and when he and Shirley are left on their own he invites her to go to the beach.  Alice is obviously concerned that he could be using her daughter just to have his wicked way with her. When Shirley doesn’t come home Harry and Alice are really worried and as Peter took Shirley to the beach, he becomes the foremost suspect and over the course of the performance, they are informed that their daughter has been murdered in a garage which is right by the seaside. Understandably, Harry is incensed and is sought out to cause Peter an immense amount of pain and when Peter returns to the pub in the hope of renting a room in the flat upstairs he is perplexed by Alice’s defensiveness.  Harry, when he sets his sights on Peter, he goes ballistic and with the help of Syd and the pub’s locals, they kill Peter or so they think but when Inspector Fry (Craig Parkinson) and Albert Pierrepoint (John Hodgkinson) are inspecting the local area, they are none the wiser that Mooney is currently hanging behind a closed curtain in an area of the pub, Unfortunately, Pierrepoint removes a chair that Peter is standing on and he is coldly murdered and at the finale, it is known that they have found the serial killer and it was not Peter, so it seems that they have exterminated the wrong man, once again for Harry and Syd.  McDonagh’s narrative is stupendous as this black comedy combines both the obvious humour with the serious moments as the story about the abolition of hanging and how those involved in it have to re-acclimatise to the  circumstance and with a serial killer about, could they find him and be forgiven? 

One found the performances by the company of, ‘Hangmen’ to be amazing as the camaraderie of the actors were terrific, as well as, their vocal projection travelled right through the entire auditorium without any fluffed lines and the choreographed fight sequences  were astonishing. David Morrissey is marvellous as central protagonist, Harry; expressly how he seems somewhat unable to modify his life in which in order to earn a living he has had to re-train and manage a business which is polar opposite to his previous occupation as the country’s second-best hangmen so it must be difficult. Johnny Flynn is hilariously chilling as freakish, Peter Mooney; principally how he can make a group of people in a pub immediately turn around to look at him which means he is unwanted or unwelcome as he is not a regular, furthermore, his facial expressions in some aspects  were particularly unnerving which was brilliant to see. Sally Rogers is glorious as Harry’s wife, Alice; mainly how a like she is to the stereotypical landladies you would find in soap operas i.e. Bet Lynch, Angie Watts, Peggy Mitchell and Chastity Dingle, in addition, the devotion she has to her husband was quite pleasant to see. 

Matthew Dunster’s direction is awe-inspiring here as he has been able to shape a production that centres around the black humour that has been missing in theatrical art for some time, moreover, the show really captures the bleak and distressing atmosphere of a serial killer that is on the loose and the end of hanging and people’s jobs are at risk. Anna Fleischle’s set and costume designs are magnificently charming as the set of a prison interrogation room which then rises up like hanging is about to rise to a heavenly place to a typical Victorian pub in seconds shows how rousing her set is, what is more, the scenic construction and scenic art is impressive. Overall, the experience of, ‘Hangmen’ was an outstanding new play with a sort of re-invigoration of dark comic plays to today’s audiences.

'Waste' National Theatre, Lyttelton ****

A hung parliament in any notion can ascertain a significant level of problems as some actions could be quite tricky for its people to distinguish which ideas belong to which party, in addition to this, how controversial bills can be agreed to be materialised by the MP’s and to King/Queen him/herself? The National Theatre’s production of Harley Granville Barker’s 1920’s notoriously banned play, ‘Waste’ enables us to explore the backstage events of the inception of orders within two parties, and furthermore the performances were gleaming throughout.

‘Waste’ is set in London and the outskirts of London where we are acquainted with Independent MP, Henry Trebell who is at present proposing an arrangement with the Tories to enable a bill where he hopes to extinguish the Church from the State and to convert the building into new schools. However, there could be problems as Henry has had an affair with a married woman by the name of Amy O’Connell who is now pregnant with his child after they met at the house of Lady Julia Farrant (Lucy Robinson) whose guests included the doddery Lady Mortimer (Doreen Mantle). Amy’s husband, Jamie O’Connell (Paul Harley) a Fenian activist who is just been interned by the incoming Prime Minister informs that his wife has died due to the fact that she has had a butchered “criminal” abortion and states that the baby was not his. As you’d envisage from this, Henry’s plans are beginning to unravel as this would cause immeasurable controversy at the affair could be exposed by the British Press, as such; a meeting is set to discuss this by those who Henry is trying to convince to side with him on this bill. This included Cryril Horsham (Michael Elwyn), Sir Gilbert Wedgecroft (Andrew Havill), Russell Blackborough (Louis Hilyer), Lord Charles Cantiilupe (Gerrard McArthur) and Jamie O’Connell. They are concerned that if they collaborate with Henry and if the situation of the affair with Amy O’Connell is written about in the paper, then their careers could be ruined, so a lengthy meeting goes on. The outcome is not what Henry wants because there is a unanimous “no” vote to work alongside him and Henry knows his career is finished before it has really started. Moreover, as he hasn’t slept that whole night he becomes increasingly depressed. Over the course of this period, Henry’s sister, Frances Trebell endeavours to help her brother through this. On the other hand, it appears that Henry cannot move on from this and when he goes to his bedroom, he shuts the door, locks it and commits suicide as he must have been in such pain and sorrow. At the finale, Henry’s secretary and assistant, Walter Kent (Hubert Burton) is exceedingly emotional where he cries at his desk as he saw Henry as a male role model,  with this, he and Frances switch off the lights in a bleak and gloomy empty office and consider if Henry’s legacy will ever be noticed or not. Granville Barker’s narrative is educationally energizing as we are trying to figure out whether Henry could be forgiven for his appalling behaviour and how politician’s personal lives are not exactly private and that they should think of this before they do things.

One found the performances by the company of, ‘Waste’ to be stimulating as there is an effortless amount of clear vocal delivery and sensible movements by the whole company. I’d also like to commend Wendy Spon’s casting as the actors seemed to fit the roles with such tenacity. Charles Edwards is wonderful as disgraced Independent MP, Henry Trebell; especially how his vision for the eradication of the Church of England falters because of his affair with a married woman and getting her pregnant ultimately leads to his demise. Sylvestra Le Touzel is swell as Henry’s sister, Frances; specially to role she plays on her brother’s life in which it is quite strong and as she strenuously tries to prevent her brother from hurting himself you can see that it’s going to be a difficult task, furthermore, this relationship is moving from to start to finish. Olivia Williams is pleasing as Henry’s conquest, Amy O’Connell; chiefly when she is sat in Henry’s office crying as she knows what having a baby out of wed-lock at this time was understood as deplorable and worse of all, having a child in an affair scenario was regarded as sickening and barbaric. 

Roger Mitchell’s direction is peachy here as he has conveyed a production that focusses on how we as individuals should remember on our responsibility as professionals and that your personal life can immediately destroy your career as it has done with Henry Trebell, plus, the characterisations were extremely polished. Hildergard Bechtler’s design are interesting as the magnitude of the simplicity of locations for example a stately country house to an office/home of a politician captures the troublesome aspects of Henry’s career departure,  as well as, the scenic construction really connects with the dark lighting design by Rick Fisher with panache. Overall, the experience of, Waste’ was a grand one as we can see how theatre censorship and the role of the Lord Chamberlain affected theatre until its untimely death in 1968.

'No Villain' Old Red Lion Theatre ****

Rediscovered pieces of dramatic art, either a play or musical is without any shadow of a doubt an exhilarating prospect especially if it’s a world premiere performance of a famous playwright’s first play. The Old Red Lion Theatre’s production of Arthur Miller’s very first play, ‘No Villain’ which was written in his sophomore year at college in 1936 was categorically a miraculous presentation of the illustrious writer’s first play, to boot; the representations were exceedingly heavenly throughout.

‘No Villain’ is set in New York City, 1936 where we’re introduced to the Simon family who’s apartment is really crowded and seem to be living on top of one another and are becoming poor due to the Great Depression. The father, Abe who owns a clothing business is facing a radical decline in trade, as well as, a strike is currently occurring which meant that distribution of his garments is almost impossible. His parenting style appears too magisterial where his son, Ben was forced to leave college and work for his father, paradoxically, Ben’s youngest brother, Arnold “Arnie” (Adam Harley) is at university studying writing who has become an admirer of Communism.  Arnie is about to return to his parent’s home which leads to his mother, Esther and sister, Maxine (Helen Coles) becoming slightly anxious as Abe doesn’t approve of Arnie’s life choices.  We see that Abe is desperate for Arnie to leave university and pursue a career in the family business, on the other hand, Ben is hell-bent determined to stop his father ruining his life just he had done so to his.  When Arnie arrives Esther and Maxine are thrilled to see him, however, as the apartment is overcrowded he has to sleep on the armchair in the living area.  At Abe’s shop, trade is immensely slow and Abe’s employee, Frank (Anton Gross) has to battle his way through the picket line and with racial prejudice’s ever present it’s a challenging time for all concerned. Over the course of the performance, the Simon family face an enormous of tests  as Grandpa Barnett (Kenneth Jay) is having serious health problems and with Abe’s frequent pressures when he declares that Grandpa Barnett has to contribute or he will have to leave causes Grandpa Barnett to suffer a mammoth stroke. In the period of a few visits, the Doc (Steven Omer) has to break the very sad news that Grandpa Barnett has died. The entire Simon family are left devastated. Abe demands to Arnie that he has to work at his shop or there may be severe consequences. At the finale, Ben’s emotions take its toll and he throws all the guests at the wake out of the apartment and informs Abe that he has been an awful father and that he was the cause of Grandpa Barnett’s death.  Miller’s narrative is shipshape as we’re given the impression that Abe’s ideas of what his two sons and daughter should be doing has caused the family a long time of pain and frustration, furthermore, this concept of the arduous father figure can be seen by those in other works i.e. ‘Death of a Salesman’ and ‘A View from The Bridge’. 

One found the performances by the company of, ‘No Villain’ to be spectacularly depicted though outstanding American accents and movements that was tremendously realistic. David Bromley is glowing as father, Abe; centrally when he is always facing trials and tribulations in both his personal and professional life, nonetheless, the his relationship with Ben and Arnie is fraught and this is due to his begrudging personality. Neba Grenshaw is magnifico as Abe’s wife, Esther; in particular where she is so please to have all her children back under one roof but this pleasure soon deteriorates as Abe is making the whole reunion to go beyond the pale and force their sons to pull away from the father and causes upset from her side.  George Turvey is lustrous as the Simon’s eldest son, Ben; fundamentally, how you can see that he doesn’t really like working at his father’s clothing business and this transpires to him to pluck up the courage to tell his father what his actions are doing to Arnie and himself and that he resents him for this. 

Sean Turner’s direction is resplendent here as he has brought to light a play that has finally been given a production that established many of Miller’s techniques that has been continually used in his work after this play. Moreover, he has captured the uneasy atmosphere that has been put to the fore from a difficult man who really does not know how to be with children who are moving on with their lives. Max Dorey’s set and costumes are ornate as with the intimate space of the Old Red Lion Theatre we feel as if we are intruding or being a voyeur delving into the struggles that the Simon family are experiencing. Also, the scenic art and construction is pretty good as it shows how money is a problem for this family now due to the Great Depression. Overall, the experience of, ‘No Villain’ was a really impressive and a total privilege to witness the first ever production of Arthur Miller’s first play.

'Hapgood' Hampstead Theatre ****

Espionage and the microcosm of spying is brimming full of traitors and double agents where deception is a big factor to that occupation where anyone is a pawn in their own game and with the woman progressing into the managerial roles, can a woman really succeed in a male dominated industry? The Hampstead Theatre’s current production of Tom Stoppard’s 1988 play, ‘Hapgood’ was a refreshing and thought-provoking performance about the spy environment where characters such as Judi Dench’s M in the James Bond franchise were not even considered, additionally, the executions were splendidly characterised.

‘Hapgood’ is set in 1988 where the Cold War is nearing its final curtain and we are habituated with British female spymaster, Elisabeth Hapgood where she is finding juggling her career with her role as a mother to a young boy. The play commences with a spoof imitation of a spy scenario as a conveyer belt of dubious people enter a male changing room at a swimming pool in which they swap attaché cases . Conspiracy theories are a foot when vital information has been sent to the Russians and defector; Joseph Kerner and Ridley (Gerald Kyd) are the prime suspects. Hapgood tries her level best to get Kerner removed as a suspect and when, Blair a high-ranking British intelligence meets Hapgood at St. Christopher’s School where she is watching her son, Joe (Sacha Gray/Adam Cansfield) playing rugby, yet, he still suspects Kerner is partly responsible.  He soon informs her that Ridley has been working for the KGB as a double-agent. Suspicion arrives when Wates (Gary Beadle) as he soon suspects that both Ridley and Hapgood as a transmitter found in one of the brief cases suddenly switches itself on in Hapgood’s office; as such he has Hapgood followed.  In addition to this, Hapgood and her fellow colleagues, Merryweather (Edward Hancock) and Maggs (Nick Blakeley) decide to set a trap for Ridley where she meets him at a shooting range. Moreover, Blair remains wary that the briefcase that Kerner was holding had a photo of Joe cleverly placed inside of it.  There is a reason for this as we are informed that Joe is in fact his son.  Joe is kidnapped because of Kerner’s defection and Hapgood’s somewhat meddling and a disk is precisely what the KGB want and when Ridley meets Hapgood’s twin sister, Mrs Newton at her photographic studio he states that she needs to become involved as her nephew is missing and when she knows of this information she says she’ll do her duty to help search for the disk. Over the course of the performance, we learn that equivocation is at the forefront of this industry as Mrs Newton is not real and is actually Hapgood herself and that Blair is behind Joe’s kidnapping so that it doesn’t land into the KGB’s hands.  At the finale with Ridley’s plan in tatters and in police custody, Hapgood and Kerner meet for one last time at their son’s rugby match and he says that he is going to be returning to Russia as his career in spying is over and it appears that the KBG already knew about him being Joe’s father. Stoppard’s narrative is inquisitive as you are constantly wondering what the disk actually contains and his decision to have a female head of secret service conveyed the importance of the progression of women moving into managerial positions.

One found the performances by the company of, ‘Hapgood’ to be wonderfully portrayed; for example how the other characters communicate with one another and the smaller roles such as The Russian (Joe Evans) helped this. Lisa Dillon is admirable as central protagonist, Elisabeth Hapgood; chiefly where her jobs as the head of the secret services and a mother really shows how her personal life is non-existent, nonetheless , the scenes with her son Joe and ex-lover, Kerner captures a different side of her.  Alec Newman is first-class as Russian defector, Joseph Kerner; expressly the moment when he comes into contact with his son for the first time and the slight upset you can see on his face as he realises that he has missed his opportunity of being a father which means he has no other purpose.  Tim McMullen is remarkable as high-ranking intelligence officer, Blair; first and foremost, how his frequent suspicion of Hapgood’s involvement with Kerner encapsulates that no one in the same workplace can physically have a private life and his involvement with Joe’s hostage is mean and cruel.

Howard Davies’ direction is exceptional here as he has been able to formulate a really captivating show about an organisation like the MI5 and MI6 and what cases that could be going on, furthermore, the interpretations from the entire company were well explained and with superb and amazing voice work and movement sequences.  Ashley Martin Davis’ set and costumes were fitting to the environment that the play is set around and with Ian William Galloway’s video designs and installation of 100 screens compresses the poignancy of technology in espionage and what is required to investigate villainous individuals. Overall, the experience of, ‘Hapgood’ was a bit like a theatrical interpretation of a James Bond story and as one likes James Bond films then this is probably why I liked the show.

'Evening at the Talk House' National Theatre, Dorfman **

Theatre at times can present a colossal amount of expectations either an awaited new play, a famous actor, director, designer etc. on the other hand, productions can lead to you becoming very lethargic where you unknowingly drift off to sleep because of how dull the show is. The National Theatre’s production of Wallace Shawn’s world premiere play, ‘Evening at the Talk House’ could have been a hit production, but sadly this wasn’t the case here, by the same token, the performances were adequately depicted.

‘Evening at the Talk House’ is set in the central meeting room of the Talk House where writer, Robert who was once an esteemed theatre writer decided to fly the coop from the outdated theatre environment and progress into writing for TV; especially comedies. He decides to hold a 10^th anniversary reunion to the day of his last theatre play, ‘Midnight in a Clearing with Moon and Stars’ where he invites all those involved to rekindle relationships and see what everyone is up to. Questionably is the reunion such a brilliant idea? As the guests gather for the get together, it appears that things are not exactly going too well for some of the guests with regards to how their careers have advanced. This is evident when proletarian actor, Dick enters the party with dried up blood all over his face due to the fact that he was beaten up by people who are supposed to be his “friends”, to make himself more presentable the shows former wardrobe mistress, Annette (Naomi Wirthner) cleans him up. Over the course of the performance, we see how many of theatre professionals have been able to adapt where they can move into the television industry such as producer of the play, Bill (Joseph Mydell) has become an established talent agent and actor, Tom (Simon Shepherd) has formed an reputable career as a television actor in Robert’s popular TV comedies. Nevertheless, it is clear that the majority of them have lost their passions for theatre and the entertainment industry and who they actually are. But when club hostess, Nellie remains altogether similar to whom she was a decade ago, she constantly reminds them of their past and their original persons 10 years ago. There are cynics present at the gathering where they are immensely negative towards the world and how theatre is no longer a way to propose political issues. Throughout the show, waitress Jane (Sinead Matthews) has a desire to become an actress, yet with such sceptics like the composer, Ted (Stuart Milligan) around the possibilities of her dreams becoming a reality is far from approaching. As the reunion flows, Dick suggests what the theatre and society has been missing over the last decade in a drunken state and how the world has become an atmosphere of full on dread. At the finale, Dick and his ex-friends appear to look at how the world has changed either for the worse or the better where it suggests that the Western and well developed world is going to be going through a decline of some kind means that life will become unbearable if topics are not talked about on stage or on screen.  Shawn’s narrative is discouraging as the whole plot feels too jumbled as with politics, the state of theatre and unemployment into an hour and forty five minute performance caused the plot to degrade itself at many periods as it was unclear. 

One found the performances by the company of, ‘Evening at the Talk House’ to be passable through tolerable American accents, diction and articulation, furthermore the movements directed by Maxine Doyle were acceptable throughout. Wallace Shawn is judicious as faded actor, Dick; especially where his floundering career has made him contemptuous against society and theatre makes him realise that with theatre it allows audiences to become informed with the society of the day.  Josh Hamilton is on the ball as writer, Robert; mainly the humongous and long monologue at the start of the play in which he is striving to help all those in his final theatrical show to remind them about what they have achieved in their careers and to reconnect relationships that have been lost for ten years. Anna Calder-Marshall is notable as club hostess, Nellie; predominantly where she decides to push the party goers that their pretentious attitude is vulgar and reminds them that your moral compass and the people around you are the most integral things you need in your life and that money or success is not at all important. 

Ian Rickson’s direction is befitting here as he has been able to interpret Shawn’s concept which I would find challenging to get a handle on as the muddled storyline does show how a dramaturg would have helped the narrative to achieve its full potential, Sadly this was not put into place her so that is why the director’s vision looks somewhat chaotic.  The Quay Brothers’ set and Soutra Gilmour’s costumes are appropriate as the set appears to look like a run-down function room in a pub in a deprived area and the costumes portray the feeling of who is successful and who is a complete and utter failure.  Overall, the experience of, ‘Evening at the Talk House’ was a vastly slumberous and at times laggard show that is not testament to Wallace Shawn’s writing and acting abilities.

'Dinner With Friends' Park Theatre ****

Being able to confide in your friends is an admirable thing where issues with their coupling is causing huge wedges between them, additionally, the exploration of how relationships can differ from one couple to another, yet can a divorce force a unity of two couples who have been friends for a long time force their friendship to be eradicated almost immediately? The Park Theatre’s production of Donald Margulies’ 2001 play, ‘Dinner With Friends’ is an interesting and sad production about divorce and the impingement  of friendship, not to mention the enactments were beautifully conveyed.

‘Dinner With Friends’ is set in the US state, Connecticut, 2000 or 2001 where we are familiarised with two completely opposite married couples, Gabe and Karen seem to be like the perfectly married coupling, whereas, their friends, Tom and Beth are far from happy as Tom has been deceitful towards Beth as he is currently in a relationship with a woman who is vastly younger than him. At a dinner in which Tom is absent, Beth informs Gabe and Karen that her marriage to Tom is practically over and as you would expect the news is a complete shock to Gabe and Karen. The news causes immense concern with Gabe and Karen as change is on the cards.  Due to the fact that Tom cheated on Beth, Karen is disgusted in Tom’s actions and when Tom arrives at Gabe and Karen’s late in the evening, Karen warns her husband that she doesn’t want to see or speak to him when he is there, however, Gabe thinks it is best to hear his side of the story to see what could be done to fix their marriage. Throughout the performance, we are given the opportunity to see how Tom and Beth met each other and how they met was through a blind date that was organised by Gabe and Karen, but the date does not go that smoothly as Tom thinks that Beth’s hippy persona is far too strange for him and when they have an accident the two develop feeling for each other.  As the play progresses, with Tom and Beth living new lives and Beth has a new man who makes her really exultant, on the other hand, when Karen and Beth are having lunch together conflict arises when Karen makes it clear to Beth that she does not approve of her friends new relationship.  In a similar instance to Beth, Tom is having a much cheerier time with the woman with whom he cheated on Beth with, nonetheless, when Tom meets Gabe in a bar it appears that Gabe is not adjusting to the change. He specifies that he no longer recognises him as the friend he made at university years and years ago and states to Tom that their friendship will not be the same again. At the finale, in Gabe and Karen’s bedroom, the two of two contemplate on the state of their marriage as they really do not want to get into a similar situation to that of Tom and Beth as they are so in love with one another. When they discuss this they declare that their nuptials will last forever. Margulies’ narrative is intuitive as we are allowed to see the impact of friendships where one couple are going through the divorce proceedings causes the loved-up couple to re-evaluate where their marriage is going. 

One found the performances by the company of, ‘Dinner With Friends’ to be exceedingly convincing of how one couple are serene and one are at each other’s throats with well-established diction and intonation. Hari Dhillon is tremendous as dishonest, Tom; explicitly where he has the audacity to justify the reasons for him cheating on his wife, plus, the part where he speaks to Gabe about his new life and sex drive has made him feel younger suggests that he may be going through a mid-life crisis. Shaun Dooley is brilliant a contented and devoted husband, Gabe; chiefly where you see how disappointed he is with the realisation that Tom and Beth will never rekindle their love for each other, moreover, the relationship between him and wife, Karen is so sweet and conveys that relationships in the modern world can survive.  Sara Stewart is grandiose as Gabe’s loving wife, Karen; particularly where her displeasure at knowing that Beth is having a new relationship portrays how change can cause strains in relationships that are as close as Karen and Beth and it shows how friends need to remain supportive at all times. Finty Williams is fantastic as Tom’s suffering wife, Beth; notably where you can see how her new lease of life with her new man can be seen with how fresh her face looks and her outlook on life is been reverted in a positive way, furthermore, that being separated from Tom has been quite good for her. 

Tom Attenborough’s direction is transcendent here as he has been able to construct a really fruitful revival of a play that could become a soap opera with a longer existence and how the change of friendships and the environment of the situation can cause mammoth battles along the way in a divorce process. David Woodhead’s set and costume designs are wondrous as I was immediately engrossed into this state of the US where divorce and friendships are put to the test, in addition to this, the costumes depicted the characters characteristics in such a simplistic but exciting manner which was awesome. Overall, the experience of, ‘Dinner With Friends’ to be brilliantly created in such a moving and educational way.

'Sparks' Old Red Lion Theatre ****

Siblings can either be vastly similar or absolutely opposite with regards to their interests, all the same what affects could transpire when a sibling just appears into their lives? The Old Red Lion Theatre’s production of Simon Longman’s newest play, ‘Sparks’ was an extraordinarily compelling two hander about troubling sisterly relationships, furthermore, the performances were amazingly portrayed.

‘Sparks’ is set in a town by the river in the Midlands where we’re introduced to sisters Sarah and Jess. Sarah the youngest is speechless that her older sister, Jess is standing outside of her front door soaking with only a rucksack and fish bowl with her. At first, Sarah is not really pleased by Jess’ presence as she disappeared twelve years ago which caused Sarah some trauma when she was a teenager, in addition to this, Jess appears to think that she can stay at her sister’s flat which is in the process of being redecorated. Jess begins to empty her rucksack that seems to be full of alcohol and she soon forms a pop-up pub to celebrate hers and Sarah’s reunion, on the other hand, does Jess realise what her disappearance due to her sister’s mood? Throughout the show, we learn that Jess has seen Sarah in town but found it increasingly challenging to talk to her as she didn’t know what to say to her as it had been such a long time since they last spoke. It is evident that both Sarah and Jess have such love for one another that time has stopped due to the fact that Jess ran away. Over the course of the performance, we are informed with what Jess has been doing for twelve years and that is that she has been moving up and down the country, on such place is that she stayed above a fish and chip shop near the sea where she worked in the shop downstairs to earn money.  It seems that Sarah is finding it hard to speak to Jess as she finds it to tough that her sister is back in her life after more than a decade and is not in the mood to drink with her sort of alcoholic sister, Jess.  The atmosphere softens as the two drinks together to try and resolve their issues, yet the next morning is upon the Midlands where Jess decides that she’ll leave her sister once again, but for her to care for her son, Sam (Flynn Dennison/Chi Thomas-Hockey). At the finale, as Jess is about to depart Sarah’s life again she still does not fathom how irresponsible she is and that leaving her son with his aunt is not precisely appropriate. Longman’s narrative is splendid as the story about two sisters who haven’t seen or spoken to each other for twelve years and how you can see what a sibling means to someone, what is more, this is realistic as having a sibling is vital to your life and the absence of one is painful.

One found the performances by the company of, ‘Sparks’ to be staggeringly chivalric through intriguing moments of both humour and commanding elements. Sophie Steer is grand as the disappearing sister, Jess; expressly where she presumes that reappearing into her sister’s life after twelve years is okay and not taking responsibilities for her actions shows a real lack of maturity and her somewhat alcoholism is quite frightening.  Sally Hodgkiss is excellent as shy young sister, Sarah; mainly where her quite nature enables us to see what her life has become due to the fact that her sister abandoned her all those years ago, as well as, the moment where she confronts Jess depicts a really strong person behind the exterior. 

Clive Judd’s direction is wonderful here as he has created an awe-inspiring production that really captivates how a fraught sisterly relationship has framed how Jess and Sarah have become for more than a decade, plus, the characterisations were well developed at all times and this is tremendous. Jemima Robinson’s set and costume designs are scintillating as the ripped wallpaper of the children’s wallpaper to the adulthood  one allows us to see how destroyed Sarah is because of Jess and the poor conditions she is living in somewhat. Overall, the experience of, ‘Sparks’ was an beguiling and radiant selection for the Old Red Lion Theatre’s programme of work for this year and rather lovely too.

'A Wolf in Snakeskin Shoes' Tricycle Theatre ****

At times there are moments where contextualisation’s or reworking’s of classical texts can be detrimental to the work of the genuine writers’ vision, however, some modifications can actually prove quite successful? The Tricycle Theatre’s production of Marcus Gardley’s play, ‘A Wolf in Snakeskin Shoes’ which derives from Molière’s ‘Tartuffe’ is a delectable adaptation, moreover, the interpretations were extremely well depicted.  

‘A Wolf in Snakeskin Shoes’ is set in Atlanta, Georgia where we’re familiarised with a church congregation who are being preached by The Righteous Reverend Prelate Prophetic Apostle Tardimus Tito Jermaine Toof who is somewhat manipulative with how he minister’s his church congregation and with his private meetings where he asks to be paid for his services. His wife, First Lady Loretta Toof is always anxious that her husband could be cheating on her so when she catches him with Maxine (Michelle Bonnard), but Loretta gets the wrong end of the stick as he frequently tries to pull himself away from her. As such; his wife is suffering slightly as he has cheated on her before. When Mother Organdy (Angela Wynter) informs that her son the multimillionaire tycoon, Archibald Beaurgard Ichabad Organdy is at the end of his days, Toof has been called to see him. Also he is depressed which is causing problems with his relationships; such as with his fiancée, Peaches (Adjoa Andoh) and his son, Gumper (Karl Queensborough) who is in fact gay. Over the course of the performance, Toof has been bombarding Organdy with an intense amount of sermonizing and when Organdy’s daughter, Africa (Ayesha Antoine) returns after a long absence is pleased that her father is seeking salvation from God, nonetheless, is Toof’s teachings really helping him or is he is in fact interfering his mind? Like most sibling relationships, Gumper and Africa are constantly squabbling and when Gumper reveals that he wants to be a flight attendant and announces that he’s gay, his father is disgusted and demands that he goes through a course of therapy to get rid of the gayness. On the other hand, Peaches is worried that because of Toof’s meddling may harm Organdy’s relationship with his children and is he making life hell for them as Toof is ruining the family. It appears that Gumper is desperate to satisfy his father’s needs and requests to he goes through the aversion therapy and promises that he’ll manage the business when he dies. After this time, Africa is irate as she no longer recognises her family. At the finale, the cracks are beginning to arise with Toof’s and First Lady’s marriage as they are quarrelling about how Toof doesn’t appreciate her whatsoever. Gardley’s narrative is meritorious as this contemporary altered copy does work wonders as today’s religion has endeavoured to push people into scenarios that people don’t want to be in, plus how the characters interconnect with one another i.e. in the church congregation environment. 

One found the performances by the company of, ‘A Wolf in Snakeskin Shoes’ to be exceedingly excellent as the gospel elements in the play were vastly joyous and the camaraderie between the company was visible to see at all times. Lucian Msamati is terrific as Apostle Toof; especially how his constant snooping into the Organdy family results in them fighting amongst themselves shows how ministers can over step their welcome and how his methods are seriously outdated i.e. aversion therapy for Gumper. Sharon D. Clarke is first-class as Toof’s afflicted wife, Lady Loretta; chiefly where you can see how apprehensive she is by what her husband could be doing, furthermore, as you’d expect from Clarke her vocal abilities are second to none and highly infectious as her voice is simply dreamy. Will Johnson is brilliant as soon to be deceased tycoon, Organdy; specifically how startling it is to realise to he’ll shun his son due to his sexuality and if he doesn’t go through the therapy that he’ll be dead to him  and this makes you question does he love his children or not and if not why?

Indhu Rabasingham’s direction is dynamite here as she has captured how devout Christian communities will come together with enthralling music that makes you want to join them in a dance, as well as, the characterisations of buffoon Toof and Organdy are phenomenally out of date with their views. Tom Piper’s set design is bravura as the transitions from church office to Orandy’s home was tremendously well stylised and worked, in addition to this, the scenic elements e.g. scenic art and construction was grand and not ostentatious at all. Overall, the experience of, ‘A Wolf in Snakeskin Shoes’ was a marvellous performance and enjoyable throughout.

'Pig Farm' St James Theatre ****

Running any business will inevitably have its high and low points in the seasons, and this includes the farming trade where farmers’ animals are their business and economical driving force, although what transpires when an annual inspection goes hook line and sinker wrong, what impact will this cause a farm? The St James Theatre’s present production of Greg Kotis’ 2006 play, ‘Pig Farm’ was a really original piece on the world of pig farming in the United States, what is more, the performances were gleaming all round.

‘Pig Farm’ is set in the kitchen of farmer, Tom and his wife, Tina’s farm house where the farm in at the crux of being declared bankrupt so they are busy getting ready for an inspection by the Environmental Protection Agency.  Even though they are struggling to make ends meet they have employed recent release from juvenile detention centre, Tim to be Tom’s apprentice as this is a part of the conditions Tim has in not being sent back to the centre. Tom has problems with intoxication and is particularly violent to Tim as he has just dumped some manure onto two teenagers by the stream who are having a sexual experience. As such this is causing troubles with his and Tina’s marriage and he is unaware that Tina has been having an affair with Tim behind his back as Tom is not providing her with the love she most desires. Tim becomes besotted by Tina and this is somewhat reciprocated but ever so slightly. Tina is frantic to become a mother yet Tom is not so keen to be a parent due to his insecurities. Over the course of the performance, Tom and Tim are trembling about the outcome of the pig count and when Tom learns that the neighbouring farm has been forced to close due to the fact that the farmer has too many pigs that is allowed for a farm of that size, this understandably set some alarm bells ringing in his ears. However, when Teddy from the EPA arrives with his team to inspect the farm and the numbers of the pigs, Tim is told that as Tom is comfortable with being a father, this upsets Tim and he is ready to conjure up some revenge as he is in love with Tina. This is completed when Tim drives a tractor into the pig shed and all of the pigs try to escape and run all around the farm. Tim all battered and bruised is brought into the kitchen by Tom and Tina, but Teddy informs Tom that the pig count was under counted and it is Tim who has done this. Tom is furious about this and requests that Tim leaves, but he doesn’t. Teddy states that the farm will have to be closed as they have broken the rules and regulations. Tom then turbulently unleashes some violent force on Tim as he has ruined his business and in unfixable and he learns of Tina indiscretions. At the finale, Teddy makes Tom an offer on the farm as he feels that he will do a much better job in which he pressurises Tom and Tina to think about what is best for their future and they do so as they are thinking of starting a family. Kotis’ narrative is grand as we can see how the agricultural industries have always battled against the technical advancements and with someone double-crossing the farm from inside the unit, is the farming industry dead in the water?

One found the performances by the company of, ‘Pig Farm’ to be illustriously depicted by pretty good accent Southern American accents throughout and impeccable characterisations at all times in the show. Dan Fredenburgh is delightful as farmer, Tom; especially when he is endeavouring to fight for his career against a ferocious system and how he becomes morose as he tries to explain why he dumped all the manure on the teenagers as that was the spot where he and Tina made love as teenagers. Eric Odom is tasteful as scallywag hired-hand, Tim; mainly how he is becomes emotionally broken as Tina has lead him along a path that he will not be successful in finishing, furthermore at the end of the play where he is beaten to near death by Tom he presents some real comic flair as he comes back to life. Charlotte Parry is wonderful as Tom’s wife, Tina; mainly where we see how keen she is to be pregnant and to be a mother, moreover we see her despondence by the fact that she has to perform all the household chores and this leads her to not doing Tom’s washing where he only has a pair of old dungarees available to wear. Stephen Tompkinson is superb as EPA inspector, Teddy; expressly where we see how he is in fact a hands on person who becomes very dirty due to the fact that the pigs have shattered all across the farm and this instigates him wanting to be the owner of the farm. 

Katharine Farmer’s direction is majestic here as she has been able to engross us into how all forms of work have a duty and a purpose in the world and how Kotis’ plotline conveys that dysfunctionality between Tom, Tina and Tim suggests how the farm and their unit will only survive if they work together properly and efficiently. Carla Goodman’s set and costume designs are gob-smackingly good as we have been transported to the environment of an American pig farm with such precision and ease to brilliant scenic construct and effortless scenic art, you can imagine what it would be like in such atmospheres. Overall, the experience of, ‘Pig Farm’ was an intriguing take on how farming is like any other industry where anything is not stable in a precarious world where anything can happen.

'Playground' Old Red Lion Theatre **

In specific cliques of modern society, communities are fragmented and pulverised due to the unknown nature of the world, but can this message noticeably be visible to audience where Enid Blyton’s work is being used to enhance this? The Old Red Lion Theatre’s production of Peter Hamilton’s, ‘Playground’ was a rather discombobulating story about a murder mystery which makes it harder to try and figure out what the premise of the play is, in addition to this, the depictions were passable.

‘Playground’ is set in Victoria Park in East London where a lot of children have been barbarically massacred by being beheaded with a fretsaw; as such a rigorous police investigation is forthcoming by inspectors, Detective Inspector Mitchell (Dan MacLane) and DC Birch (Christopher James Barley) who are both puzzled to the extent of the murders. Simultaneously, in a different segment of the park, night cleaner, Danny who at the time is engrossed by reading one of the ‘Famous Five’ books, yet when Carolyn rushes to the lake with an aim on her own intentions. When Danny commences a conversation with Carolyn, they soon identify a shared interest and that is with literary work. Over the course of the performance, Danny, Carolyn, painter/decorator Stuart (Simon Every) and teenager Tamsin (Laura Garnier) who are patients of psychiatrist of Dr Ross come together for a book club where the only books they talk about is Enid Blyton’s, ‘Famous Five’. However, there is a link between the book club and to the murders of the children as page 100 of Enid Blyton’s books have been placed on the top of the dead bodies. The investigation is becoming strenuous and the general public are becoming panicky who are finding techniques to protect themselves and other children. This is evident when the owner of Izzy’s Café in Victoria Park, Bella (Sarah Quist) decides that it is necessary that she carries a large serrated knife inside her handbag. It is thought that Danny is the killer as she is concerned by his obsession with Enid Blyton’s and she reports him to the police as he is the most likely candidate. He admits to being the killer and is taken for questioning and throughout the questioning it is not Danny who murdered all of these children, but in actual fact it was Dr Ross who was the culprit. At the finale when Dr Ross is exposed as the killer, Stuart thinks that Bella is his sister who he hasn’t seen for a very long time but she says that she is not, but we know that she is his sister. Hamilton’s narrative is complicated as the message of the piece is not clear or obvious to the audience member as we think it is fundamentally about a serial killer murdering children with Enid Blyton’s methods of murder mystery to captivate this. 

One found the performances by the company of, ‘Playground’ to be satisfactory as they did convey the childlike and mentally ill characteristics of the roles. Richard Fish is acceptable as odd night cleaner, Danny; specifically at the point where his fascination of Enid Blyton’s makes it clear that not all doctors can be trusted as they can manipulate vulnerable people into thinking they have done things which they have not. Josie Ayers is adequate as Carolyn; especially when you see how a friendship between her and Danny is really intriguing as both are damaged so they have that common bond and become motherly towards Danny as he is a very lonely due to how strange he is with no family. 

Ken McClymont’s direction is bizarre and tomfoolery here as he has not presented much clarity into how the message could have been entwined into the show to make it visible and the detailing of how the characters are linked together was really disappointing and indistinguishable which is not helped by Hamilton’s shoddy plotline. Ken McClymont’s designs are on the other hand quite attractive as making Victoria Park in such a small space has been realised meticulously as you were immediately transported to the park in a good way, this meant that the design is one of the only positive aspects of the show. Overall, the experience of, ‘Playground was somewhat tragic and appalling one that leaves you really muddled when you left the auditorium so I really didn’t like the performance.

'Encounter' Above The Stag Theatre *****

The oppression of homosexuality affected the lives of many gay men until homosexuality became legalised in the United Kingdom in 1967, yet how can the kinship between a doctor and a stationmaster remain undetected without arousing suspicion in a society that disdained men fancying other men? Above The Stag Theatre’s current production of Phil Willmott’s new play, ‘Encounter’ is with no strings attached a penetrating understanding of how Noel Coward and David Lean’s film, ‘Brief Encounter’ could have happened, in addition the acting is sensational.

‘Encounter’ is set predominantly in 1947, Vauxhall, London, but at first we’re transported to contemporary times where a gay couple find a book of memoirs of ideas for a film about the tale of two men who could never open up freely about their feelings for each other. Back to 1947 where we are accustomed with Dr Lawrence Marsh who’s conducting an examination of stationmaster, Arthur Hollis, but this encounter develops into something that will change their lives forever. At Vauxhall station where Arthur works, he sees Dr Lawrence sitting on a bench awaiting the train to his home in Surbiton where he says hello and Dr Lawrence responds too. Both Dr Lawrence and Arthur are married but Arthur’s marriage is not going very well as they have lost their daughter due to illness, on the other hand, Dr Lawrence is “supposedly” happy with this wife, Sarah Marsh, but is their marriage really that stable as Dr Lawrence is constantly working?  Over the course of the performance, Dr Lawrence and Arthur have secret rendezvous’ with one another in such locations as a cinema. Their meetings are getting noticed by certain people; i.e. Rev Richard Craven so their plan to go to a music concert at the Royal Albert Hall has to remain undisclosed. When Dr Lawrence fails to show up to go to his and Arthur’s trip to the Royal Albert Hall, Arthur is indeed upset by this, and newspaper seller, Mavis Madden seems to observe this upset. Dr Lawrence apologises to Arthur for this and when they have their very first sexual experience in a moving moment with one another at the church vestry they are interrupted by Rev Richard Craven who is miffed by this as Arthur is married.  The two walk to the park where they are caught kissing by PC Tom Blake and disappointingly Dr Lawrence claims that he is being harassed by Arthur. For being a coward he tries to write a note for Arthur saying sorry for his actions. Dr Lawrence is given a job to Germany where he is allowed to take his wife and son, as soon as he informs Arthur that he will not be able to see him again this does not make Arthur happy whatsoever. When they say goodbye for the final time, Arthur is so emotional that he decides to take his own life by jumping in front of the coming train as he doesn’t want his life without Dr Lawrence. At the finale, we go back to contemporary times where the modern versions of Lawrence and Arthur are about to go out for the evening, Lawrence says that they should hold hands as a way to depict the changes that have been made for accepting homosexuality.  Willmott’s narrative is resplendent as his analysis and perception of Coward and Lean’s film has shown how times have changed in Britain and what could have been materialised if homosexuality was legal in the 1940’s in such a dextrous way. 

One found the performances by the company of, ‘Encounter’ to be beautifully characterised through grand and impelling scenes between the two lead characters, Dr Lawrence Marsh and Arthur Hollis. Adam Lilley is splendorous as Dr Lawrence Marsh; especially how his confused mentality for what his sexuality is affects the relationship how has with his wife, Sarah and the person who he knows is his real soulmate, Arthur, and more when he embraces Arthur is such a tear-jerking moment indeed as we know it is never meant to be. Alexander Hueston is formidable as stationmaster, Arthur Hollis; essentially where he tries to make the moment where Arthur and Dr Lawrence are about to consummate their love for one another the most romantic experience ever, furthermore the segment where he breaks down as Dr Lawrence says goodbye to him for the final time conveys how much he really loves him and that he may never find a man like him again. Christopher Hines is exhilarating as both PC Tom Blake and Rev Richard Craven; specifically where as Rev Richard Craven he presents a quite freaky person who in actual fact turns out to be gay himself but as a minister and with his religious position he knows the power of secrecy and that people will turn against him. Penelope Day is wonderful as both Sarah Marsh and Mavis Madden; mainly as Mavis Madden she emulates the humour of the show as she is quite an eccentric individual who is funny, moreover, as Sarah Marsh we see what the job her husband does makes her worried of what he may be up to without notifying her of his whereabouts.  

Phil Willmott’s direction is priceless here as he has created a superlative performance that captivates how homosexuality in the 1940’s was oppressed and the intolerance from certain groups of people, in addition the sensitive moments between Dr Lawrence and Arthur shows what a grand job Willmott has done to shed some light into whatCoward and Lean really wanted for ‘Brief Encounter’. David Shield’s designs are once again brilliant as he has been able to form the station, paper stall, vestry and the Marsh’s home with such panache, plus the slants in the set flats shows how imposing the persecution of being gay has caused Dr Lawrence and Arthur themselves to each other even more so. Overall, the experience of, ‘Encounter’ was a world class show that categorially makes it clear that LGBT Theatre is still essential in today’s society.

'McQueen' Theatre Royal, Haymarket ****

Any industry on the planet can be vastly challenging; especially the fashion industry where fashion shows are the bane of their lives, so when the legendary designer, Lee “Alexander” McQueen committed suicide in 2010, is it appropriate for a dramatic production to expose the illustrious man’s mental instabilities in such a small space of time? The West End transfer of James Phillips’ play, ‘McQueen’ was an acutely entrancingly written play that is very gratifying, over and above, the performances were breathtakingly represented.

‘McQueen’ is situated in the home of famous fashion designer, Lee “Alexander” McQueen where he is about to hang himself in the basement as his cerebral state is not altogether stable. He soon figures out that he is not along as young woman, Dahlia has broken in to his home as she is hopeful that she can steal one of the many dresses that he has archived, and obviously McQueen is much perturbed by Dahlia’s presence. She explains that she has been watching him from a tree in his garden for the last 11 nights where she has been seizing the opportunity to thieve one of McQueen’s beautiful dresses. McQueen thinks Dahlia probably knows more about him than he knows about himself so he chooses to take her to the tailors where he found his talent, he states that to make a dress the dress must fit to the person meaning it has a more personal touch, so he finds some black material so he can swiftly create the dress. McQueen’s former mentor, Mr. Hitchcock (Michael Bertenshaw) who is still working there is surprised that McQueen is there, but is more than thrilled to see him again. As such; he does not inform the police for the pinched black fabric. The black dress is constructed like magic which shows how imaginative McQueen was. It appears that McQueen has been hiding a lot of heartache, this is evident when fashion editor, Isabella Blow (Tracy-Ann Oberman) makes him realise the positives that he has chosen to reject, and what he contributed to the fashion industry as an ingenious designer/artist he became. However when he and Dahlia are sat having an interview with reporter, Arabella (Laura Rees) about his up-and-coming collection and during the interview Arabella questions McQueen on the methods of manipulation to his models and the people who would purchase his garments. Dahlia helps McQueen throughout the course of the interview and afterwards he takes her to his mother’s flat in Peckham to show her his routes which is a stark contrast to the lifestyle he leads now.  At the finale, Dahlia who has left with the dress that McQueen has made, McQueen, alone and very sorrowful decides to set out his plan to kill himself where he takes the belt out of his jeans and hangs himself in the basement  as his insecurities seem to overcome him.  Phillips’ narrative is momentous as the story of McQueen’s demise has been written is a compassionate way that enables you to become quite emotional by McQueen’s suffering, as such it is not offensive in the slightest.

One found the performances by the company of, ‘McQueen’ to be magnificently captivating through splendid voice and movements from an awe-inspiring ensemble of endowed dancers. Stephen Wight is excessive as central protagonist, Lee “Alexander” McQueen; first and foremost when he learns to be kinder to Dahlia who has helped him in his last night of living as you can see how he is increasingly lonely, which is agonisingly sad to see a designer distressing in this way, plus the solitude that has lead him to committing suicide which is a heart-breaking moment indeed. Carly Bawden is wonderful as intruder, Dahlia; intrinsically when she is helping McQueen deal with the interrogation by Arabella, moreover on the roof of his mother’s tower block leads her to become slightly frightened by McQueen’s mental state.  Excellent casting by Kate Plantin and Jayne Collins I must say.

John Caird’s direction is glorious here as he has mesmerized how world renowned fashion designer/artist, Lee “Alexander” McQueen  where he is in the process of self-destruction, in addition the process McQueen visualises his world famous dresses shows how Caird has considered this in leaps and bounds. As well as, Christopher Marney’s choreography by suggesting the bleak and dark world that is fashion and the shows create the harshness of the industry itself.  David Farley’s set and costume designs are exemplary as the set itself of the ripped black material shows the eradication of McQueen’s life and the costumes present a colourful element of a really intriguing plot. Furthermore, with David Howe’s lighting and Timothy Bird’s video incorporated in Marney’s design shows the brilliance of tradition and modern techniques of theatrical design in a phenomenal fashion. Overall, the experience of, ‘McQueen’ was an animated and eloquent tribute to the late and intelligent designer/artist, Lee”Alexander” McQueen. Rest in Peace Mr McQueen.

'Roaring Trade' Park Theatre **

The Stock Market can at times be reflected as a sporting arena as employees are always at loggerheads with one another to earn more money for themselves, nonetheless when corruption is at stake, can morals prevent this from happening? The Park Theatre’s revival production of Steve Thompson’s 2009 play, ‘Roaring Trade’ was an extremely dull and desensitising production and leaves you wanting to roar with utter frustration, yet the portrayals are suitably depicted.

‘Roaring Trade’ is set largely in the Canary Wharf stock market establishment, where we’re introduced to the slightly vibrant, Jess who is being increasingly conniving  to her colleague, alpha male, Donny by getting him to remove all but his underpants. When young aspiring trader, Spoon arrives to begin work, he is given a harsh time by Donny as he feel that he needs to earn his stripes and his initiation is exceedingly cruel, and when PJ enters he knows that this is poppycock and very harsh. It is noticeable that all four are competing against each other in order to gain the most amount of money , as well as, their jobs are impacting on their home lives and happiness. This is evident when PJ is frantic to leave his job and focus on something else, however, his wife, Sandy (Melanie Gutteridge) is worried that if he quits his job then their lifestyles will have to change; this means downsizing from their huge mansion. Spoon and Donny are becoming rivals when they see how their bonuses are different and the conclusion is that Spoon has the biggest bonus out of the two. Bribery is rife when Spoon is going to leave for another company and asks Jess to resign and move with him to this other company, also she has to get eight other people to resign too; this excludes Donny. She learns that Spoon has backstabbed Donny so that he loses the company a considerable amount of money and that his reputations is in ruins, so she decides to side with Donny, and when Spoon is handed the nine letters they are in fact blank and Spoon’s hopes and dreams are left in shatters. Donny is informed of this and punches Spoon to the ground and as he has been sacked Donny packs up his desk and walks out. At the finale, Donny is sat with his son, Sean (William Nye) it appears that Donny has been a massive influence to his son’s life and he has been swindling his classmates by upping the prices of confectionary in a tuck shop he is managing, and this shocks Donny a lot. Thompson’s narrative is mundane as the tone is dreary and vile as it is bleak, this is unlike what was shown in the film, ‘The Wolf of Wall Street’ where excess is ever present and this is not clear here whatsoever.

One found the performances by the company of, ‘Roaring Trade’ to be acceptably conveyed despite the repulsive dialogue and plotline. Nick Moran is adequate as slight bully, Donny; chiefly the moment where finds that a young man can do so much better than him in a matter of weeks and that when he is sacked he realises that his career is over and that there’s nothing left out there for him. Michael McKell is substandard as drunken, PJ; predominantly the sense of depression is visible when the life had has drastically turned from earning millions of pounds a year to one where he is focusing on gardening and this is making his alcohol consumption to intensify in not a very good way at all. Timothy George is decent as young upstart, Spoon; expressly how his refined education to Cambridge has made him become an arrogant and pretentious person who can’t seem to get on with many masculine men, I did like his charisma when Jess hands him the blank pieces of paper and his life is shattered in front of him. Lesley Harcourt is passable as vivacious, Jess; in particular how we see that her morals are not going to be manipulated for the sake of Spoon’s progression and that her side is on Donny’s as she disagrees with Spoon about his methods to destroy Donny’s reputation in the workplace. 

Alan Cohen’s direction is tragic here as he has not even smoothed over the disappointing moments within Thompson’s narrative and this is a shame for the acting company as there are not that many amusing parts in this play and the audience reaction is not that brilliant here as it’s hard to get enthralled by such a shocking show. Grant Hick’s design is wonderful as the screens are realistic to those that would be present in an actual stock market institution, nevertheless, I would have wanted to have seen more of Douglas O’Connell’s video designs being used to determine the bleakness of the show. Overall, the experience of, ‘Roaring Trade’ did not engross you into the stock market atmosphere, and the scene changes are fundamentally messy and catastrophic.

'Our Country's Good' National Theatre, Olivier ****

When the first convoy of British miscreants were sent to Australia in 1788, so that they never returned, could we ever change our insights where you will sympathise with the prisoners compared to the soldiers who are watching them like a hawk? The National Theatre’s production of Timberlake Wertenbaker’s play, ‘Our Country’s Good’ permits us to side with the convicts in such a sparkling way, as well as, the delineations were gratifyingly conveyed.  

‘Our Country’s Good’ is set in aboriginal Sydney, Australia, 1788 where the very first cluster of English exiles have just arrived to their new home, where they will remain for the rest of their lives. Governor Arthur Phillip (Cyril Nri), Captain David Collins (Jonathan Coote), Captain William Trench (Jonathan Livingstone) and Midshipman Harry Brewer (Paul Kaye) contemplate whether the purpose of the prison would either punish or to re-educate the inmates. One idea is that hanging could be considered as entertainment for the soldiers, but Phillip thinks there’s another alternative for this and this is for the convicts to put on a play. When Harry Brewer who is inundated with guilt as he has hanged a man who was a love rival to Duckling Smith (Shalisha James-Davis), who is a prisoner; as soon as he comes into contact with Second Lieutenant Ralph Clark he informs Ralph of the Governor’s plans. Ralph jumps at the chance to be the director of the production and the play he has chosen is George Farquhar’s, ‘The Recruiting Officer’. A number of the convicts who have decided to audition are unable to read, but the shy Mary Brenham is a fluent reader and acts out the part of Silvia quite well. However, Meg Long (Debra Penny), Robert Sideway (Lee Ross), Dabby Bryant (Ashley McGuire) and the ever so frightening Liz Madden cannot read so Mary has to help them understand their lines and for the people to actually work nicely. Over the course of the performance, the rehearsals develop from a threatening environment to one where they will get on with what is required to present a good-standard of performance as the prisoners are enjoying what they are doing.  Sadly things do according to plan as two actors, Cable and Arscott have escaped from the prison.  The guards arrest Liz and fellow convict, John Wisehammer (Matthew Cottle) for their apparent involvement in a “so called” crime where food has been stolen. The prisoners and Ralph are stunned that Liz is to be sentenced to death for stealing the food; on the other hand, she could be spared the death penalty if she informs who actually stole the food. Nonetheless, Liz refuses to do so as it’s a code between the convicts.  This soon causes problems with the plays progression as Liz plays a vital role in the play and the company as a whole, thankfully, Phillip believes that there is a lack of appropriate evidence for Liz’s death and as she speaks finally the case is dropped and she can return to her role in the play. At the finale, as the acting company of, ‘The Recruiting Officer’ are about to perform in front of hundreds of soldiers the prisoners reflect on their home land and how their new home can really rehabilitate themselves into well-mannered people. Wertenbaker’s narrative is superb as there is such historical, political and social contents that unravel in this piece in such a fine manner where we can see how the Aborigines such as The Aborigine (Gary Wood) and other’s deal with this change.

One found the performances by the company of, ‘Our Country’s Good’ to be extremely likable with brilliant choreography by Arthur Pita and impressive Vocal Work by Kate Waters and Dialect Coaching by Jeanette Nelson. Jason Hughes is wonderful as Second Lieutenant Ralph Clark; especially when you see his determination flourish through his compassion to show the positives of the convicts in an optimistic light and the emerging relationship with Mary shows how couplings can develop from opposing sides.  Caoilfhionn Dunne is excellent as reserved, Mary Brenham; specifically how her patience with the less than calm and collected lawbreakers leads you to think how such a shy and reserved person can develop into someone so confident and helpful and this is because of drama. Jodie McNee is stunning as scary, Liz Morden; chiefly how at first she is not the most pleasant of individuals soon softens when she discovers her talent in the performance of, ‘The Recruiting Officer’, plus when she is given her death penalty we are emotionally moved with her at her peril. 

Nadia Fall’s direction is fantastic here as she has touched on a thought-provoking but stimulating subject where you begin to feel who is exactly in the right and who is in the wrong and what the arrivals of the lowlifes will impact on the comfort of the aborigine’s freedom to do what they want on their land. Peter McKintosh’s design is incredible as we are transformed to the untouched land of 18^th Century Australia and what the impact of the English has made to this unharmed country, plus the use of the drum was remarkably included. Well done to Cerys Matthews for her inauguration with a lovely score and amazing collaborations with stupendous Sound Designer, Carolyn Downing, brilliant. Overall, the experience of, ‘Our Country’s Good’ was a very entrancing and historical show that educates people into how Australia and Britain began its commonwealth.

'Memphis The Musical' Shaftesbury Theatre *****

In the southern states in the USA during the 1950’s a bond between a black person and a white person was seen as completely unsavoury, nonetheless when the formation of rock ‘n’ roll connects such people together then the perception needs to be radically amended. The West End transfer of Joey DiPietro and David Bryon’s powerhouse musical, ‘Memphis The Musical’ was categorically a masterpiece of musical theatre, what is more, the portrayals were astonishingly implemented.

‘Memphis The Musical’ is clearly situated in Memphis, USA where we’re familiarised with aspiring radio DJ, Huey Calhoun who enters an all-black underground Rock ‘n’ Roll bar as he really enjoys their music. The manager of the bar, Delray (Rolan Bell) and the customers are quite perturbed by his appearance.  Huey persuades them to stay and when he is about to lose his job he thinks that this genre of music needs transmitting, even though he loses his job records do get sold.  Huey soon becomes captivated by Delray’s sister, Felicia, who is vastly gifted and this soon aids both parties.  When Huey applies to become a DJ, one of the vendors, Mr Simmons (Mark Roper) allows him to do a trial run in which he chooses to play African-American music; this move proves to be monumentally successful as many teenagers are begging for more of Huey’s taste and unique style of presenting. This is evident when he goes down a storm due to his catchphrase “Hockadoo” for a commercial which persuades people to purchase it and leads to it selling out quickly. Prejudice is ever prominent when Huey’s bigoted mother, Gladys who when acquainted with Felicia outrageously smashes up a record that Delray has paid for as it is about to be played on the radio. The next day comes and Huey brings together a band and backing singers to perform the track with her and due her mammoth attainment both black and white teenagers become accepting of each other’s race.  When Huey proposes to Felicia she declines as this is against the law in the southern states of the USA. Years pass on by and Huey is the host of his own TV show which only features black dancers/singers only and when Felicia is due to sing she backs out as she knows people may think they are in a relationship. As such; Huey notifies Bobby (Jason Pennycooke) to perform instead, even though he is apprehensive he unleashes fire on the TV audiences amazingly. Huey and Felicia’s relationship is on the rocks as Felicia lands a record deal in New York, conversely Huey is hesitant to leave Memphis as TV networks are opposed to black singers/dancers.  He soon is axed from his job and is given a job at a low-budget radio broadcaster. At the finale, Felicia returns to his life but is engaged and this really moves Huey to proper tears as he remains besotted by her, so he tries to win her back by performing in her touring show. DiPietro’s narrative is stupendous as a musical about inter-racial couples is exactly what the West End tries to avoid and with such musical numbers by Bryon such as; “The Music of my Soul”, “Coloured Woman”, “Crazy Little Huey” and “Change Don’t Come Easy” were phenomenal pieces of musicality. Dazzling,   

One found the performances by the company of, ‘Memphis The Musical’ to be extraordinary through unmatched vocals and dance executions.  Beverley Knight is divine as glistening Afro-American, Felicia; predominantly when she sings “Someday” leads one to gain goose-bumps as her physicality in this musical numbers moves me to tears, moreover, her scenes with Huey shows how much she really wants to be with him no matter what. Matt Cardle is terrific as cheeky pioneering DJ, Huey; how his principals with retaining the black presence in his show shows how his morals are increasingly solid and never changing, additionally his singing abilities in “Steal Your Rock ‘n’ Roll’ shows he has progressed since his win on The X Factor in 2010. Claire Machin is excellent as Huey’s mother, Gladys; expressly when she decides to go to a black church and her opinions soon change as she soon appreciates to gospel aspects of the music which leads to you thinking you should listen to your son/daughter also. 

Christopher Ashley’s direction and Sergio Trujillo’s choreography are stunning here as they have encapsulated a tremendous story of how times have changes and how many people need to still improve the ideas of the world, plus the ensemble company was so flawless that made me want to join them on the Shaftesbury stage, simply incredible. David Gallo’s set design and Paul Tazewll’s costume designs are heavenly as you can immediately transported to the Memphis environment and there is an essence of campness that exudes through the female costumes. Furthermore, the scenic carpentry and scenic art is so impressive that my eyes kept focusing on this element. Overall, the experience of, ‘Memphis The Musical’ was a high energy musical that really makes you want to go again.    

'When We Were Women' Orange Tree Theatre ****

What happens when a hellish warzone environment empowers a naval officer to become besotted with a local girl and with this he sweeps her off her feet, yet when the person is still married to another woman, could this cause friction with the developing feelings? The Orange Tree Theatre’s production of Sharman Macdonald’s 1988 play, ‘When We Were Women’ touches on the secrets and lies of a navy officer in an awe-inspiring approach, additionally, the performances were miraculously characterised.

‘When We Were Women’ is set in Glasgow from 1943-1944 where we are introduced to free-spirited young teen, Isla who is longing to escape the clutches of her God-fearing mother, Maggie and intoxicating father, Alec (Steve Nicolson). Their marriage is consistently fraught due to the Alec’s drinking habits and their poor financial circumstances. So when Isla come into contact with navy officer, Mackenzie there seems that he could be a reason for her to leave her mother’s controlling rules and the two truly fall in love for one another. But she has sexual intercourse with him and becomes expectant and as such because gossip could commence, Maggie states that they must get married as to not arouse suspicion. Mackenzie ventures off to purchase an engagement and wedding ring and a plan for a quick wedding is put into action. However, Maggie has been hiding the fact that their bills are piling up from her husband, Alec and with the wedding to pay for she cannot pay the bills that they have. Throughout the performance, Mackenzie has been seeing glimpses of a woman called Cath (Sarah Jayne-Butler) who appears as a gust at his wedding and we soon learn that Cath is in fact Mackenzie’s wife, who he has not even divorced, so his and Isla’s marriage is a monogamous one. Understandably, Isla is furious with Mackenzie’s lies as demands that he must not see her or speak to her ever again. Due to the fact that Isla is pregnant, her parents are concerned that people will talk about their bad parenting and plead with Isla to abort the baby. Isla doesn’t want to do this and states that she won’t give up her baby for anyone. Revelations spiral out of control when Alec learns of Maggie’s secrets and lies and launches a vicious attack of Maggie as she’s not told him the truth. At the finale, Mackenzie who is about to set sail again years to see Isla become he departs but as Isla is still angry she declines to meet him even though he has written a love note. Macdonald’s narrative is fantastic as we can see how a young teenage girl who hungers for freedom turns into utter travesty as she finds a man who she loves is a bigamist and with her pregnancy it will attract a lot of stigma attached to it. 

One found the performances by the company of, ‘When We Were Women’ to be tremendous through boundless voice and movement work. Abigail Lawrie is sublime as youngster, Isla; primarily at the point before she gets married there’s a moving moment between her and father Alec as you can see her moving from childhood to adulthood within seconds, also you can see the distraught on her face flourish when she realises her marriage is a sham. Mark Edel-Hunt is wonderful as adulterer, Mackenzie; exclusively how the images of Cath makes him extremely anxious and worried as the skeletons in the closet with come out to wreak havoc with his happiness to Isla will be destroyed if this is discovered. Lorraine Pilkington is first-rate as Isla’s overbearing mother, Maggie; mainly when we see her protecting her husband’s mental state due to the pugnacious financial situations shows how decent she can be at times and when she explains for her daughter’s child to be terminated is quite appropriate to the time period.  

Eleanor Rhode’s direction is remarkable here as she has produced a performance that makes you craving for more because of the intensity of Isla’s young life twisting into a downward spiral, plus the staging of the Orange Tree Theatre’s in-the-round configuration works really well here. Moreover, with Tom Jackson-Greaves’ choreography in the wedding dance sequence was transfixing to see and it’s well executed too.  James Turner’s design is impeccable as the cracks and the lights streaming across the floor shows that there are cracks in each of the character’s couplings, in addition, the waterfall shower section was such a splendidly piece indeed. I must commend Mike Robertson’s lighting design and TJ Chappell’s production tech for their work as one was not expecting to see how heavenly lighting is. Overall, the experience of, ‘When We Were Women’ was an excellently creative revival and congrats to the entire company for this brilliant and convincing production.  

'The Sweethearts' Finborough Theatre **

It has been over a year since British soldiers left Afghanistan where it was left to the Afghan’s own devices; however with thousands of soldiers killed in battle shows how war is awfully catastrophic. The Finborough Theatre’s production of Sarah Page’s 2014 play, ‘The Sweethearts’ was a marginally disappointing piece of theatre writing, on the other hand, the enactments were sufficiently presented.

‘The Sweethearts’ is set in Camp Bastion, Afghanistan in the summer of 2014 where we’re familiarised with three male soldiers, Private David Robbins, Private Trevor Smith (Jack Bannon) and Lance Corporal Mark Savy (Jack Derges) who enter the tent with bunches of poppies as they are about to be joined by manufactured girl band, The Sweethearts who are going to perform some of their hits for the troops. It appears that they are competing for their affections and Private David knows the lead singer of the band but hasn’t seen each other for a very long time.  Nonetheless, female soldier, Corporal Rachel Taylor (Laura Hanna) who does not stereotypically appears as the typical female has a fondness for the captain of the regiment, Captain Thomas Nicholls but is not ready to open up about her feelings to anyone. When The Sweethearts, Coco, Helena (Maria Yajah) and Mari (Doireann May White) arrive we learn that their intentions are not honourable as it is supposed to be a media stunt, as well as, there is bitter rivalry as Coco attracts more attention compared to the other two. Over the course of the performance, it looks like Coco is facing some personal issues as she is thinking about leaving the band to focus on a solo career, conversely her other band members are getting angry about Coco’s pompous attitude as they are about to perform in front of thousands. This causes tension between the soldiers and the girls as the soldiers are finding them troublesome and rather difficult to handle. There seems that David and Coco were at secondary school together and as David is poetic and lyrical and he helped Coco when she was starting out in her quest for stardom, and during their reunion it looks like a romance could be blossoming. Before The Sweethearts are about to perform, Captain Thomas asks Coco to dedicate their performance to his daughter, but she declines as she wants to dedicate this to David. Unfortunately, Captain Thomas doesn’t take this news very well and decides to abuse Coco verbally and physically for her actions. At the finale, Captain Thomas who is raging because of Coco’s decision he then forces his soldiers and The Sweethearts to sign their signature all across her face and body which is a really disturbing moment indeed as he treats her like an object and not a person. Page’s narrative is meagre as I would have liked more explanations about how the war has been affecting them mentally and how the band could have shown a little bit of their talents as none of this was show whatsoever.      

One found the performances by the company of, ‘The Sweethearts’ to be amply depicted through acceptable voice and movement executions. Joe Claflin is suitable as Private David Robbins; mainly how someone so educated would decide to become a solider and the passionate moments with Coco suggests that the most un-macho of men can be the fruitful one to woo the eyes of a pretty lady. Sophie Steven is tolerable as The Sweethearts’ lead singer, Coco; in particular how pain staking it is for to be in band she longer wants to be in and we see her tough side when she allows people to write all over her without objecting this move. Stevie Raine is satisfactory as Captain Thomas Nicholls; especially when he turns into a vile human being  when he abuses Coco where you actually want to hit him for his own actions and he becomes too childish and immature for you to take him seriously.

Daniel Burges’ direction of reasonable here as he been able to capture the microscopic positives in the plot and the attention to detail in portraying The Sweethearts in an aloof manner shows how manufactured bands are fundamentally up themselves and slightly uncreative.  Alex Marker’s design is quite appealing as you can be immersed into the British army camp in Afghanistan to great effect and the construction of the tent in such a small space is surprising to have seen. Overall, the experience of, ‘The Sweethearts’ was both terrible and pleasing at the same time and it does grow on you near the end.  

'The Sum of Us' Above The Stag Theatre ****

Being open and dutiful to what your son or daughter wants to do with their lifestyle choices is admirable ; this includes their sexual preferences and the comfortability of it, but fathers are harder to work round compared to mothers and I should know this as this is what happened to me. Above The Stag Theatre’s production of David Stevens’ play, ‘The Sum of Us’ allows us to see how the loving relationship of a father and his gay son in such a touching way, in addition to this, the performances were excellently conveyed.

‘The Sum of Us’ is in a conventional Australian home where are habituated with Harry, a widower explains that his son, Jeff is in fact gay and that he is entirely at ease with his sons sexuality, as well as, he is always mindful that his son doesn’t get hurt by his boyfriends. Jeff, his plumber son is about to venture off to a gay pub in the hope that he’ll find a man that he can love, however, Harry makes sure that Jeff eats as he may make a fool of himself. It seems that Jeff is shy when he’s surrounded by men that he finds attractive, so when he brings gardener, Greg back to his home he endeavours to seduce him in a very romantic manner. Nonetheless, when Jeff knows his sons sexuality, Greg’s parents do not know whatsoever and the interactions between the two are going really well. When Harry accidentally interrupts them in a passionate moment you can see that Greg is given a seal of approval. Unfortunately, something shakes Greg due to the fact that his parents may be informed of his romantic liaison with Jeff, he decided to leave and of course this pain Jeff to the point of tears as he thought something may materialise. Over the course of the performance, we learn that Harry has been seeking a partner on a telephone dating service which transpires with kind and ladylike, Joyce, but Harry has not told Joyce that is son and gay and when Joyce finds some gay magazines and she puts two and two together and is miffed that Harry was not honest with her, she then leaves too.  There is a disastrous turn of events when Harry has had a stroke and is left immobile so when Jeff takes Harry to the park, Jeff realises that Greg works there and when the two meet each other again you can see that they still like each other and Jeff is told that Greg has moved out after informing his parents of his sexuality. At the finale, Jeff and Greg leave Harry for a while to catch up; Harry explains the importance in respecting your sons’ choices and the exultation in Harry’s face when he sees Jeff happy.  Stevens’ narrative is divine as the level of detail in capturing a touching relationship of a father and his openly gay son was particularly pleasant to see as a number of father’s are not so accepting of their sons’ sexuality. 

One found the performances by the company of, ‘The Sum of Us’ to be outstandingly portrayed and it is grand that all four actors are actually Australian so their accents were obviously perfect. Stephen Connery-Brown is brilliant as father, Harry; especially how fine his perception of his son, Jeff’s sexuality doesn’t bother him at all, furthermore, when he is in his chair after his stroke  it is extremely realistic and sad indeed. Tim McFarland is whimsical as Harry’s son, Jeff; chiefly when he and Greg are noticeably attracted to each other but when Greg leaves you can see the pain and blues across his face which depicts how anxious he is to find a man. Rory Hawkins is wonderful as Jeff’s love interest, Greg; mainly the point when he explains how his parents may kick him out if he comes out to them  and how jealous he is of Jeff and Harry’s relationship, also his moments with Jeff shows that he has to admit his sexuality as this could destroy him later on in life. Annabel Pemberton is decent as, Joyce; expressly how when she cries the tears don’t appear false which is really great to see, moreover, her annoyance to Harry’s dishonesty shows that if she wants to be with harry she wants to know everything about her future son-in-law.

Gene David Kirk’s direction is superlative here as the camaraderie between the four actors looks like they have really enjoyed performing with each other, additionally, the physical quality of the show is as impressive as you can laugh and get moved to tears which means it’s not too serious. David Shields’ designs are dazzling as the transition from a conventional home to a garden in less than fifteen minutes is marvellous and the finesse of the production values such as the scenic painting to the construction shows how Above The Stag never fails to disappoint. Overall, the experience of, ‘The Sum of Us’ was an enjoyable and engrossing one indeed as parents should try to be acquiescent with whatever their child wants to do.

'The Win Bin' Old Red Lion Theatre ****

Obtaining employment within the arts in any capacity at this present moment is mainly daunting as there are not many jobs in the arts, so when there is a point when there’s only one job left in the world, then the competition for that job will be incalculably fierce and this is unnerving for those wanting to pursue careers in the arts. The Old Red Lion Theatre’s production of Kate Kennedy’s play, ‘The Win Bin’ is a dark comedy about the meagre situation in a brilliantly stylistic custom; likewise, the performances were splendidly represented.

‘The Win Bin’ is set in an awkward job interview where there are six candidates who are endeavouring to attain the last arts job in England. At first, we are familiarised with two out of the six contestants, Bash and Knock who are fighting for this job. Bash, a comic book artist who is 6ft has to perform in from of a judging panel called, The Bench,  who we do not see whatsoever, in this audition she has to dance her heart out but as you’d expect she is not the most strongest of dancers.  Knock on the other hand is a choreographer and obviously he performs the stoutest audition technically, as you can see his streetwise personality is comparatively unlike to what we might expect him doing as a career.  Over the duration of the performance, the six finalists for this final job opportunity have to compete in an exhausting twelve-hour day in a Reality/Talent Television show format where they are being evaluated by The Bench who in a Big Brother like fashion are ordered to perform certain artistic moments.  The action, throughout meanders with Bash and Knock performing a mime scene where they’re in a lift and is up to The Bench to decide what kind of lift they are in, but no word must be uttered in this sequence.  The other four candidates, Hum, a taxidermist, Flap, a neurotic American textilist, Tread, a writer and Sniff, a photographer are put through a painstaking ordeal to succeed in their quests to acquire the job, yet the central protagonists are Bash and Knock and we soon learn that Bash can be somewhat vindictive in her strategies to be offered the employment prospect. She goes behind Knock’s back to say he is not worthy of being given the job, this angers Knock as he open up to her and the audience about the fact why he needs the job. This is to prove to his mother and father that his career path in choreography was fundamentally worth it as he never received any approval for them, so he becomes immensely emotion as he is in fear that his parents will laugh at his face.  At the finale, Bash and Knock are still battling for the final job, but it is not clear who the lucky recipient of the last Arts job in England. Kennedy’s narrative is exceptional as the comedy elements are really first-rate and very funny indeed, alternatively, there are a lot of moments where we feel bad and sorry for Knock as this is the last chance saloon for him to prove to his parents that they are wrong which was a moving scene indeed.

One found the performances by the company of, ‘The Win Bin’ to be remarkably portrayed with such rib-tickling panache and has elegance about it. Kate Kennedy is delightful as, Bash, Flap and Hum; essentially when as Bash you can see how her height has caused some sort of glitches in her life, also her dance moves do leave a lot to be desired which in a nutshell shows the comedy apects of the show in a brilliant way. Wilf Scolding is marvellous as, Knock, Tread and Sniff; primarily when as Knock his reasons for why he wants this job  is really touching indeed and endearing, equally his dance abilities are particularly strong and polished which was stunning and lovely to witness as he captures both humour and heart-wrenching moments.

Sara Joyce’s direction is fantastic her as she has devised a show that proves that with the cuts to the Arts in England that many people have to consider that if they want to work in the arts that they need to work hard to achieve their goals, plus the attention to detail in the characterisations were increasingly comprehensive. Bethany Well’s set and costume designs are idyllic as even though there is no explanation to the black and red dots within the set you can just imagine that this could convey the competition of people desperate for the last job in England is more prominent than ever, furthermore the black costumes shows how bleak the circumstances are in this battle.  Overall, the experience of, ‘The Win Bin’ was a really entertaining and thought provoking production for those entering careers in the arts such as I am at this present stage.