'Stevie' Hampstead Theatre **

Some theatres normally produce unblemished productions where the subjects are particularly stimulating, but there are occasions when a performance in that specific venue is exceedingly dull and un-compelling. The Hampstead Theatre’s current production of Hugh Whitemore’s, ‘Stevie’ did not live up to the high expectations that I’d expect from this space, moreover, the performances lacked rigour.

‘Stevie’, which was presented as part of last year’s Chichester Festival Theatre’s season carries us in a certain point of the life of writer and poet, Stevie Smith where she is at present living with her Aunt in Palmers Green, London. At the moment, she is in the process of writing a piece of poetry that will soon make her monumentally famous, as well as, her employment status is not what she desires as she regularly commutes to and from her monotonous job as a secretary at a publishing company.  Stevie Smith’s childhood was not exactly the best as she became infect with tuberculosis, and this has aided some of the content within her poetry. Her Aunt, an eccentric and funny woman does not value her nieces work as she doesn’t understand the meaning behind them.  Additionally, she has a huge craving to Battenberg cake and cups of tea, however, the relationship between Stevie and Aunt is quite strong as her Aunt is like her adoptive mother. When her Aunt requires urgent care and assistance as she becomes forgetful and incapable of retaining her independence, Stevie decides to resign from the publishing company and take on the responsibility of full-time career whist continuing to write her poetry. Stevie does not want to be married with a husband as she thinks she will be incompetent of being a doting wife to somebody, and over the course of the show, men come and go in her life and when she’s life her Aunt’s house in her will, there is a sense of relaxation when she is on her own she writes her poetry at all periods of the day. When she learns of her depression, her slight vulnerability drives her into a state of anguish and she commits suicide and it’s sad to know that she’ll never learn of how famous she became. Whitehouse’s narrative is incredibly sluggish as the pace and flow of a play about Stevie Smith’s life was not that absorbing and I cannot fathom why he wrote a play about the poet in question.

One found the performances by the company of, ‘Stevie’ were somewhat diverting as they slightly save this dwindling play where the dialogue is not that enthralling. Zoe Wannermaker is to some degree tremendous as central character, Stevie; chiefly when you see how the life of a writer can be enormously tough to obtain some recognition and position within the art form, and I know how that feels. Lynda Baron is fairly whimsical as Stevie’s quirky Aunt; mainly within the comic elements when she becomes confused by what is physically going on and her love for cups of tea and slices of cake reminds you of an aunt you’d spend afternoon tea with. Chris Larkin is satisfactory as the Narrator/Man; exclusively when he endeavours to piece all scenes together to show how Stevie Smith’s life had been a mixture of highs and lows, but on the whole a lot of low points.

Christopher Morahan’s direction is disappointing here as he has not interconnected the excitement that there should have been infused within the show and the representation of Stevie Smith’s depression was not thoroughly mentioned and her childhood traumas were missing here. Simon Higlett’s designs were pretty impressive as were are transported to the life of writer and poet Stevie Smith who found fame after her death, furthermore, the attention to detail of the plush Palmers Green house was nice to see. Overall, the experience of, ‘Stevie’ was vastly boring and I could have easily left after the first act. 

'Lardo' Old Red Lion Theatre ****

The Fringe sectors mission is to experiment and challenge themes where the West End and Off Wes End would not even dare to present, and a play about the hazardous nature of the Scottish wrestling scene ultimately proves why the Fringe is a thrilling environment. The Old Red Lion Theatre’s production of Mike Stones’ play, ‘Lardo’ was one that challenges the cosiness of the audience, moreover, the performances were pleasingly portrayed.

‘Lardo’ is set obviously in Scotland where obese and struggling wrestler, Lardo is resolute to join Tartan Wrestling Madness who’s regarded as the mischievous boys in the sporting industry. Lardo is sought after when he’s found on a YouTube video by former wrestler, Stairs, a sadistic individual who does not care for the welfare of his wrestlers and the paying audience.  When health and safety inspector, Cassie (Rebecca Pownall) arrives to investigate the facilities, she is dissatisfied by how dangerous it is, and demands that Stairs must improve the amenities or his establishment will be shut down for the foreseeable future. Thankfully for Stairs, he finds it easy to charm his way out of these situations as he lures Cassie into a kind of a romantic serenade.  Cassie does remind him that this will be the last time that she’ll forget about all of the risks that exude within the wrestling organisation. Stairs is an irate person and pushes his leading stars, Whiplash Mary (Zoe Hunter) and Wee Man (Stuart Ryan) to the limit and Carrie is not happy with his treatment of them and their wellbeing.  Lardo proves to be a success at Tartan Wrestling Madness and revels in the luxuries that come with it; such as free alcohol, and even ends up in bed with Whiplash Mary. Over the course of the show, Lardo’s girlfriend Kelly (Laura Darrell) declares to Lardo that she is in fact pregnant, but Lardo exclaims that he not fit to be a father. At the finale, Stairs demands that Lardo must fight him in a wrestling match as it is made known that Lardo’s father was responsible for his retirement and seeks revenge.  Once Carrie learns of this, Tartan Wrestling Madness is required to close its doors. Stones’ narrative is particularly enjoyable as we can see how the wrestling environment can be staged within a theatrical atmosphere, and that the story of a heavy-weight wrestler is trying to hold on to his father’s memory by following his footsteps.  

One found the performances by the company of, ‘Lardo’ were massively well characterised with painless wrestling movement direction by Henry Devas ,which added a realistic form within the production. Daniel Buckley is exciting as central protagonist, Lardo; principally when he is being videoed by his partner, Kelly as a way to promote himself in the hope that Tartan Wrestling Madness will like his skills. Nick Karimi is ostentatious as the scary wrestling manager, Stairs; predominantly when he plans and acts on hurting Lardo to show that he is the almighty force within the wrestling arena and that Lardo should be very afraid.

Finn Caldwell’s direction is amazing here as there’s a real sense of an immersive experience as you are allowed to feel part of Lardo’s journey from someone who was not renowned to someone who is nationally famous. Max Dory’s designs were awe-inspiring as you are confronted face-to-face with a colossal wrestling ring, which takes up the whole of the Old Red Lion’s performance space, as well as, you are instantly gripped into an actual sporting atmosphere, even if you are not a wrestling fanatic. Overall, the experience of, ‘Lardo’ was a riveting tale of how the Scottish wresting scene can be corrupted and treacherous. 

'Multitudes' Tricycle Theatre ***

The General Election is fast approaching us, and within Britain’s multi-cultural society, a play about an election campaign, where the candidate is a British Asian seems very appropriate to inform us of the importance of having your voices heard. The Tricycle Theatre’s production of John Hollingworth’s debut play, ‘Multitudes’ is an educational and thought-provoking story that questions how society connects with one another, as well as, the performances were well characterised.

‘Multitudes’ is set in Bradford where Kash, a liberal British Muslim is preparing to address politicians about the state of the country. Kash’s girlfriend, Natalie, a white British woman, who has now converted to the Islamic rules and regulations as it’s essential for her to do so. Conversely, Natalie’s mother, Lyn is unhappy with her daughter’s religious conversion and laments about anyone who will not bother to listen about the decline of English culture. On the other hand, out of respect to her daughter, she tries to support Kash’s campaign in the best possible way that she can., but she is still despondent by those seeking asylum in the United Kingdom who do not want to work for their freedom by the government. At this moment, there is a radical anti-war protest in Bradford, and annoyingly for Kash, Natalie is cooking elaborate meals for them, which is not helpful for Kash’s endeavours.  Kash’s daughter, Quadira (Salma Haque) finds it immensely difficult to comprehend why her religious beliefs and race are being ridiculed, and decides to plan a drastic intervention where her father’s political message will be interrupted with a terrorist attack.  The major challenge is the relationship between Natalie and Lyn as Lyn’s opinions about the Muslim religion is immeasurably adverse and slightly racist, and her frequent belittling of Kash’s culture causes Natalie to throw a glass of wine in her face and this instance amuses Quadira as she dislikes the white British lifestyle. Kash and Natalie’s relationship is fraught as Quadira succeeds in her quest for radical terrorism, and it is revealed that Natalie knew of her plan without informing Kash. Hollingworth’s narrative is effective as he has crafted a scenario that delves into the themes of identity and faith, however, it feels that he has tried to squeeze too much into a space of two hours which makes certain scenes to appear too under-developed and unpolished.

One found the performances by the company of, ‘Multitudes’ were abundant within the pace and the energy of the character portrayals. Claire Calbraith is agreeable as Islamic converter, Natalie; principally when you see her striving to learn the ways how Muslims live their lives such as the prayer rituals and hymns.  Navin Chowdhy is tolerable as aspiring MP, Kash; mainly when we see him pressurised by his political advisors Sam (Maya Sondhi) and Julian (Asif Khan) to not communicate with those protesting as it might be seen to the constituents that he is in favour of their means of gripe. Jacqueline King is convention as Natalie’s mother, Lyn; especially when she drunkenly offends Kash about his true identity and states that he is not a true British person as he was not born in the country and demands that he should not have a say in how the country is managed.  

Indhu Rabasingham’s direction is brilliant as she has compressed Hollingworth’s speedy plot to enhance how a difference of opinions in terms of pure English culture and the horrendous actions implanted by radical extremists will inevitably cause tension. Richard Kent’s design is splendid as the dark and meagre nature of Quadira’s quest to total destruction makes me question the teachings of the Muslim religion and why they have not progressed where everyone is equal. Overall, the experience of ‘Multitudes’ was an fitting production about the changes of English culture. 

'My Night with Reg' Apollo Theatre ****

Sustaining a stable gay relationship is a slightly challenging task, but what happens when every character has had a sexual experience with the same man, and will there ever be any consequences to this? The Donmar Warehouse’s recent West End transfer of the recently deceased, Kevin Elyot’s, ‘My Night with Reg’ is precisely what the industry has needed, and the performances were increasingly fascinating.

‘My Night with Reg’, originally written and performed in 1994 is situated in a pristine London flat, in 1985, where we are introduced to Guy, a single 40 year old gay man, who is in the process of preparing a dinner for some of his close friends.  Additionally, his flat’s conservatory is being re-decorated by young painter-decorator, Eric, however, the work is not finished on schedule.  Guy is pleasantly surprised by the arrival of his absent friend, John, and his presence is extremely welcomed.  The other “musketeer”, Daniel (Geoffrey Streatfield), who is on his way on one of his many adventures, due to work commitments is excited by his friend’s appearance.  Paradoxically, John is hiding a huge secret from Daniel as he has had a sordid affair with Daniel’s partner, Reg. Of course Guy is mortified by John’s betrayal towards Daniel.  During the progression of the performance, it is known that Reg has passed away and at the reception it seems that Reg has in fact been involved in countless affairs with many of Guy, John and Daniel’s friends; such as goofy, Bernie (Richard Cant) and his boyfriend Benny (Matt Bardock), this evidently shows that Reg is not as clean cut as Daniel thinks he was.  It seems that Guy is a source of comfort, and once it’s the reception for his own funeral, it’s noticeable that his death has affected everyone in a gargantuan way.  Eric knows that Guy had deep passionate feelings towards John, but did not know of this information, and it’s startling to know that Eric had sex with Reg, but under an alias. On the other hand, there is a tender moment between John and Eric as they reminisce about the good times that happened at the flat, when it was owned by Guy. Elyot’s narrative is emotionally and intellectually stimulating as we are witnessing the vulnerability of friendship, happiness and life itself, and how homosexual coupling can be hard to maintain.

One found the performances by the company of, ‘My Night with Reg’ to be fantastically beguiling as the friendship displayed is really strong throughout. Jonathan Broadbent is excellent as, Guy; exclusively when he explains to Eric of how his love for John began at university and how amateur dramatics could have commenced a relationship, but it did not happen. Julian Ovenden is brilliant as the once absent friend, John; particularly at the point when he is anxious that his rendezvous’ with Reg could be exposed to Daniel and that their friendship might cease to continue due to such disloyalty. Lewis Reeves is delightful as the painter-decorator, Eric; expressly when see how kind he is to those who are very emotional, for example when  John becomes teary and when Guy becomes depressed by his non-existent relationship status.

Robert Hastie’s direction is stunning here as he has worked in captivating how gay friendships are vastly sturdy and that if there are any glitches and upsetting situations, they will endeavour to comfort one other to resolve certain circumstances.  Peter McKintosh’s design is pleasant as there’s wonderful attention to detail in capturing the lavish flat that Guy has made for himself and for those who need it as a place of sanctuary and scenic art and construction is amazing too. Overall, the experience of  ‘My Night with Reg’ is a delightful production and worth a ticket purchase. 

'Taken at Midnight' Theatre Royal, Haymarket ****

Staging theatre productions based on factual events can be slightly daring; especially when the themes of the performance are very notorious. The spectacular Chichester Festival Theatre’s recent West End transfer of Mark Hayhurst’s debut play, ‘Taken at Midnight’ was an exhilarating play that engrosses you to a point of pure shock as to how the Nazi power treated those outside of  their understanding of the “norm”, plus the performances were increasingly magnetic.

‘Taken at Midnight’ is set in the time period between 1931-1937 which depicts how lawyer, Hans Litten became infamous for prompting  the Felsneck Trial in 1932 where Adolf Hitler had to speak up about his repugnant actions toward the Jewish community in Germany. However, there are repercussions as he is immediately sent to prison, where he comes in contact with inmates, Eric Musham (Pip Donaghy) and Carl von Ossietzky (Mike Grady) who are in there for political reasons.  Hans’ mother, Irmgard Litten is furious with her sons’ incarceration and demands Dr Conrad (John Light) that he must be released as the grounds of his sentence are unjust.  Dr Conrad of course is a trusted member of the Nazi regime and rejects Irmgard’s explanations and commands her to stop meddling in matters that she may not necessarily know of.  Conversely, she decides to instigate a petition for her sons’ release and communicates with the British government to aid her in her quest for justice and her meeting with Lord Clifford Allen (David Yelland) does not exactly go according to plan as Lord Clifford believes that this could cause some trouble in maintaining some level of morale. Irmgard is a persistent woman and constantly bombard Dr Conrad to the point in which he ensures that Hans’ life is miserable and torturous as possible.  As such he is transferred to Sonnersberg prison and concentration camp and in strange circumstances, Irmagrd is given permission to visit her son in the camp and she’s frightened to see what has happened to her son as his eye has been gauged out and he’s become slightly immobile in his legs due to his open opinions.  The intensity of his anguish becomes too much for Hans to handle as he commits suicide rather than be murdered by the soldiers in the camp. Hayhurst’s narrative is hypnotic as there is such a comprehensive amount of details within the plays form where we see a mother fighting for her sons’ justice in a society that hates the democratic voice.

One found the performances by the company of ‘Taken at Midnight’ to be outstanding as the characterisations are phenomenally meticulous through carefully considered vocals and movements. Penelope Wilton is the heart of this performance as Hans’ mother, Irmgard; specifically Irmgard’s obligation to have her sons’ release and her constant battle with Dr Conrad to make him see sense that her son is not a criminal and should not be treated in the same manner. Martin Huston is captivating as the imprisoned lawyer, Hans Litten; principally when you see his anger increase when he is forced to sing a song that supports the Nazi’s and how his many stints at concentration camps have made him become even bitterer toward his life prospects.

Jonathan Church’s direction is stunning here as we can see how the Nazi forces in its advancement caused an enormous amount of people who found it hard to have a free voice caused immense derision of how politics can be corrupted. Robert Jones’ design is positively gloomy as you are riveted into the harsh reality of how countless members of the Jewish community were exterminated for their religious beliefs; also the scenic art is magnificent here. Overall, the experience of ‘Taken at Midnight’ is an exceptional piece of theatre that makes you think about how dictatorship is still rife today. 

'Gods and Monsters' Southwark Playhouse ****

What transpires when we delve into the bleak reality of a horror film director, who seems to have some psychological instability which has caused some of the most spine-tingling scenes in film history? Southwark Playhouse’s production of Russell Labey’s, ‘Gods and Monsters’ was an exceedingly captivating story that enabled you to see how the world renowned director, James Whale directed the ‘Frankenstein’ films, as well as, the performances were incalculably absorbing to the eye.

‘Gods and Monsters’ is set in the mansion of admired film director, James Whale where he has kindly accepted a request for an interview from student, Kay (Joey Phillip) about his illustrious career. During the interview, James Whale becomes sexually predatory and asks the young student to remove most of clothing, which causes Whale to have a minor stroke. His long serving maid, Maria is fully aware of these outbursts.  Upon his return from hospital, Whale is familiarised with his young, ex-marine gardener, Clayton Boone and invites him to become an artist’s model as Whale is interested in re-discovering his love for painting as he was once a set designer in his career. Clayton is quite hesitant at first as Whale is adamant that he must remove his shirt, as it’s integral to the art. Out of respect to the famous director, Clayton does as requested, but Whale has other ideas in not the most appropriate of ways, and it is revealed that Whale is in fact gay, and cannot be exposed as it is illegal. Of course, Whale’s past as an army officer comes back to haunt him as he recollects his first relationship he had when he was on duty with soldier, Tozer (Will Rantall), this again causes him to have one of his funny turns. This alarms Clayton as he has never witnessed this kind of outburst before.  Over the course of their many sessions, we see have crazed James Whale actually is as he turns violent toward Clayton when he decided to remove Clayton’s shirt and jeans and as such, Clayton makes a speedy exit.  The finale is wicked as James commits suicide in his swimming pool. Labey’s narrative is tremendous as you are constantly left gripped by Whale’s unrequited love towards Clayton and how he is desperate to see all men, who are in his presence, in private in the nude.

One found the performances by the company of, ‘Gods and Monsters’ were outstanding as they were vastly mesmerising to watch through sublime voice and movement work. Ian Gelder is extraordinary as the award winning director, James Whale; exclusively when his behaviour changes into someone possessed when he tries to take off all of Clayton’s clothes off, in which he succeeds. Will Austin is incomparable as the former marine, Clayton Boone; unambiguously when he tries to come to terms with James Whale’s sexual preferences and James Whale’s demanding personality, additionally, I could not seem to revert my eyes to his beautiful muscular tone. Lachele Carl is splendid as James Whale’s maid, Maria; expressly when she tries to use comic one-liners to defuse James’ often mentally unstable mood swings and irrational behaviour.

Russell Labey’s direction is sparkling here as his understanding of James Whale’s underlying psychotic tendencies have impacted on his socially unacceptable attitude when he is in the presence of quite gorgeous men and how Clayton appears to be the play thing of James Whale’s hands. Jason Denvir’s set and costumes are immaculate in all areas as you are immediately fascinated into the 1950’s time period and into the mind of James Whale’s intriguing and disturbing mental state.  Furthermore, Louise Rhoades-Brown’s video projections and Mike Robertson’s lighting design added an extra and appreciated layer to an effervescent show. Overall, the experience of ‘Gods and Monsters’ was really entertaining and titillating, and was lovely to see. 

'Happy Ending' Arcola Theatre **

Can certain controversial issues within musical theatre lead you to feel slightly uncomfortable and weary, also whether a show with songs and movement can be classified as a musical in the first place? The Arcola Theatre’s production of Hilda Bar’s translation of Anat Gov’s musical, ‘Happy Ending’ about terminal and curable cancer was vastly un-compelling and the performances appeared under developed.

‘Happy Ending’ is set in a cancer unit at a typical NHS hospital where esteemed stage and screen actress, Carrie Evans, who has not even turned fifty required urgent treatment as she’s suffering with inoperable stage four cancer, as such she is worried that the press might expose her cancer before she even breaks the news to her family.  The other three ladies in the unit, Miki, Silvia and Sarah are both pleased by Carrie’s appearance on the ward, but understandably they are stunned that the actress has been diagnosed with this life threatening condition.  When Carrie is introduced to her fellow ward acquaintances, she learns of the stark reality if what is going to occur with continuous chemotherapy sessions such as losing her hair. As soon as the head physician in this field, Dr Lynch (Oliver Strong) arrives to see his new patient, it appears that this is some tension as Carrie thinks that Dr Lynch is arrogant and unfeeling. However, Nurse Fiona (Jodie Jacobs) proves that her colleague’s methods of patient care are at the top of his priorities and that he is a loving person. Throughout the performance, Carrie develops an overwhelming sense of denial with the severity of her condition, and obviously makes some brash and ridiculous decisions that the possibility of a longer life expectancy. Her ward “friends” soon become frustrated by Carrie’s attitude to her cancer treatment, and Silvia even refers to her experiences as a survival of the Jewish holocaust, which enables Carrie to realise her responsibilities for not only herself, but the emotion impact that it will cause to her children who do not know of their mother’s lethal illness. At the end, Carrie discharges herself as she wants to live more independently, and not rely on her family for everything. Gov and Bar’s narrative was positively uninspiring as the storyline felt too provocative, as well as the music and lyrics by Shlomi Sheban and Michal Solomon was un-enthralling and un-imaginative.  

One found the performances by the company of ‘Happy Ending’ were immensely disjointed and not impressive whatsoever. Gillian Kirkpatrick is unexciting as the central protagonist, Carrie; particularly when she goes through a daydreaming moment where she is deciding whether she will continue with her treatment and her status as an actress.  Andrea Miller is substandard as gritty, Silvia; chiefly when she confronts Carrie of her childish and immature attitude towards her cancer diagnosis, furthermore, her explanation of her Auschwitz survival did appear to be too melodramatic and not taken with sensitivity. Karen Archer is boring as the former hippy, Miki; explicitly when she conveys about how terrible she was as a mother to her daughter and how awkward their relationship has been, but has improved since her cancer scare.    

Guy Retallack’s direction and Jordi Guitard’s choreography were horrendous here as the attention to detail in the characterisations and dance sequences left a lot to be desired and how poor the rehearsal process has been. Not acceptable to be honest.  Simone Romainiuk’s design is mediocre, even though it gave the impression of the clinical environment, it did feel ailing in certain places and you can see how shameful the communication has been with this production. Overall, the experience of ‘Happy Ending’ was enormously disappointing and indicates that this is not a musical profoundly. 

'Little Light' Orange Tree Theatre ***

More often than not, playwrights do like to tease and holdback information from its audiences, but can this agenda lead to an audience to feel isolated and confused? The Orange Tree Theatre's production of Alice Birch’s new play, ‘Little Light’ does not exactly makes sense until the very end of this challenging play, having expressed this, the performances were wonderfully conveyed.

‘Little Light’ is set in a house by the sea ,where we are acquainted with married couple, Alison and Teddy who have a number of odd characteristics as Teddy decides to demolish the staircase and to deny answering the telephone that keeps ringing. They are waiting for one invited guest to arrive for dinner that's held annually. Alison's younger sister, Clarissa arrives drenched as it has been raining; however, when she steps through the door, Alison becomes quite possessed and turns nasty to her sister as there is a situation that has caused such a huge wedge between them. At the dinner table and the meal provided questions whether Teddy and Alison are in a mental state of decay as Alison tries to force her heavily pregnant sister to drink wine as they always drink it at dinner and eat the same main course and desert each time. Conversely, Clarissa has asked her boyfriend, Simon to attend, and they are eating a different main course and desert. On the other hand, he does not know of the families weird traditions, which causes more friction between the two sisters. Alison is tormenting her sister for some reason, and when we are informed of what happened to Alison and Teddy's daughter you can see why they are not emotionally and mentally steady. Simon despises Alison and Teddy's treatment towards Clarissa and request that they must leave, but Alison has other ideas; such as locking the house door and cutting the telephone wire, and when they finally vacate the premises, it enables you to argue whether you need to forgive unforgivable circumstances. Birch's narrative is extremely exhausting, as you can never figure out why one sister is black and why one sister is white, paradoxically, it does convey how families can become dysfunctional due to a saddening moment.

One found the performances by the company of ‘Little Light’ were well-acted and depicted the strange functionality of Birch’s gruelling dialogue. Lorna Brown is intriguing as the disturbing, Alison; especially when we see her vindictive nature when she is serving her sister a section of fish pie with a hairball inside, which is then served to the wrong person, which causes him to be immeasurably sick. Yolanda Kettle is superb as Alison’s tormented sister, Clarissa; principally when she becomes aggravated by Alison's constant belittling and controlling attitude when she is forced to drink a glass of wine which is seriously unhealthy. Paul Rattray is brilliant as Alison’s indecisive husband, Teddy; mainly when he we see his pleasure in demolishing the staircase, which does horrify Alison and is dumbfounded by his decision to do so, which shows how wobbly he is psychologically.

David Mercatali’s direction is transcended here, but really tiring as your left on tenterhooks wanting to see what might happen and the reason why Alison is horrible to her sister, and you will be shocked by what happened to cause resistance between the two of them. Madeline Girling’s design is minimalistic, but in a positive way as the play itself has to remain the most integral part as it's an intense experience, on the other hand, I was transported to a rustic sea house. Overall, the experience of ‘Little Light’ was one that needed you to remain focused throughout as the flow of the narrative is quite confusing at points.