'Bad Jews' St James Theatre ****

Families, after an integral member of the family has recently passed away, it will continually cause a giant level of upset and quarrels; especially when an important possession of theirs, maybe the root of brutal slaughter within the same family. The St James Theatre’s production of Joshua Harmon’s play, ‘Bad Jews’, explains how Jewish upbringings may vary in different people, correspondingly, the performances were exceedingly funny.

‘Bad Jews’ is set in a New York studio apartment where cousins, Jonah and Daphna are grieving after their grandfather’s funeral. Jonah is a quiet and conservative young man and cousin. Daphna who is a strict believer, with her Jewish values, expresses that she’s the only one who cares about being a Jew. She desires that their grandfather’s chai should be hers, as she is going to be moving to Israel and it will help be a comforting reminder of her grandfather. Moreover, Daphna is livid with Jonah’s older brother Liam’s absence at their grandfather’s funeral, and when he finally arrives in the evening with his girlfriend, Melody (Gina Bramhill), a ditzy blond, the conflicts commence immediately between Liam and Daphna.  From the outset, we see that the two of them do not like one another, and as soon as the chai is mentioned in a conversation, it seems that Liam wants it too, but for dissimilar reason as Liam is going to use it to propose to Melody.  Daphna revels in humiliating Melody, and once she acquires knowledge of Melody’s operatic past, she manipulates her into singing in front of Liam, Jonah and herself and it looks like that her vocal abilities are, somewhat limited.  It reminds me of those horrendous auditions from ‘The X Factor’ and ‘Britain’s Got Talent’ as such, it amuses Jonah and Daphna profusely.  However, when Liam reveals that he is in possession of the chai, Daphna is furious by her aunt’s betrayal, and a vicious battle arises with hair pulling, devilish biting, which leads to Daphna triumphing. Harmon’s narrative is sublime as the visceral comedy presents how, adults cannot seem to act that mature when it comes to thinking, who was their grandfather’s favourite grandchild. Additionally, he never loses the upsetting situation of the grandfather’s death when Jonah reveals a tattoo of the number of their grandfather’s identity in the Holocaust.

One found the performances by the company of ‘Bad Jews’ to be truly witty and thought-provoking within Harmon’s amazing dialogue. Jenna Augen is humorous as the slightly attention seeking Daphna; especially when she violently, and scarily harms Liam’s girlfriend Melody in the fight for her grandfather’s beloved chai.  Joe Coen is excellent as the quiet Jonah; explicitly when he endeavours to calm the awkward situation between Liam and Daphna, which does not exactly prove too successful as, they bicker with each other constantly. Ilan Goodman is rib-tickling as the self-absorbed Liam; specifically when he pompously claims to Melody, that his grandfather’s chai was always destined to be his, but this is not the case as there is no proof to his claims.

Michael Longhurst’s direction is impressive here, as he has stylistically conveyed how families with identical religious backgrounds have opposing views, as Daphna is passionate about it, but Liam is disgusted by it. This enables you to think about whether religion is necessary in today’s culture. Richard Kent’s design is marvellous, as the attention to detail in immersing the audience into a New York apartment, and in a family fraught with tension, in which it work remarkably with opulent effect and the accuracy is wonderful. Overall, I found the experience of ‘Bad Jews’ to be vastly enjoyable and I recommend it fully when it transfers to the Arts Theatre in March.

'The Grand Tour' Finborough Theatre ***

It's always satisfying when the Fringe circuit supports the staging of small-scale musicals; specifically when the musical is receiving its European premiere. The Finborough Theatre's production of Jerry Herman, Michael Stewart and Mark Bramble’s 1979 musical, ‘The Grand Tour’ was one that enables you to see how a musical about the Nazi revolution can inform an audience, in addition to this, the performances were agreeable, over the duration of the show.

‘The Grand Tour’ is set in France 1940 during the rise of the Nazi regime, where worried Polish citizen Jacobowsky is fleeing for his life, but when he is introduced to the pretentious Colonel Stjerbinsky, he recognises that he too is escaping from the Nazi’s, due to the fact that he will be forced into transferring his services to the Nazi party, which she does not want to do. At the beginning, the connection between them is quite uptight as they come from opposite class systems, and when Jacobowsy is acquainted with the Colonel's fiancée, Marianne (Zoe Doano) is besotted by her appearance. Nonetheless, on their journey hiding from SS Captain (Blair Robertson) we see the blossoming friendship of the three of them, as they go on a quest to escape the dictatorial powers of the Nazi's. To remain undetected from the captain, they cordially ask a travelling circus act, led by Madame Manzini (Lauren Dougal) to imitate specific circus acts such as a ‘Barnum’ inspired high-wire performance, she politely agrees. The captain is soon hot on the heels, and cruelly assassinates those who conspire against the Nazi party system.  Unfortunately, when Jacobowsky realises that his new friend's papers are in his possession, he strives to return them, he then becomes involved in a Jewish wedding ceremony, which needs to be undertaken as the Nazi forces are advancing enormously. When he is reunited with Stjerbinsky and Marianne, there seems to be a clearly established bond which conveys the progression of friendships on different class systems. Stewart and Brambles narrative is of suitable standard, in terms of how we observe how freedom of expression should be respected, but some of Herman’s music and lyrics; such as musical numbers, “Do It For Poland”, “You I Like” and “I’ll be There Tomorrow” did not exactly make one remember them easily.

One found the performances by the company of ‘The Grand Tour’ were immensely pleasing to watch, and sung superbly too. Alistair Brookshaw as delightful as the central protagonist, Jacobowsky; particularly when he sacrifices his decision to travel to United Kingdom, so that is newly found friends can quickly get on board a boat without arousing suspicion from border controls. Nic Kyle is gracious as Colonel Stjerbinsky; mainly when he becomes jealous by Marianne's affections towards Jacobowsky, and makes it clear that he is displeased by this, and commands that they must stop doing so as it's upsetting him.

Tom Sutherland's direction along with Cressida Carr’s choreography is appealing here as they have worked with the Finborough’s space to magnify the trials and tribulations of living in a Nazi dominated Europe, and how people have to discharge themselves from their home nations to countries of slight neutrality to wondrous effect. Phil Lindley’s set design and Sophia Simensky’s costume designs are conventional as a limitations of Fringe budgets for the scenic art and construction lacked finesse slightly, and it was somewhat discombobulating as to where one was Overall, one found the experience of ‘The Grand Tour’ to be an enjoyable one, despite the lack of memorable tunesm and disappointing design. Would recommend it if that's what you're looking for.

'Contact.com' Park Theatre **

Does a fifteen year marriage require a younger couple to reignite the sexual spark, in the expectation that their marriage can survive? The Park Theatre’s production of Michael Kingsbury’s, ‘Contact.com’ lacked an immense level of full entertainment value, and the performances were monotonously disappointing.

‘Contact.com’ is set in a sumptuous Islington home where Naomi, a managing director for a charity, and her husband, Matthew, a psychiatrist are currently waiting for the arrival of a younger couple who have answered an advertisement for some sexual flirtation to re-energise their love for each other. We are introduced to Ryan, an entrepreneur and his girlfriend, Kelly, and unemployed woman who appear to be hiding some secrets from Naomi and Matthew. At first, there is an essence of awkwardness when they are eating a scrumptious dinner, prepared and cooked by Naomi, and the relieve the tension, they begin to seduce one another, verbally, as well as communicating on what each person does for a living, and also their hobbies. Once they commence the fundamental aims to why they are doing this slightly strange method of sexual intercourse, they are fondling the other person, who is fact not their partner, it appears that Matthew and Kelly give the impression that they are enjoying the experience.  Moreover, Naomi and Ryan look like a woman and her toy boy, and it seems that the outcomes are working successfully. However, the cracks begin to become visible as Naomi is concerned as her husband is neglecting her all the time as Matthew is revelling in his experiences with a younger female model, but Naomi, even though she has relished in her practices with the brawny Ryan, she is desperate for Kelly and Ryan to leave their humble abode. Near the finale, Matthew and Naomi are informed of Kelly and Ryan’s deception as they have taken money from Matthew under false pretences.  Kingsbury’s narrative is particularly uninteresting as a number of moments left me enormously bored and by the end of the first act, one was ready to walk out of the auditorium.

One found the performances by the company of, ‘Contact.com’ was deficient in humour and enthralling elements. Charlie Brooks is droning as Kelly; especially her vocal work that lack any grace of pace and pitch whatsoever and her facial expressions were far too melodramatic and poorly fascinating to watch. Jason Durr is brutally shameful as Matthew; explicitly when he goes on to express his desire to allow their visitors to physically move into the upper floor in their house, which Naomi disproves of entirely. Ralph Aiken is shockingly awful as the handsome, Ryan; principally when he endeavours to seduce Naomi in probably the most tender way she’s not had in a while, furthermore, his emotional captivity lacked tenacity.  

Ian Brown’s direction is phenomenally dreary here as he has not been able to fully encapsulate how couples are interesting in a little fun can work within a theatrical atmosphere, and the characterisations were not that compelling and thoroughly rehearsed either.  Janet Bird’s design was mediocre as there never feels that charismatic in terms of how it’s supposed to emulate a calm and warming Islington residence. Quite appalling to be truthful.  Overall, one found the experience of ‘Contact.com’ to be not enjoyable and would not be a recommendation from one’s opinion. 

'Marching on Together' Old Red Lion Theatre ****

What happens when a representation of football hooliganism supposed to achieve on a theatre space, and whether it's necessary in today's culture? The Old Red Lion Theatre's current production of Adam Hughes' crowdfunded play, ‘Marching on Together’ makes it observable that  it is not clever whatsoever, as well as, the performances were alluring during the proceedings.

‘Marching on Together’ is set within the 1984-1985 football season where rough and thuggish Leeds United supporter, Macca has been released from prison for three years, due to being caught in a vehement broil three seasons previously. Whilst having a reunion with his friend, Jonno (Jim Mannering) at the pub, he's tackled with the point that his position as head ruffian has been surpassed by the youngsters of society i.e. tracksuit wearer accountant, Nathan (Alex Southern), and his accomplice Tommy. Macca appears to be startled and irrated by Nathan’s self-assurance, and his plans to unleash hell on the opposing team supporters. However, Macca apprehends that he must make amends with his ex-partner, Linda (Donna Preston), and their son, but Linda states the Macca is not allowed to see their son, and to rekindle their relationship, as she believes that he will not adapt in the most positive of circumstances. As such, Macca reverts back to his former hoodlum ways, and asks Nathan and Tommy if he can become a member of their mob. Conversely, throughout the play, Macca forms a closer bond with Tommy, as he mentors him that he should toughen up against Nathan's frequent bullying tactics, and to ensure that he must remain positive, even know he's a striking miner. After each match, we come to realise that Macca is in fact not thinking of supporting Leeds United, but to vent his anger towards his demoralised life; this is shown when Tommy asks him what the score is, and Macca actually does not know. During one fight, it becomes apparent that Tommy has been killed by the opposing team supporters, and this causes Macca to address some of his issues, but not in the most positive of methods. Hughes’ narrative is quite interesting as it enables one to think that pugnaciously fighting in such a malicious manner will not solve any issues of any kind, on the other hand, there could've been more depth in places.

One found the performances by the company of ‘Marching on Together’ were really well-characterised throughout the show; explicitly within the emotional moments. Adam Patrick Boakes’ is wondrous as the lead protagonist, Macca; specifically when he endeavours to visit is son, but not managing to do so due to his ex-partner’s repeatedly opposing views. Joshua Garwood is lovely as the quiet, Tommy; exclusively when he emotionally breaks down as he feels that what he, Macca and Nathan are doing to people; for example a 15-year-old boy is heinous, and conveys that he wants to regain his poise as a positive member of society.

Joshua McTaggart's direction is the ideal here as he has made an astute attempt to present a play about football hooliganism in a fraught atmosphere in the north of England with wonderful effect,t and vastly educational. Max Dorey’s set and costume designs are intuitive as we not only delve into the bitter rivalry of football fans, but the frustration on a certain individual whose past makes a disappointing reappearance with immense affect, this is conveyed as the set soon unravels into destruction. Overall, one found the experience of ‘Marching on Together’ to be an intriguing and somewhat compelling one. Most definitely a ticket purchase here.

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

Can a touring production grounded on a televised format be considered as a theatrical experience on an extensive scale? The eighth nationwide tour of the BBC entertainment extravaganza, ‘Strictly Come Dancing Live!’ can be emphatically deliberated as such an experience, with whimsical performances across all areas of the show.

‘Strictly Come Dancing Live!’ emulates an identical chronicle as the television show, but within a three hour performance, that finishes with an eventual winner lifting the glitter ball trophy. This year the tour stars, Caroline Flack, Alison Hammond, Rachel Stevens, Thom Evans, Simon Webb, Mark Wright and Scott Mills, alongside Strictly Come Dancing’s very own professional dancers even Iveta Lukositue, Tristan MacManus, Aljaž Skorjanec, Joanne Clifton, Kevin Clifton, Kristina Rhianoff, Karen Hauer and Tristan Whiddon. Over the course of the production, they have to present two dances to not only 10,000 audience members, but to the judging panel that consists of, Craig Revel Horwood, Len Goodman, Camilla Dallerup and Tom Chambers, who then score the dances, as like on the television show. The performance is hosted by series three finalist, Zoe Ball, with electrifying music by Allan Rogers. Of course, as you would expect from the Strictly Come Dancing experience, Craig Revel Horwood, and his fellow judges constantly banter with one another due to Craig’s harsh comments, and at certain dances, it’s extremely understandable; such as Scott Mills' disgraceful Samba. On the other hand, there is a euphoric reaction when dances obtain the maximum score of 40 points, in which this current Strictly champion Caroline Flack, and her touring partner Tristan MacManus received for their charming Charleston. There's an essence of emotion from Rachel Stevens and Kevin Clifton’s raunchy Rumba, and Simon Webb and Kristina Rihanoff’s atmospheric Argentine Tango. It's pleasant and daring when the judges dance  on the floor, as seen with Tom Chambers and Camilla Dallerup’s 2008 Showdance, which was the dance that launched him them to victory in the sixth series. There is a clear and crisp narrative during this touring tour de force, as one can see that the winner can be any of the competitors, depending on the audience it that is in the arena, and the performance, in which one was witnessing was won by the tragic Scott Mills, and his poor dance partner Joanne Clifton.

One found the performances by the company of ‘Strictly Come Dancing Live’ with vastly glistening in all aspects of the show. The group dances conveys a powerful camaraderie between them; especially the “Let It Go” dance number where ensemble dancer/aerialist, Jasmine Takacs is hoisted above the dancefloor, in a 50ft dress, which is the site to behold. The ensemble dancers, Gordana Grandosek Whiddon, Jake Leigh and Callum MacDonald contribute effectively to the Strictly family as a way that magnifies a musical theatre twist to the show.

Craig Revel Horwood’s direction is shiny here as he has been able to transport a gigantic of number amount of people into the Strictly Come Dancing atmosphere, with a fruitful outcome, furthermore, it is tacky, but in a good way. Patrick Doherty’s design is excellent as the set is an exact replica to the set that is recognisable to the millions of viewers who watch the show on BBC1 on a Saturday night and it's definitely a magnificent representation of the Strictly Come Dancing environment. Overall, one found the experience of ‘Strictly Come Dancing Live!’ to be a brilliant one that absorbs you into the TV phenomenon. Go and see it next year when it tours the country. 

'3 Winters' National Theatre, Lyttleton ****

Is there a necessity for political theatre in London’s contemporary theatre scene? The South Bank’s National Theatre’s production of Tena Štivičić’s newest piece of playwriting, ‘3 Winters’ was one that absolutely informs us of the rise of Croatia from 1945-2011, also the performances were well presented over the course of the production.

‘3 Winters’, as previously stated is set during these specific periods of Croatia’s independence movement, moreover, the action takes place at the Kos family home, in Zagreb. At first, we are transported to 1945, at the end of World War II where those who were associated with the Nazi regime have been governed to leave their respected homes. Rose King (Jo Herbert), her husband, Alexander (Alex Price) and her mother Monika (Josie Walker) are currently homeless, and frantic to seek refuge in a home that was once owned by an officer who has been exiled from the country. Rose chooses a key to a house that’s extremely personal to her mother, and herself as her mother was once the servant to the family who owned the mansion.  However, they soon realise that the supposedly vacant residence is already occupied by the original lady of the house, Karoline (Hermione Gulliford) has been secretly living there, after escaping a psychiatric hospital. It appears that Monika was thrown out of the house whilst she was pregnant with Rose, and as such Rose is quite bitter towards Karoline, but understands that Karoline is enormously apologetic and is permitted to remain as a resident in her own home.  During 1990, we learn that the house remains an unowned residence, Masha’s (Siobhan Finneran) daughter’s Lucia and Alisia have opposing views on whether the house should be maintained by one family only. Lucia believes that it should be retained by the Kos family; on the other hand, Alisia thinks that the number of families should be allowed to live in the huge mansion.  As the Kos family, along with their friends, and Karoline (Susan Engel) are gathered for Lucia’s wedding, we learn that Lucia has been planning a dastardly deed, where her soon to be husband has now purchased the once nationalized house, this means that the fellow occupants are no longer allowed to live there.  This frustrates Alisia immensely as she feels betrayed by her sister’s actions, as does Marko (Alex Jordan/Gerald Kyd); as such this instigates a decline to Lucia and Alisia’s strong sibling relationship. Štivičić’s narrative is incredibly enthralling as one who did not have any prior knowledge and understanding of this point in European history, also the play enables one to grasp how poignant it was to be able to own your own home when you could not do so.

One found the performances by the company of ‘3 Winters’ was pleasingly compelling in each of the specific time periods.  Sophie Rundle is grand as the youngest daughter, Lucia; chiefly her heart-warming relationship with Karoline, who initiates Lucias’ interest into purchasing the home for her family only as it should “rightly remain within the family”. Jodie McNee is splendid as Lucia’s eldest sister, Alisia; exclusively when she endeavours to apologise to Marko for her sisters’ treachery, which does not exactly help the matter as each family has been paid to move out.

Howard Davies’ direction is fabulous here as he has captured the spirit of Štivičić’s writing with great effect, as well as, he has connected both the historical, social and political contexts in such a pleasant and though-provoking method with a level of precision that is well polished.  Tim Hatley’s design is sublime as the transitions between the 1945-1990 eras works wonders with the amazing scenic art and scenic construction elements, and complemented by Jon Driscoll’s projections as a method to show the changes of time.  Overall, one found the experience of ‘3 Winters’ to be an educational one and a lovely addition to the National Theatre’s archive of work.