'The House of Mirrors and Hearts' Arcola Theatre ****

The loss of a family member will be a truly paining time; especially if the circumstances of the death remain undisclosed, besides this, what occurs when one man enables a reserved girl to come out of her shell and the secret is revealed? The Arcola Theatre’s production of Eamonn O’Dwyer and Rob Gilbert’s contemporary musical, with assistance from  Katy Lipson and Perfect Pitch, ‘The House of Mirrors and Hearts’ was a titillating piece of fringe theatre, in addition to this, the performances were enticing to witness.

‘The House of Mirrors and Hearts’ is situated in the kitchen of a family of four, however, the father who is a maker of mirrors has been brutally murdered in his workshop by his eldest daughter, the Young Laura (Sophie Pourret Wythe/Ella Doherty) by a sharp piece of mirrored glass. As you’d expect why did she kill her father? Seven years passes and Anna, the mother is still mourning for the loss of her husband and resents her daughter, Laura about the death, as well as, Laura has grown into a silent and gentle soul who hardly utters a proper exchange of words. To pay the bills, Anna has been renting her spare bedrooms and her new lodger is geeky young scholar, Nathan who is compiling a collection of his favourite poets work. Anna’s youngest daughter, Lily who is comparatively opposite to Laura as she is enormously flirtatious for a sixteen year old, moreover, her dress sense is quite sexual as she tries to use her physique to stir up trouble as a means for attention from men and her mother. This is evidenced when she attempts to seduce Nathan whilst he is working, but he pushes her away from him and when Anna’s other lodger, David (Graham Bickley) catches them in which he assumes Nathan is raping her, Nathan explains that this is not the case as Lily was drunk. Over the course of the performance, Laura becomes intrigued in Nathan’s preferential poets work and through this; it develops into a thriving and strange relationship. Furthermore, when she takes him to a place where she throws empty wine bottles against the wall there are some sweet moments present, nonetheless, Anna is worried by Laura’s newly found confidence.  Through flashbacks with Anna, Young Laura and Young Lily (Charlotte Pourret Wythe/Isabella Doherty) you can see how the family has been turned upside down due to Anna’s husband’s death and at the finale, we learn the real reason why Laura murdered her father and this is because he tried to force himself on her and have sex with his own daughter. O’Dwyer and Gilbert’s narrative and music and lyrics were excellent as the story is about an enigmatic situation where a young girl had to assassinate her own father and with such musical numbers as “Little Bird”, “Secrets & Lies”, “Catch the Light” and “Beauty in the Breaking” were exceedingly well written and captured a lot of emotion.

One found the performances by the company of, ‘The House of Mirrors and Hearts’ to be wonderfully characterised through tender and tough scenes. Gillian Kirkpatrick is splendid as alcoholic mother, Anna; mainly where you see how much she is struggling to keep her feelings inside and when she shouts at Laura it is a sense of her being able to be honest, correspondingly her vocals in “Something for the Pain” and “Here” depicts her overwhelming sadness. Jamie Muscato is outstanding as the scholar, Nathan; chiefly the point where he begins to cultivate feelings with Laura shows how frantic he is to help Laura in building her confidence and this shows his sensitive and decent side. Grace Rowe is vivid as Anna’s very inaudible daughter, Laura; specifically how troubled she has been due to the horrific circumstances in her childhood, in addition she lightens up when Nathan shows affection towards her and it does surprise her as she has not had this experience beforehand.  Molly McGuire is brilliant as vivacious daughter, Lily; especially how the lack of a male role model and limited mother’s warmth has caused her to turn into a wild child of a teenager with no inhibitions whatsoever by excessive drinking and being drunk almost daily.

Ryan McBryde’s directions is atmospheric here as he has crafted a musical that is of near perfect with spectacular panache as we are taken on a journey of a mother and two daughters who have been through a hellish time as of late and the battles they currently face on a day to day basis. Additionally, his expansion of the characters was dealt with with such transcendence.  David Woodhead’s set and costume designs are gorgeous as I was absorbed into the world of Anna, her two children and Nathan with amazing detailing and comprehension. Overall, the experience of, ;The House of Mirrors and Hearts’ was a gratifying one indeed. 

'Orson's Shadow' Southwark Playhouse **

What transpires when a fading stage and screen director has to make a sensible decision to rescue his career from the brink of despair by collaborating with somebody who to some extent you do not like, as well as, how an illustrious critic tries to keep the peace between them? Southwark Playhouse’s production of Austin Pendleton’s 2000 play, ‘Orson’s Shadow’ was a somewhat unconvincing portrayal of factual events; also the performances didn't excite me that much.  

‘Orson’s Shadow’ is set during the 1960’s where we are introduced to distinguished and controversial theatre critic, Kenneth Tynan who has made a journey to Ireland to have an informal meeting with his long lasting friend, the director, Orson Welles who is really desperate to make a successful theatre and/or film project.  Orson’s servant, Sean (Ciaran O’Brien) who is vastly abrupt informs Orson of Kenneth’s appearance. On the other hand, there is a tense atmosphere as Orson is unhappy with Kenneth as he made some snide comments in a review about one of Orson’s theatre shows.  But Kenneth has a proposal for Orson as a strategy to save Orson’s dwindling career and this is direct one of Britain’s notorious actors in a production of Eugène Ionesco's, ‘Rhinoceros’. Back in London, when Kenneth meets with legendary actor, Laurence Olivier about an anticipated job role as dramaturg/literary manager for the new National Theatre, he asks Laurence about working with Orson on the Ionesco play and even though he is apprehensive, he accepts both offers.  Once Orson arrives from Ireland with Sean we can see how British and American creative have different views on how to construct theatrical work and analysis of playwright’s intentions. Moreover, it seems that Orson has an appreciation for Olivier’s crazy and conceited wife, Vivien Leigh (Gina Bellman), which Kenneth has also slated in his reviews for The Observer.  Alternatively, Olivier has been having a courtship with another woman by the name of Joan Plowright (Louise Ford), who soon becomes Olivier’s second wife. Joan pleads with Laurence to talk to Vivien abut a divorce and when he chickens out on doing so, Joan understandably is not exultant.  Over the course of the performance, Tynan, who is overseeing rehearsals with both Laurence and Orson and it’s noticeable that Olivier has issues with his and Joan’s characters and Orson’s abnormal directing style.  At the finale, Olivier is still in his marriage with Vivien even though he is in love with Joan, Orson who has lied about his intentions for being a part of the creative team for Rhinoceros makes one more successful film and Tynan remains as one of the United Kingdom’s influential theatre critics. Pendleton’s narrative is satisfactory as a play about how Rhinoceros came together did feel too melodramatic, furthermore, at times the plot falls flat on some aspects i.e. Kenneth Tynans’s poor health and the amour between Sir Laurence Olivier and Joan Plowright.

One found the performances by the company of, ‘Orson’s Shadow’ were adequately conveyed through agreeable movements and good voice work which emulates similar characteristics of the personalities mentioned. Edward Bennet is conventional as of theatre criticism’s marvels, Kenneth Tynan; mainly how the lack of clear and coherent conversations is exact to the real Tynan as he had a lisp and only had the confidence to convey his opinions through his writing, just like how I have troubles. Adrian Lukis is tolerable as the wondrous, Sir Laurence Olivier; in particular when he tries to justify to both Vivien and Joan about his love for them, similarly his worrying expression for his characters enactments shows that Olivier was the ultimate professional in his craft. John Hodgkinson is acceptable as struggling American film and theatre director, Orson Welles; for example how his failing career has impacted on how long it takes for him to make a film and when he wants to complete his Shakespeare movie he explains he has to stop when money is non-existent.

Alice Hamilton’s direction is second or even third rate here as there is not enough attention to detail within the entire production as an abundant amount of moments were lacklustre and the work in capturing Pendleton’s play was really disappointing to be quite frank. Max Dorey’s design was however well designed as I could see where I was and the in-the-round configuration did work here, plus Nicholas Holdbridge’s lighting design incorporated a dark environment. Overall, the experience of, ‘Orson’s Shadow’ was a slightly disappointing one and one of the most shocking shows I’ve seen at Southwark Playhouse.

'The Gathered Leaves' Park Theatre *****

Being a part of a family unit can be particularly enjoyable, but are there periods when a family do come together as a whole to celebrate someone’s birthday cause skeletons to come out of the closet? The Park Theatre’s current production of Andrew Keatley’s newest offering, ‘The Gathered Leaves’ was an intellectually stimulating and touchingly warm production on such matters with tremendous performances all the way through.

‘The Gathered Leaves’ is set in the country home of the affluent Pennington family where at first we are transported to 1964 to Young Giles Pennington (Hamish Brewster) and his autistic brother, Young Samuel Pennington (Oliver Buckner) who are acting out a scene from the third Doctor Who story, ‘The Edge of Destruction’. Samuel is peeved that Giles is not conveying his lines correctly and as such we will see how this commences a moving relationship that will last forever. Thirty three years later, in 1997, the Pennington clan all come together to celebrate the birthday of head of the family, William (Clive Francis). His wife, Olivia is busy ensuring that the festivities are going to plan where Samuel has spent a whole week baking and decorating a cake that’s modelled on their family home. Giles arrives with his wife, Sophie (Anna Wilson-Jones), and their two young adult children, Simon (Tom Hanson) and Alice (Katie Scarfe) and it seems that Giles and Sophie’s marriage is “on the rocks” where they sleep in different beds.  When Giles and Samuel’s sister, Emily (Georgina Beedle) who they have not seen for some time has returned with her daughter, Aurelia (Amber James) for her father’s birthday it appears there is a reason for this.  The reason of her absence is due to the fact that William isolated her out of the family because of Emily’s pregnancy to a black man and over the course of the production we learn that Olivia has been visiting her daughter and granddaughter in secret for years.  When Emily plays a tune on the piano she played as a child, it enables the family to come together in a positive way and the point where they’re playing board games it allows us to see how educated Samuel is as he remembers a quote from a Charles Dickens novel from memory.  Another skeleton in William’s closet is his past infidelity and when he tells Giles, Giles is so furious that he walks out of the living room when William opens his presents as he cannot look at his father. Alternatively, William shows his sensitive, parental and soft side when he has a few alcoholic drinks with Aurelia and when he wants to see the scene of Doctor Who after an altercation with Giles about how he does not take much notice of Samuel’s brilliant and creative mind. At the finale, Giles is still angry with his father, nonetheless he does compliment Giles in his role as a brother as it’s quite hard having a brother with autism. This is increasingly poignant as I have autism and my younger brother is a spectacular one indeed who helps me out.  Keatley’s narrative is excellent as the formation of a play about a well to do family who have the same challenges and problems as those in the middle classes and working classes allows all classes to identify and unify together.

One found the performances by the company of, ‘The Gathered Leaves’ to be extremely well portrayed through impeccable diction and movement execution that is so inspiring. Jane Asher is impressive as matriarch, Olivia; especially how amazing she is a doting mother, wife and grandmother and when Samuel injures himself with tea she is on hand to help him no matter what. Alexander Hanson is exhilarating as older sibling, Giles; specifically when he frequently argues with Sophie about his brother’s condition where Sophie thinks he has been staring at her in the shower, but this is not the case. Neil Sampson is awesome as autistic, Samuel; primarily how truthful and representative he depicts an autistic adult and his impression as William Hartnell’s Doctor is nothing more than funny. Well done I must add.

Anthony Eden’s direction is fabulous here as he has created and presented an engaging and enlightening  piece of theatrical work about how a family such as the Pennington’s do have both ups and downs, as well as, the cute relationship between Giles and Samuel.  James Perkin’s design is simple yet effective as I was immediately taken into the Pennington environment in the 1990’s, plus with miraculous lighting by Paul Colwell and Stella Cheung and beautiful sound by Harry Johnson it’s a delightful design network and collaboration that’s unmatched. Overall, the experience of, ‘The Gathered Leaves’ to be a dazzling one indeed and one must conclude by commenting on slick stage management by Amy Clement and Valeria Bettini. 

'Alpha Beta' Finborough Theatre ****

What happens when a marriage eventually breaks down due to an awkward courtship of domestic confinement and the constant confrontations, but are still hanging on to their nuptials for the sake of their two young children? The Finborough Theatre’s production of Ted Whitehead’s 1972 play, ‘Alpha Beta’ was a gripping and hard hitting production about a marriage that should’ve terminated ages ago, furthermore, the interpretations were admirably performed.

‘Alpha Beta’ is set in the lounge of the Elliot’s home over the course of a nine year period from 1962-1971 where were are accustomed to Mrs Elliot, who is currently redecorating the house as she does not have a job. However, when her husband, Mr Elliot returns home after more than his fair share of alcoholic beverages as it’s his birthday, the tension commences immediately where he claims that he is frustrated by his life and that he really does not love his wife at all.  Also, he says that he wants to leave her and confirms that he has been having illicit affairs with other women, but Mrs Elliot already knows of her husband’s debauched actions. She makes it clear that she will make her husband’s life a living nightmare and declares that she will inform the woman’s family about the affair and what it has done to their family. Throughout the performance, it is visible that the Elliot’s matrimonial have never been that amorous and that their coupling was somewhat forced upon and their relationship was not formed in the passionate way in the “normal” way.  Progressively, a few years later the strain of the marriage remains ever existing and the house is losing its upkeep. Mr Elliot repeatedly humiliates his wife of her terrible housekeeping and the fake situations they have to maintain i.e. their children’s school sports day and birthdays, and once again Mr Elliot demands that he and his wife must separate for the sake of their children.  The relentless fights and quarrels come to a head when the Elliot’s, who are now living separate lives and homes and how Mrs Elliot decides to take drastic measures so that her soon to be ex-spouse suffers as she conjures up a mix of drink in which it will enable herself and her two children to die. But when he enters his former residence he finds her manufacturing this substance he still makes it obvious that he does not love her any more, oppositely, there are tender moments present when Mr Elliot fixes his son’s bike and the loving expressions the two give each other. At the finale, Mr Elliot leaves and Mrs Elliot clears up the mess that has been left all over the place. Whitehead’s narrative is vastly harrowing as we are seeing the lack of compassion in the Elliot’s marriage in the space of nine years and how the recurrent arguments could affect their children’s development into adults and that Mr and Mrs Elliot need to be happy in their life and divorce is needed.

One found the performances by the company of, ‘Alpha Beta’ to be cordially and ardently depicted through strong and convincing movements and well articulating voice pace and pauses. Tracy Ifeachor is positively distressing as troubled wife, Mrs Elliot; in particular the moments where she is desperate to keep her husband from leaving her as she must still love him and that she wants the feeling to be reciprocated, but it does not happen. Christian Roe is brilliantly brash as the volitle, Mr Elliot; predominantly where he opens up to his wife about his alcoholism to the point where he breaks down in tears and how he feels trapped in a marriage that he does not want to be in anymore.

Purni Morrell’s direction is hair-raising in a good way here as she has staged an emotive and disturbing representation of the Elliot’s self-made confinement of a marriage where in a time frame of nine years has caused them to resent each other wholeheartedly, which to the audience is heartrending. Plus the characterisations were really accurate in conveying a coupling who despises each other. Verity Quinn’s design is surprisingly dazzling as the tight and limited Finborough space has been pleasantly transformed into the Elliot’s open place living area where we are given free rein to sit anywhere to be immersed into the edgy atmosphere. Overall, I though the experience of, ‘Alpha Beta’ to be a confidently wretched enactment of an awful marriage and the inevitable end of it. 

'Death of a Salesman' Noël Coward Theatre ****

Parents on occasions can be enormously competitive, which can transpire into bossy parenting. Also could working when you’re supposed to be in retirement cause you to develop aggressive and psychological tendencies? The Royal Shakespeare Company’s West End transfer of Arthur Miller’s 1924 play, ‘Death of a Salesman’ was an unbelievably compelling production, in addition, the performances were miraculously conveyed.

‘Death of a Salesman’ is set in the early-mid 1920’s New York where we’re acquainted with aging and failed businessman, Willy Loman who has just returned exhausted after a disastrous business trip. His wife, Linda has become concerned by Willy’s mental state due to a recent car accident and pleads with Willy that he must ask his boss to allow him to work in his home city, only.  Willy frequently whinges that his eldest son, Biff has not given himself the best possible chance of life as he flunked math so this meant that he could not go to college. Biff and his brother, Happy are staying in their childhood bedroom as Biff has come back from the West and they ponder about their childhood memories.  As well as, their father’s cerebral demise is one topic of conversation as they have both seen him talking to himself, but to Willy he thinks he has been talking to his deceased tycoon brother, Uncle Ben (Guy Powell) on what could have been. Throughout the show, Willy’s neighbour, Charley (Joshua Richards), who Willy somewhat dislikes due to the fact that Charly boasts about his son, Bernard (Brodie Ross). To keep Charley quiet, he enlightens him of Biff’s business venture and meeting.  When Willy visits his boss, Howard Wagner (Tobias Bear), he receives some unwelcome news that he has been fired due to his lack of business contacts.  Additionally when Biff informs Happy at an expensive restaurant that the meeting did not go well whatsoever, Happy says that he must retain this information. Ridden with guilt, Biff is honest to his father and tells him of the real outcome. When Willy is left at the restaurant, he remembers the moment when Biff caught him having a sordid affair with Miss Francis (Sarah Parks), this allows us to see why they have problems with one another.  When all members of the Loman family are back in the home, Linda is furious that Biff and Happy abandoned their father by leaving with two girls, Miss Forsythe (Emma King) and Letta (Miranda Nolan), the past escalates on Willy’s failed suicide attempts but at the finale, Willy drives his car and crash it; in which he kills himself in the process. Miller’s narrative is both beguiling and tragic as we can see a dwindling salesman has become so agitated with not only his work colleagues but to his sons too as they do not have much respect for him whatsoever, but his love for his wife is undeniably flowing.

One found the performances by the company of, ‘Death of a Salesman’ to be relatively exhilarating with such engrossing voice work and charismatic movements.  Antony Sher is outstanding as lead protagonist, Willy Loman; for example how his deteriorating mental health has immensely impacted on the relationships he has with his son Biff where he constantly demeans him as he knows he has not worked hard enough to gain a proper job. Harriet Walker is exceptional as Willy’s doing wife, Linda; specifically at the point where she is alone at Willy’s grave at the very end of the show and the sadness she must be feeling as she could not say a proper goodbye to Willy as he ended his own life, which is an emotional moment.  Alex Hassell is incredible as the unproductive son, Biff; especially the aspect where he breaks down in tears in his father’s arms as he knows that he wants to work on the ranches rather than working in an office selling five days a week.  Sam Marks is remarkable as the more prosperous son, Happy; mainly during the flashbacks where we see how he has always tried to work harder to obtain better prospects in which has done as he owns his own apartment.

Gregory Doran’s direction is fabulous here as he has been able to transport us into the unique and strange world of Willy Loman with a fixation on the oppressed relationships he has with his sons and how interfering he is. Stephen Brimson Lewis’ design is supreme as the decision to have both levels of the Loman’s house in such an accurate fashion is simply first-rate, moreover, the construction and scenic art was so impressive too which shows that these traditional elements are vital to the industry today.  Overall, the experience of, ‘Death of a Salesman’ was an engrossing and marvellous revival on fathers and sons and another brilliant show from the RSC. 

'The Red Lion' National Theatre, Dorfman ****

The small-time semi-professional football arena; commonly known as the non-league is categorically a direct comparison to the fortunes of the camera driven professional showground. Nevertheless, what emerges when a young upstart could prove a financial success for the club? The National Theatre’s production of Patrick Marber’s new play in nine years, ‘The Red Lion’ was a comprehensively researched show about the non-league, on top of this, the performances were vividly characterised.

‘The Red Lion’ is set in the changing room at Welling United F.C. during three Saturdays, where we are introduced to tremendously enthusiastic manager, Kidd, who was once a player at the club. He has a slightly prickly reputation in the industry because of his foul mouthed approach is keen to make a lot of money on an aspiring young player. Coincidently, this plan could be materialised with youthful, Jordan who is really desperate to play football on an actual pitch as he knows that is the only way in which he can do anything with his life. Jordan is soon favoured by former club manager and trainer, Yates who soon states that he must not sign a contract if Kidd presents him with one and that he will pay him a secretive fee per game. Over the course of the performance, it seems that Kidd and Yates have a bitter rivalry with each other and that they are experiencing personal difficulties too.  Yates is annoyed by Kidd’s arrogant and manipulative manner towards his players and his attitude to the game as a whole.  Furthermore, when a professional club’s scout is interested in signing Jordan, Kidd lies to him about the contract and that Yates is in on the deal, which in fact he is not, this was a persuasive device to entice him to go to the try-out. However, when Jordan has a drugs test that Kidd said he should avoid, he is caught with steroids that he has been injecting into his injured knee. This causes the Football Association and the club’s board to launch an investigation; as such Kidd is suspended and as revenge he attacks Yates verbally about his past where he sent the team down and because of his wrong-doings his family left him, and he went missing for a whole year.  Both Kidd and Yates do wish Jordan the very best of luck in the future and he and Kidd soon leave. At the finale, Yates prepares to take his own life by running a hot bath and electrocute himself with a scorching iron by listening to very loud speakers to block out the sound of him screaming. Marber’s narrative is very pleasing as we can see how non-league football clubs are s as calculating as the professional football leagues, also the first act does start a bit slow but it begins to flourish when the quarrels start between Kidd and Yates.

One found the performances by the company of, ‘The Red Lion’ to be stupendously portrayed through impressive voice delivery and movements. Daniel Mays is striking as serpentine club manager, Kidd; exclusively when he paces around the changing room in such a cocky manner and when he confronts Yates about swindling him with Jordan it appears that he is not that respected in the football industry.  Peter Wight is wonderful as former manager and current trainer, Yates; especially how parental he is with Jordan and that the positive and appropriate approach in helping player’s confidence is to be fatherly, moreover, his suicide attempt was immeasurably shocking and upsetting to watch.  Calvin Demba is grand as young wannabe footballer, Jordan; expressly where his yearning for some sort of fame and money in the game does show his wishful thinking, also his relationship with Yates is quite fascinating to observe.

Ian Rickson’s direction is delightful here as he has created a production about the relationships with the three men who have been involved in the game at different periods as well as the appeal of the show to those of both genders and of different ages. It is also good to see positive and intriguing reactions to the play as a whole.  Anthony Ward’s design is glorious as the attention to detail in depicting the drabness of the non-league buildings is shown in impeccable scenic painting and build, along with this, I was instantaneously transfixed to the changing room of Welling United F.C. straightaway. Overall, the experience of, ‘The Red Lion’ was a really captivating production through the writing, acting, direction and design. Well worth it in my honest critical opinion.

'Hay Fever' Duke of York's Theatre ***

Certain theatrical classics from notorious playwrights will obviously be revived on a number of occasions, but is there a point when their life should finish and never be performed again? The Theatre Royal Bath’s West End transfer of Noël Coward’s 1924 play, ‘Hay Fever’ does show that this is not the case as it was a side-splitting performance with comical depictions.

‘Hay Fever’ is set in the Hall of the Bliss family home, in Cookham June 1924 where we are familiarised with the eccentric Bliss family who consist of retired stage actress, Judith, her novelist husband, David and their children, Simon and Sorel. Each member has invited someone to stay the same weekend, and in the Lavender Room, however neither of them have informed each other about it and as you’d imagine this causes problems almost immediately. Judith has requested that up-and-coming boxer, Sandy Tyrell (Edward Killingback) to the house and both are fans of each other’s work. Her son Simon has asked vampish, Myra Arundel (Sara Stewart) to stay, moreover, Sorel has invited diplomat, Richard Greatham (Michael Simkins) to come and David has called for mindless flapper girl, Jackie Coryton (Celeste Dodwell) to stay the night.  Throughout the parlour game in the evening, it appears that the guests are weirded out by the Bliss’ and are ready to escape already. However, the Bliss’ become interested in the other guests; such as Judith and Richard, David and Myra, Sorel and Sandy and finally Simon and Jackie. Judith and her family revel in their own pomposity and when they stage a miniscule section of one of Judith’s acting masterpieces in which is freaks their guests out. The next morning arrives and the guests are up early as all four are frantic to leave and the breakfast cooked and prepared by the Bliss’ servant, Clara (Mossie Smith) cases some commotion and when David pays her for her silence, the four guests soon depart . At the finale, the Bliss family comes down for their breakfasts are unaware of the guest’s departure and talk about David’s completed novel. Coward’s narrative is ecstatically funny as the over haughtiness of the Bliss family and their unique traits does enable us to see how their characteristics will alienate those who cannot identify with them.

One found the performances by the company of, ‘Hay Fever’ to be gratifyingly characterised with eloquently pronounced diction. Felicity Kendell is splendid as former leading lady of the stage, Judith; in particular the moment where she does her best acting in a re-enactment of one of her most memorable scenes and how fake her faint looks shows how she is still sought after she is by returning to the stage. Simon Shepherd is conventional as Judith’s husband, David; mainly how he strangely becomes besotted with Myra and when he declares to his wife that he is going to leave her shows his stupidity and how it miffs Myra as she does not want to be in a relationship with him. Alice Orr-Ewing is amusing as Judith’s daughter, Sorel; principally when she argues with her brother about silly things and the realism of the confrontations and her apparent love for boxer, Sandy looks intangible. Edward Franklin is witty as the Bliss’s son, Simon; exclusively how childish he is when he blurts out to his family and guests about his and Jackie’s supposed engagement and you can see how gleaming smile does emancipate and he is oblivious that Jackie doesn’t like him at all.

Lindsay Posner’s direction is brilliant here as he has staged a classic play’s revival in such an effective and this can be shown in the audience’s reaction to the droll dialogue and the presence of Coward is alive here. Peter McKintosh’s design is opulent as I was vastly transfixed into the Bliss’ eccentric persona and there’s an inordinate charm in the construction and scenic painting as well as the decoration of materials etc.  Overall, the experience of, ‘Hay Fever’ to be exceptionally funny and a riveting show.  

'Everyman' National Theatre, Olivier ****

What materialises when one is man's being is interrogated, due to the fact that his entire lifestyle is downright self-obsessed, also the relationship with his parents and sister is apprehensive? The National Theatre's production of Carol Ann Duffy’s up-to-date version of, ‘Everyman’ was a titillating understanding of a person’s destiny, moreover, the performances where likeable throughout.

‘Everyman’ is set in extreme world of businessman, Everyman are celebrating his 40^th birthday at expensive London nightclub with his “so-called” friends; such as, Discretion (Kristina Stamell), Sight (Ira Mandella Siobhan), Conscience (Coral Messam), Sound (Paul Bullion), Strength (Nick Holder), Passion (Adam Burton), Smell (Nicholas Karami) and many more. The party consist of sniffing lines of cocaine and drinking affable amounts of alcohol. The after affects, as you’d expect Everyman vomits all over the floor and is in a right tumble. When he is confronted with, Death, he informs Everyman that is time on earth is at an end. As such; he realises he has some apologies to make; in particular his family who he has been ignoring for a length of time. His Sister (Michelle Butterly) has been caring for their Mother (Sharon D Clarke) and Father (Philip Martin Brown). When Everyman is frightened, his parents are contented to take his place, but Death states it must be him. Throughout the performance, Everyman transforms himself into a homeless and decrepit man and when he encounters destitute, Knowledge (Penny Layden) it's under the impression that monetary value is not that significant whatsoever. On the other hand, Everyman's nightclub cleaner, God/Good Deeds forms acts as a comfort to him, yet Death ensures that his life is now ready to be terminated and luckily for him his friends who were at the party are prepared to join him in death. At the finale Everyman descends to his grave and where his destiny awaits him. Ann Duffy’s narrative is suitable as we can see how one man’s journey does lead to him testing why he has been living a life that's absolutely pretentious and that he needs to say sorry for his why for acts of excessive spending and drug use.

One found the performances by the company of ‘Everyman’ to be vastly compelling through grand choreographic sequences and potent vocal delivery. Chiwetel Ejiofor  is stunning as the money driven, Everyman; especially when he enters a classy department store, and how he is unwanted there,  this creates a sense of upset to himself as his life is meaningless, as well as his entrance is a sight to behold old where he descends from a harness. Dermot Crowley is surely frightening as master of Everyman's destiny, Death; chiefly where he endeavours to keep Everyman at arm’s length, moreover his sinister facial expressions and voice captures the power he has. Kate Duchêne is brilliant as God/Good Deeds; expressly how maternal and obliging she is to Everyman, and when Death is tenacious at Everyman's expiry, she does her utmost best to prevent him from being a puppet in Death’s games,  but as you well know this does not go according to plan.

Rufus Norris's direction is first-rate here as his first production as director of the National Theatre is one that is so absorbing and engaging as we can see how Everyman is desperately and consistently tries to improve himself, but it still shows his life must cease as he is a sinful character. Furthermore, Javier De Frutos' choreography and movement direction was deeply convincing and well executed by the members of the company. Ian MacNeil’s set design and Nikki Gillibrands costume design is affable as the simplicity of the set and costumes shows Everyman's world crumbling around him, and the rubbish tip costumes were terrific. Overall, the experience of, ‘Everyman’ was an interesting one of how one man needs to improve his life prospects and that changes are inevitable and it reminds me of Charles Dickens's character, Ebeneezer Scrooge, additionally it's a nice way to start Rufus Norris’ reign as the boss of the National Theatre.