'Rise Like a Phoenix' Above The Stag Theatre ***

HIV is an infectious virus which is highly contractible that can ruin someone’s life and can be extremely difficult for that person to admit it, not only to other people. Above The Stag Theatre’s recent production of Paul Emelion Daly’s current play, ‘Rise Like a Phoenix’ was one that highlights the illness to a contemporary audience, furthermore, the performances were excellently characterised.

‘Rise Like a Phoenix’ is set in the flat of estate agent, Hector, who is holding a party where he is dressed in drag for his ex-boyfriend, Alan.  However, the flat where the party is being held was once owned by both Hector and Alan. The break up between the two of them has been kept under wraps and when Alan arrives with his current partner, painter and decorator, Eddie (Jonny Dickens), there is the obvious awkward tension that you’d expect from a break up.  When Hector and Alan’s friend, musical theatre fan, Pippin makes his dramatic entrance after walking out during the interval of musical, ‘Wicked’, this is due to the fact that has been diagnosed with HIV, and is refusing to take vital medication that can maintain some level of good health. Over the course of the production, Hector has employed Colombian masseur, Gucci (Dimitrios Rapitidis) to serve the drinks and food for the party in a very tight pair of gold shorts makes a move on Alan’s boyfriend.  The performance oozed campness; exclusively Pippin’s song and dance sequence where he explains his passion for musical theatre as it’s a form of therapy of how he is coming to terms with his HIV diagnosis. Contrariwise, Hector and Alan do believe that he must seek professional help so that he can sort out his emotional problems.  We are soon informed that Eddie was once married and that he contracted HIV through his wife, and as such Alan became infected due to unprotected sexual activity at the school where they first met.  Alan soon has to tell Hector that he was responsible for the HIV virus, and Hector is furious with such revelations and demands that Alan and Eddie must leave the flat. At the finale, there is a tender moment where we see Hector and Pippin cuddling up on the sofa, reassuring Pippin that he will be okay. Emelion Daly’s narrative is agreeable as here are some moving moments between the former couple, Hector and Alan, but there are aspects of the show that are too camp and over-the-top which needed toning down slightly.

One found the performances by the company of, ‘Rise Like a Phoenix’ were radiantly conveyed through enjoyable scenes that captivated humour and emotional content. Reed Stokes is divine as estate agent, Hector; in particular when you can see him hurting when he is witnessing the passionate moments between Alan and Eddie, also his alter-ego, “Fanny Sparkles” shows how confident and provocative he is. Lewis Rae is sublime as Hector’s former partner, Alan; chiefly the moments where his OCD is magnified at the slight of mess on the carpet, and during the interval we can see him hovering up the dirt on the carpet which was funny to observe.  Conleth Kane is amazing as musical enthusiast, Pippin; expressly the monologue about how the genre of theatre allows him to come to terms with his HIV status, and how his parents will be disappointed that he got himself into this situation.

Tim McArthur’s direction is pleasing here as he been able to instruct the LGBT community of their responsibilities that you need to be protected against sexual acts and if you do not do so, then this is extremely immature and somewhat unforgivable. Zoe Hurwitz’s design is opulent here as the flat appears really shabby, which is quite surprising for a flat that is owned by an estate agent. As well as, the scenic art elements were of a high standard. Overall, the experience of, ‘Rise Like a Phoenix’ was well considered and makes a clear statement that HIV is still an issue that needs to be presented.

'Cats' London Palladium ****

Lord Andrew Lloyd Webber is without any shadow of a doubt a powerhouse within British Musical Theatre, and the musicals that he created during the 1980’s were the pinnacle of his illustrious career. The revival of his 1981 musical, ‘Cats’ is one that those who were not even born during that decade are given the opportunity to witness it for themselves, plus, the performances were wonderfully performed.

‘Cats’, inspired by the characters and words of T.S Eliot’s ‘Old Possum’s Book of Practical Cats’ is set in the garbage lair of the Jellicle cats, where they gather at the same place, yearly and explain the reasoning of the names. This clearly enables their collective to understanding their own personal stories.  Grizabella, an unpopular member of the collective as it is assumed that she has done something untoward; also she is a particular shy character whose career as a superstar has dwindled dramatically.  Conversely, the most overriding Jellicle cat, Old Deuteronomy , who is enormously respected by the group, and is always bombarded by the others to see who is his favourite; this is conveyed through rapper, Rum Tum Tugger (Antione Murray-Straughan) and magician Mr. Misoffoles (Joseph Poulton). Over the course of the performance, the Jellicle cats are quite scared that the villainous, Macavity (Cameron Ball) could be making an appearance and ruin the gathering, and when he makes a brief arrival, the cats quickly scarper. Even though there is not a fully cohesive story, you can see how central Old Deuteronomy is to each and every cat, and when he makes a conscious decision to see whether Grizabella can be saved from her browbeaten existence, this soon causes some concern from the group. To rescue her, he plans to send her to the Heaviside Layer to be re-born so that she can regain her confidence and become a welcomed and trusted member of the Jellicle cats. When Grizabella has been sent to be re-invigorated, it seems that this has been successful and her place as a member is granted. Eliot’s narrative along with Lloyd Webber’s music and lyrics are immensely memorable as you can see enthralling the musical numbers are, additionally, they have maintained their legendary status; such as, “Grizabella, The Glamour Cat”, “Macavity”, “Mr. Mistoffoles” and of course how could I not mention, “Memory”.

One found the performances by the company of, ‘Cats’ were gracious through immaculate balletic dance sequences and splendid vocals that can easily move you to the point where tears fall down your face.  Kerry Ellis is outstanding as the washed out celebrity cat, Grizabella; especially when you can see how upset she is with her lack of notoriety at this given moment, furthermore her performance in “Memory” definitely sets off your emotions.  Nicholas Pound is brilliant as the leader of the Jellicle cats, Old Deuteronomy; chiefly at the finale when you see how important the gathering is and the unique presence of individuals in “The Ad-Dressing of Cats” and it is pleasant to see.

Trevor Nunn’s dirction, accompanied with Gillian Lynne’s original choreography is striking here as they have both been able to spruce-up a musical that probably needed revising, moreover, there is a great level of well-developed characterisations which is pleasing to observe. John Napier’s design is phenomenally majestic as he has transformed the auditorium of the London Palladium with good effect as you’re engrossed into the Jellicle cat’s lair within a gigantic theatrical space, and that is a big feat.  In addition, David Hersey’s lighting design and the impeccable work by the LX crew added another layer to a musical within an era that magnified excess.  Overall, the experience of, ‘Cats’ was a very entertaining show and suggests Lord Andrew remains a legend within British Musical Theatre.     

'Play Mas' Orange Tree Theatre ****

Some people might wonder what play mas is within the carnival scene, and its importance to the countries cultural landscape?  Play mas is the national carnival for the nation of Trinidad, and the Orange Tree Theatre’s production of Mustapha Mutura’s play, ‘Play Mas’ was a curious depiction of how politics and manipulation can co-exist with one another, in addition, the performances were well considered.

‘Play Mas’ was originally staged in 1974, which transports us to Port of Spain, Trinidad during the late 1050’s-1963 where we are introduced to Ramjohn Gookol , a Trinidad born tailor who has an infinite passion for his work. He does have a slight annoyance with his mother, Miss Gookool (Melanie La Barrie) authoritarian attitude as she keeps reminding him that he is an “Indian”, even though he was born in Trinidad.  Their apprentice, Samuel is excited that play mas is about to commence, however once Ramjohn decides that he wants to see what it is about, his mother begrudges the idea and says that he’s not to go. He does accept his mother’s demands and does not go.  When Samuel, dressed as a soldier tricks Ranjohn and Miss Gookool by pretending to shoot them it soon leads to his dismissal from working there. This causes Mrs Gookool to become distressed and she has a heart-attack, and when the drunken Doctor (David Morteith) announces she has now passed away, Ramjohn turns to alcohol.  We fast forward a couple of years where Samuel has become the new government’s police commissioner in post-independence; he is married to Mrs Samuel (Lorr Barker).  To retain the countries “state of emergency”, he chooses to suspend the play mas celebrations for that year and as such; this causes uproar from locals Mrs Banks (Llwella Gideon), Mr Tate (Kirris Riviere)and Mr Lyle (Kevin N Gordon) where they plead for him to reconsider.  Additionally, Samuel and Ramjohn reunite after a long absence, but Samuel has other motives for this reunion and his is concerned by allegations of terrorist activity and requests that his former friend to seek out such claims.  He receives this information and begins to plan to obliterate the miscreants and allows play mas to happen and with help from Chuck Reynolds (Rob Healey) the battles begin. Matura’s narrative is wild and vibrant as we are given an interesting insight into how carnivals are poignant to the cultures of Caribbean nations and the conspiracies around the techniques of certain people to allow this to take place.   

One found the performances by the company of, ‘Play Mas’ to be very triumphant as they grasp the humour and moving elements during the show. Johann Myers is tremendous as the Indian/Trinidadian tailor, Ramjohn; mainly when you see him break down in tears when he comes to terms with him mothers’ death in a drunk and disorderly fashion.  Also his Caribbean accent is dazzling so congrats to Claudette Williams for her fine vocal coaching. Seun Shote is lovely as tailor’s apprentice/police commissioner, Samuel; predominately his aloofness transgresses when he positions the chairs in his office to signify his importance.

Paulette Randall’s direction is scintillating here as she has been able to grip us into a warm and tropical milieu when you see how imperative identity is to a nation and the elements that are required to show its brilliance. Libby Watson’s designs are stupendous as the Orange Tree Theatre’s in-the-round configuration enables you to observe the carnival and the costumes that are worn to signify specific characters. As such; the costumes are a sight to behold; especially the amount of glitter displayed on the female dresses. Overall, the experience of, ‘Play Mas’ was an euphoric performance and a wonderful selection for the theatre’s season.  

'The Nether' Duke of York's Theatre ****

What would happen if your utopian false reality included a disreputable business where inspective forces are on the end of finding out about it? The Royal Court’s West End transfer of Jennifer Harley’s, ‘The Nether’ was an enthralling play about virtual realities, along with impressive performances.

‘The Nether’ is set in two locations, one in a questioning room and the other is a gleaming paradise in the year 2050, but this paradise is being heavily scrutinised by police investigator, Morris. Sims, a spine-chilling individual has been hiding a hard-drive to a virtual reality that is resplendent with debauchery as he has a fascination with a girl called, Iris (Perdita Hibbins) who has to entertain men who are desperate for a good time. However, what Sims is completely unaware of is that Morris has been hoodwinking him by sending former school professor, Doyle to seek out the hard-drive that Sims is hell-bent at defending. As such Doyle’s entire physicality is completely changed to someone else as to not arouse suspicion. Throughout the performance, Sims appears to become mentally infatuated with Iris, which suggests he has a desire for paedophilia, and when his client, Woodnut (Ivano Jeremiah) arrives for an evening of passion with Iris. Obviously, the evening is full of glitches from the outset. Within the investigations by Morris, she interrogates both Sims and Doyle as the hard-drive is an important source of information and constantly forces Doyle to keep Sims in a false sense of security.  When Iris and Woodnut for a strong bond, Sims develops an immense level of jealousy and contemplates whether to send Iris to “boarding school” and explains that he can find any girl with similar features. Iris reassures Sims of her loyalty to him and the services that she provides.  Morris is pleased by this as it allows the investigation to progress.  At the finale, Sims and Doyle have to make a complex decision whether to continue living in an unnatural world, nonetheless they conclude that the virtual reality should end and Morris is then informed by the hard-drive’s whereabouts. Harley’s narrative is enchanting as you are made to image what the future could be with even more technological innovations could pose a potential threat to those searching for criminals.

One found the performances by the company of, ‘The Nether’ to be increasingly intriguing as the transitioning of the characters’ intensions works wonders through superb vocals and movement executions. Stanley Townsend is excellent as the paedophilia enthusiast, Sims; in particular the creepy moments when he is touching Iris in ways that’s completely horrific and instils a sense of repulsion that is necessary to convey such a role. Amanda Hale is ideas as the detective, Morris; exclusively when she seems to be under pressure to locate the hard-drive of this virtual world, as well as, its visible to see that the woman is in command of how Doyle is supposed to react when he enters The Nether. David Calder is delightful as Morris’ puppet, Doyle; for example when he states that his career has been destroyed by technological advancements have enabled students to be taught with a virtual teacher rather than a face-to-face scholar.

Jeremey Herrin’s direction is prevailing here as he has created a futuristic atmosphere where paedophilia is still a frequent problem and that a virtual haven can allow this to maintain a key presence in the world; moreover, there is a shock factor within the intimate scenes between Iris and Sims. Es Devlin’s set design, incorporated with Luke Hall’s video design is astonishing as I was transported to a world that could be a reminder of how the globe could be like when I am older. Plus the combination of traditional forms of design with cotemporary methods suggests how theatre attempts to be ever-changing. Overall, the experience of, ‘The Nether’ was an imaginative and eye-catching show about the real and false representations of reality. 

'The Cutting of the Cloth' Southwark Playhouse ****

Saville Row is branded worldwide for its high standards of male suits for centuries, in London, and the competition is rife to make a good wage to live happier. Southwark Playhouse’s production of Michael Hastings’ play, ‘The Cutting of the Cloth’ was an interesting story of the training of the tailor where the introduction of the sewing machine instigates conflict between the other colleagues; correspondingly, the performances were brilliantly thrilling.

‘The Cutting of the Cloth’ is situated in a work room at Kilgour. French and Stanbury in 1953 where mid-fifties tailor, Spijak makes it increasingly noticeable that he has a dislike for the sewing machine, which is why he champions the traditional methods of constructing suits. As such, when sixteen year old apprentice, Maurice enters to learn the craft of tailoring, Spijak states that he he must learn through old-fashioned techniques. However, Spijak’s colleagues, Eric and Iris (Abigail Thaw) frustrates Spijak immensely as they outshine him due to the fact that they speedily sew the suits at record pace with the sewing machines that Spijak despises. Eric believes that Spijak is outdated as he’s stuck in his own ways and this escalates tension between them; particularly when Eric is being sent lots of fabrics to make suits for esteemed gentlemen, whereas, Spijak is delivered a minute amount which does aggravate him. Spijak’s daughter, Syndie (Alexis Caley) eases Maurice into Spijak’s demands and over the course of the performance we see Maurice’s development, and we see Spijak becoming slightly parental towards Maurice and even help Maurice finish off a suit that Maurice is constructing for himself.  Competition intensifies between Spijak and Eric when Eric is informed by Spijak’s meddling with completing suits that Eric needs to finish. When Eric is sent an order to make suits for a film during the Christmas/New Year period, it seems an impossible task, but when Spijak is left alone he decides to complete this order during the whole holiday with both traditional and modern methods and the strain leads to his death. Hastings’ narrative is wonderful as you are taken on a journey of three male tailors who have completely different views of their craft, furthermore, we seen the combination of traditional and contemporary forms of tailoring can prove to be a success.

One found the performances by the company of ‘The Cutting of the Cloth’ to be sublime as they capture the somewhat fraught tension that’s magnified through the pressures of deadlines within the workplace.  Andy de la Tour is brilliant as traditionalist tailor, Spijak; chiefly when he takes pleasure in coaching Maurice is his process but in a harsher tone which conveys how tough teaching can be fruitful. Paul Rider is excellent as Spijak;’s ostentatious colleague, Eric; specially when he constantly belittles Spijak’s attitude to the introduction of the sewing machine , additionally the prestious nature when his popularity increases as he makes suits at a quick speed. James El-Sharawy is amazing as youthful apprentice, Maurice; expressly when he has to radially adapt his cutting skills as he is a left hander, but Spijak explains that he has to cut and iron with his right hand and as such he becomes a competent and prevalent tailor.

Tricia Thorns’ direction is pleasant here as she has encapsulated the tailoring industry in the 1950’s with such grandeur that makes me feel pleased by how precise and schooling with tailor, Jack Goode has expanded the spectacular characterisations. Alex Marker’s set designs and Emily Stuart’s costume designs are stunning as the attention to detail is of the best quality as you are absorbed into the world of a Saville Row workroom with ease. Overall, the experience of ‘The Cutting of the Cloth’ was a first-rate performance with awesome production values. 

'Made in Dagenham' Adelphi Theatre ****

The Women’s Rights Movement is a crusade that is still on going, and during the 1960’s in the United Kingdom an unambiguous group of women decided to campaign for equal pay. The stage musical of, ‘Made in Dagenham’ by Richard Bean with music by David Arnold and lyrics by Richard Thomas was one that’s very commanding and the performances were hugely distinctive.

‘Made in Dagenham’ is set at the Dagenham Ford factory where there’s a colossal difference between the pay that the woman receives compared to the man’s pay, in addition, the woman’s wage is being deducted as they’re apparently “unskilled”. Understandably, this causes uproar between Connie, Rita O’Grady, Sandra (Sophie Isaacs), Clair (Heather Cranley) and Beryl (Sophie Stanton) and the rest of the women who work in the factory.  The women’s male representative, Monty (David Carly) attempts to resolve the issue with male dominated management, but this does not happen, and this instigates further unrest where the women decide to begin a protest against the Ford factory and the TUC. Rita O’Grady, her husband, Eddie and her two children, Graham and Sharon are facing their own personal difficulties as Graham’s Latin teacher is tormenting him as he is a scholarship student, and when Rita is acquainted with follow school mother, Lisa Hopkins (Naomi Frederick) a historian, she makes it clear that she must be involved in manufacturing progress and funnily enough her son is be persecuted too. Unfortunately, the current Prime Minister, Harold Wilson (Mark Hadfield) is a dishonourable person who is taking money from the Ford co-operation and is a severe male chauvinist. He promotes Barbara Castle (Sophie-Louise Dann) to keep the women quiet. As the protest is advancing, this causes problems with Rita and Eddie’s marriage and as such Eddie decided to leave Rita with their children along with him.  When Lisa states that Rita must continue to stand for her equal pay campaign, Rita does what she’s asked. Rita is informed that that Connie is suffering with inoperable cancer. Rita soon speaks at the TUC congress and there’s pleasing results as there’s unanimous serge of yes votes for the equal pay issue. Bean’s narrative along with Arnold and Thomas’ music and lyrics are magnificent as the adaptation of the 2010 film does work wonders within a theatrical form and educates us on the splendid contribution the woman plays in society. Furthermore, there are likable musical numbers such as; “Made in Dagenham”, “Everybody Out”, “The Letter” and “Stand Up”.

One found the performance by the company of, ‘Made in Dagenham’ to be the peak of creativity through imposing vocals and movements over the entire show. Gemma Arterton is fabulous as the lady fighting for the women’s rights, Rita O’Grady; in particular when she penalises Ford’s management for their sexist remarks and asserts that it is time for the woman to earn the same wage as the man. Isla Blair is outstanding as the sort of leader of the women’s floor, Connie; explicitly when you see a slight romance between herself and Monty and she lets Rita know that there could have been a marriage years before.  Adrian Der Geordian is miraculous as Rita’s husband, Rita; for example when he explains to his wife that her campaigning has caused a wedge between them both and that their marriage could be at an end if she does not stop fighting for women’s rights.

Rupert Goold’s direction, accompanied by Aletta Collins’ choreography is phenomenal here as we are witnessing the trials and tribulations of a group of women who will soon make British history, and the tenacity and ease of the characterisations are comprehensive which means there’s a fruitful level of communication between the whole team. Bunny Christie’s designs are unbelievable as I was engrossed to how precise the factory looked and the room at the Houses of Parliament, it is no surprise that Christie designed this set and the swinging sixties vibrant costumes. Overall, the experience of, ‘Made in Dagenham’ is a transfixing one that makes you aware of what these women did for society.