'The Sweethearts' Finborough Theatre **

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

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

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

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

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

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

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

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

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

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

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

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

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

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

'Measure for Measure' Shakespeare's Globe ***

What transpires when the Duke makes a choice to leave the city in the command of a really austere judge, and what does this mean to those who are not huge fans of individual? Moreover, the change of the city suggests who people actually respect and who categorically is in charge.  The recent revival of William Shakespeare’s 1603-1604 play, ‘Measure for Measure’ was a pleasantly convincing piece of dramatic art, as well as, the performances were pleasingly conveyed.

‘Measure for Measure’ is set in Vienna where we are introduced to Duke Viencentio who informs the people of Vienna that he intends to leave the city to venture on a diplomatic mission; as such he appoints judge Angelo to rule Vienna in his absence. The cities brothel keeper, Mistress Overdone (Petra Massey) informs Lucio (Brendan O’Hera) and the other people in the city that Claudio, an unmarried man is being condemned to death due to the fact he got Juliet (Naana Agyei-Ampandu) pregnant. As a result of a new law, this means that all brothels have to be torn down, the bawd Pompey (Trevor Fox) promises Mistress Overdone that he’ll continue working for her. Over the course of the performance, Claudio is immeasurably agitated about his death sentence, so he along with Lucio persuades Duke Viencentio to oversee Angelo’s lacklustre approach. Thankfully, he accepts this request and poses as a Friar. Escalus (Paul Rider), second in command pleads to Angelo to reconsider Claudio’s death penalty, but Angelo is unrepentant, furthermore, Claudio’s sister, Isabella (Mariah Gale) is desperate to save her brother’s life. Throughout this presentation, Isabella interrupts the Duke’s guidance to her brother, Claudio, and when the Duke overhears their conversation about Angelo’s suggestion for her to become his lover which she has declined. The Duke seizes to state his own opinion by proposing that Isabella should agree to Angelo’s offer, nevertheless, Marianna (Rosie Hilal) who was once engaged to Angelo would have sexual intercourse with him but covered up.  Those involved in the brothel industry are jailed for their crimes and are refused bail by Lucio, however, Pompey is offered parole if he aids in the execution of Claudio. Nonetheless, when the Duke suggests other prisoners to offer as a sacrifice, paradoxically, the ones that are selected by the Duke are not suitable and this causes concern to Claudio. At the finale, the Duke returns to Vienna with some sour words to say to Angelo, as well as, we learn that Claudio has been killed and this makes Isabella furious and is planning revenge, but is Claudio dead? Shakespeare’s narrative is acceptable as there are very agreeable and amusing moments present within the play; for example between Mistress Overdone and Pompey, on the other hand, there are aspects in the dialogue that could have captured more emotion.

One found the performances by the company of, ‘Measure for Measure’ to be exceedingly well depicted through gracious voice and dialect by Martin McKellan and choreographic sequences by Sian Williams. Kurt Egyiawan is grand as judge Angelo; particularly how his unremorseful nature suggests that with increased power shows how pretentious he has become, yet when he finds Isabella attractive it does suggest that he came be smouldering at times. Dominic Rowan is bounteous as Duke Vienciento; specifically when he poses as a Friar and how idea and methods of ruling Vienna is is completely different to that of Angelo and he is respected due to this as he realises that people do make mistakes. Joel MacCormack is virtuous as Claudio; especially when you see his anguish due to the fact that he is about to be killed for a ridiculous crime and when he breaks down in front of his sister it shows how much he does not want to die.

Dominic Dromgoole’s final directing role at Shakespeare’s Globe is floaty here as he has shaped a production that encapsulates the themes of justice and mercy in a titillating way as we can see the opposing views of Duke Vienceito and Angelo and their approaches to commanding the city. I would like to thank Dromgoole for his incredibly hard work and determination in his tenure as Artistic Director and break a leg in your future ventures. Jonathan Fensom’s designs are opulent as one could understand where one was in the play’s duration and the scenic elements complimented this with such finesse. Overall, the experience of, ‘Measure for Measure’ was a lovely way to end Dromgoole’sreign at Shakespeare’s Globe and with an interesting topic in the play it’s of a good standard.

'People, Places and Things' National Theatre, Dorfman ****

Addiction can be colossally hard to admit to anyone, but when the person has predicaments with owning it up to themselves, then this can cause problems for their own wellbeing. The National Theatre’s production of Duncan Macmillan’s newest play, ‘People, Places and Things’ suggests the fears of admitting an addiction and how to overcome these worries in a consideration fashion, also the characterisations were well developed.

‘People, Places and Things’ is set mainly in a rehabilitation centre where we are familiarised with theatre actress, Emma who is at present performing in a production of, ‘The Seagull’ where Emma is struggling to come to terms with separating personal and professional life. To solve her issues she resorts to taking and consuming a whole heap of substances that are not good for her. However, she realises that if she repeats this lifestyle choice she will end up dead and she then decides to admit herself to a rehab centre where she is immediately confronted with Paul (Kevin McMongale) who yells incessantly about the state of the country, in addition he repeatedly relapses as the process is not working for him. Emma, who also uses many stage names, struggles to have common ground with the Doctor and her assistant, Foster (Alistair Cope) as they are both endeavouring to help Emma confess about her addiction.  To progress on her road to recovery, Emma must talk about her addiction to a group of fellow addicts; these include Mark, Meridith (Sally George), T (Jacob James Beswick), Jodi (Jacqui Dubois), Shaun (Nari Blair-Mangat) and Laura (Laura Woodward), furthermore they have to do some role play to identify how their addictions could have stemmed from.  Paradoxically, Emma does not participate in any of the group’s activities whatsoever, which means she is hardly aiding in her own recovery, as well as, the group state that everyone in the group needs to participate in order for the entire group to recuperate their own unique problems. Over the course of the performance, we learn that Emma’s brother died at a young age which lead to her becoming reliant on drugs. She checks out of the centre but she checks herself back in again where Mark now works as Foster has committed suicide.  On the other hand, this time she is ready to fully contribute to the group’s activities and the changes are remarkable and she fully recovers from her drug addiction and graduates from rehab. At the finale, she is back home living with her parents and when she tries to apologise they are far from ready to apologise from what she has put them through.  Macmillan’s narrative is stimulating as we are observing the teething troubles of people fighting their compulsions in a very thoughtful manner and the attention to detail with the relationship between Emma and the Doctor was intriguing to witness.

One found the performances by the company of, ‘People, Places and Things’ to be superbly portrayed. Denise Gough is excellent as addict thespian, Emma; especially as she is going on a real journey of improvement for her health and sanity, moreover, her naivety and diva attitude shows how much she needs to learn about herself and it seems that her method acting technique has impacted on her life in leaps and bounds.  Barbra Marten is fantastic as Doctor, Therapist and Mum; particularly as Doctor where she guides Emma on her responsibilities as a person and she shows that her work is tremendously challenging at times i.e. Paul’s outbursts and that you have to have a rock hard persona.  Nathaniel Martello-White is great as fellow recovering addict, Mark; expressly when he confronts Emma that her behaviour in the group’s discussions is childish and unhelpful for the success of other people’s reclamations, yet he does this in a less aggressive tone as he understands the difficulties of explaining addiction to strangers. 

Jeremey Herrin’s direction is transcendent here as he has capture the tense topic with grand vigour and tenacity as we can observe the tasks that are undertaken in rehabilitation centres, additionally, why Emma has difficulties in speaking confidently about her illness. As such; this evidences comprehensive characterisations. Bunny Christie’s design is remarkable as I was instantaneously absorbed into the rehab atmosphere and it works wonders in the Dorfman space and the shattered tiled video projections by Andrzej Goulding was exceedingly creative and integral to Emma’s whirlwind addiction. Overall, the experience of, ‘People, Places and Things’ was a vastly interesting and educational one indeed.   

'The Heresy of Love' Shakespeare's Globe ***

At specific points in world history, the woman was perceived and treated as a second or third class citizen and could not perform certain jobs or practices that only men could do and when a person in the religious circuit is involved in playwriting this would prove too inappropriate. The production of Helen Edmundson’s 2012 play, ‘The Heresy of Love’ was an interesting story of the trials and tribulations of a woman who wanted to express her talents, as well as, the depictions were brilliantly portrayed.

‘The Heresy of Love’ is set in 17^th Century Mexico where we are introduced to nun, Sister Sor Juana Ines de la Cruz who has a concealed flair for writing plays, in Mexico her work is cherished by those in the courts, on the other hand, the church are far from impressed by her talent.  This is clearly visible when new male chauvinist, Archbishop Aguiar y Sejas (Phil Whitchurch) tries to prevent her work from being published, read and performed.  However, a supporter of her work is in fact Bishop Santa Cruz, furthermore, there appears to be a hint of fondness for each other that soon turns into total betrayal.  Over the course of the performance, we learn that a great deal of people in the convent are envious of Sor Juana’s abilities to compose both poetry and playwriting; such as Sister Sebastiana (Rhiannon Oliver) who schemes behind her fellow nun’s back to completely ruin her reputation. Over the course of the performance, there is another love story that is blossoming through  and that is between young girl, Angelica (Gwyneth Keyworth) and large nobleman, Don Hernando (Gary Shelford) which is also a controversial move on their part as they are witnessed snogging.  What is most tragic is that Sor Juana has to state that what she has written and that her opinions are fundamentally untrue and not worthy of being read and that she will have to renew her vows to save her life.  In addition, she will have to cease writing and that all books in Mexico will have to be burnt on a monumental fire. Her friendship with Santa Cruz is eradicated as he deceives her right in front of the court men and church, which understandably upset her immensely and before the court case, Sor Juana has been self-harming due to the pain and hurt. This has been affecting those closes to her i.e. Mother Margarita (Gabrielle Lloyd) and maid, Juanita (Sophia Nomvete) as they are seeing her misery magnify. At the final, all of Sur Juana’s books are removed to be burnt on the fire and she is soon taken to be tried for her crimes against her religion and her position. Edmundson’s narrative is a seamlessly fitting account of a woman who wanted to amend people’s views of woman and what the can achieve, furthermore, how the church sought to damage not only her status but her mental state too.  

One found the performances by the company of, ‘The Heresy of Love’ to be wonderfully performed through noble voice work and abundant movements. Naomi Frederick is boundless as lead role, Sor Juana; primarily where her alliance with Santa Cruz is pleasing to the eye and along the way his disloyalty surprises her to the point where she commences a process of self-destruction and forces her to have emotional breakdown.  Anthony Howell us decent as Sor Juana’s so-called friend, Santa Cruz; largely how villainous we see him becoming as he knows that his association with Sor Juana will cause challenges for his chances to succeed Archbishop Aguiar Y Sejas as new archbishop of Mexico.  

John Dove’s direction is tolerable as he has staged a performance that permits us to see how women were treated in the 17^th Century and how males dominated them in a ghastly manner which is depicted through Sor Juana’s constant demeaning.  Besides this, the immersive elements at the start of the performance were great too. Michael Taylor’s set and costume designs was slightly substandard at times as I was frequently confused by my whereabouts was. The costume constuction was impressive so well done to Jane Colquhoun, Jane Conin, Charles Hanrahan, Glen Hills, Megan Howell and Elisa Threadgold. Overall, the experience of, ‘The Heresy of Love’ to be a prodigious show indeed but the set design does let the production down.