'Pig Farm' St James Theatre ****

Running any business will inevitably have its high and low points in the seasons, and this includes the farming trade where farmers’ animals are their business and economical driving force, although what transpires when an annual inspection goes hook line and sinker wrong, what impact will this cause a farm? The St James Theatre’s present production of Greg Kotis’ 2006 play, ‘Pig Farm’ was a really original piece on the world of pig farming in the United States, what is more, the performances were gleaming all round.

‘Pig Farm’ is set in the kitchen of farmer, Tom and his wife, Tina’s farm house where the farm in at the crux of being declared bankrupt so they are busy getting ready for an inspection by the Environmental Protection Agency.  Even though they are struggling to make ends meet they have employed recent release from juvenile detention centre, Tim to be Tom’s apprentice as this is a part of the conditions Tim has in not being sent back to the centre. Tom has problems with intoxication and is particularly violent to Tim as he has just dumped some manure onto two teenagers by the stream who are having a sexual experience. As such this is causing troubles with his and Tina’s marriage and he is unaware that Tina has been having an affair with Tim behind his back as Tom is not providing her with the love she most desires. Tim becomes besotted by Tina and this is somewhat reciprocated but ever so slightly. Tina is frantic to become a mother yet Tom is not so keen to be a parent due to his insecurities. Over the course of the performance, Tom and Tim are trembling about the outcome of the pig count and when Tom learns that the neighbouring farm has been forced to close due to the fact that the farmer has too many pigs that is allowed for a farm of that size, this understandably set some alarm bells ringing in his ears. However, when Teddy from the EPA arrives with his team to inspect the farm and the numbers of the pigs, Tim is told that as Tom is comfortable with being a father, this upsets Tim and he is ready to conjure up some revenge as he is in love with Tina. This is completed when Tim drives a tractor into the pig shed and all of the pigs try to escape and run all around the farm. Tim all battered and bruised is brought into the kitchen by Tom and Tina, but Teddy informs Tom that the pig count was under counted and it is Tim who has done this. Tom is furious about this and requests that Tim leaves, but he doesn’t. Teddy states that the farm will have to be closed as they have broken the rules and regulations. Tom then turbulently unleashes some violent force on Tim as he has ruined his business and in unfixable and he learns of Tina indiscretions. At the finale, Teddy makes Tom an offer on the farm as he feels that he will do a much better job in which he pressurises Tom and Tina to think about what is best for their future and they do so as they are thinking of starting a family. Kotis’ narrative is grand as we can see how the agricultural industries have always battled against the technical advancements and with someone double-crossing the farm from inside the unit, is the farming industry dead in the water?

One found the performances by the company of, ‘Pig Farm’ to be illustriously depicted by pretty good accent Southern American accents throughout and impeccable characterisations at all times in the show. Dan Fredenburgh is delightful as farmer, Tom; especially when he is endeavouring to fight for his career against a ferocious system and how he becomes morose as he tries to explain why he dumped all the manure on the teenagers as that was the spot where he and Tina made love as teenagers. Eric Odom is tasteful as scallywag hired-hand, Tim; mainly how he is becomes emotionally broken as Tina has lead him along a path that he will not be successful in finishing, furthermore at the end of the play where he is beaten to near death by Tom he presents some real comic flair as he comes back to life. Charlotte Parry is wonderful as Tom’s wife, Tina; mainly where we see how keen she is to be pregnant and to be a mother, moreover we see her despondence by the fact that she has to perform all the household chores and this leads her to not doing Tom’s washing where he only has a pair of old dungarees available to wear. Stephen Tompkinson is superb as EPA inspector, Teddy; expressly where we see how he is in fact a hands on person who becomes very dirty due to the fact that the pigs have shattered all across the farm and this instigates him wanting to be the owner of the farm. 

Katharine Farmer’s direction is majestic here as she has been able to engross us into how all forms of work have a duty and a purpose in the world and how Kotis’ plotline conveys that dysfunctionality between Tom, Tina and Tim suggests how the farm and their unit will only survive if they work together properly and efficiently. Carla Goodman’s set and costume designs are gob-smackingly good as we have been transported to the environment of an American pig farm with such precision and ease to brilliant scenic construct and effortless scenic art, you can imagine what it would be like in such atmospheres. Overall, the experience of, ‘Pig Farm’ was an intriguing take on how farming is like any other industry where anything is not stable in a precarious world where anything can happen.

'Playground' Old Red Lion Theatre **

In specific cliques of modern society, communities are fragmented and pulverised due to the unknown nature of the world, but can this message noticeably be visible to audience where Enid Blyton’s work is being used to enhance this? The Old Red Lion Theatre’s production of Peter Hamilton’s, ‘Playground’ was a rather discombobulating story about a murder mystery which makes it harder to try and figure out what the premise of the play is, in addition to this, the depictions were passable.

‘Playground’ is set in Victoria Park in East London where a lot of children have been barbarically massacred by being beheaded with a fretsaw; as such a rigorous police investigation is forthcoming by inspectors, Detective Inspector Mitchell (Dan MacLane) and DC Birch (Christopher James Barley) who are both puzzled to the extent of the murders. Simultaneously, in a different segment of the park, night cleaner, Danny who at the time is engrossed by reading one of the ‘Famous Five’ books, yet when Carolyn rushes to the lake with an aim on her own intentions. When Danny commences a conversation with Carolyn, they soon identify a shared interest and that is with literary work. Over the course of the performance, Danny, Carolyn, painter/decorator Stuart (Simon Every) and teenager Tamsin (Laura Garnier) who are patients of psychiatrist of Dr Ross come together for a book club where the only books they talk about is Enid Blyton’s, ‘Famous Five’. However, there is a link between the book club and to the murders of the children as page 100 of Enid Blyton’s books have been placed on the top of the dead bodies. The investigation is becoming strenuous and the general public are becoming panicky who are finding techniques to protect themselves and other children. This is evident when the owner of Izzy’s Café in Victoria Park, Bella (Sarah Quist) decides that it is necessary that she carries a large serrated knife inside her handbag. It is thought that Danny is the killer as she is concerned by his obsession with Enid Blyton’s and she reports him to the police as he is the most likely candidate. He admits to being the killer and is taken for questioning and throughout the questioning it is not Danny who murdered all of these children, but in actual fact it was Dr Ross who was the culprit. At the finale when Dr Ross is exposed as the killer, Stuart thinks that Bella is his sister who he hasn’t seen for a very long time but she says that she is not, but we know that she is his sister. Hamilton’s narrative is complicated as the message of the piece is not clear or obvious to the audience member as we think it is fundamentally about a serial killer murdering children with Enid Blyton’s methods of murder mystery to captivate this. 

One found the performances by the company of, ‘Playground’ to be satisfactory as they did convey the childlike and mentally ill characteristics of the roles. Richard Fish is acceptable as odd night cleaner, Danny; specifically at the point where his fascination of Enid Blyton’s makes it clear that not all doctors can be trusted as they can manipulate vulnerable people into thinking they have done things which they have not. Josie Ayers is adequate as Carolyn; especially when you see how a friendship between her and Danny is really intriguing as both are damaged so they have that common bond and become motherly towards Danny as he is a very lonely due to how strange he is with no family. 

Ken McClymont’s direction is bizarre and tomfoolery here as he has not presented much clarity into how the message could have been entwined into the show to make it visible and the detailing of how the characters are linked together was really disappointing and indistinguishable which is not helped by Hamilton’s shoddy plotline. Ken McClymont’s designs are on the other hand quite attractive as making Victoria Park in such a small space has been realised meticulously as you were immediately transported to the park in a good way, this meant that the design is one of the only positive aspects of the show. Overall, the experience of, ‘Playground was somewhat tragic and appalling one that leaves you really muddled when you left the auditorium so I really didn’t like the performance.

'Encounter' Above The Stag Theatre *****

The oppression of homosexuality affected the lives of many gay men until homosexuality became legalised in the United Kingdom in 1967, yet how can the kinship between a doctor and a stationmaster remain undetected without arousing suspicion in a society that disdained men fancying other men? Above The Stag Theatre’s current production of Phil Willmott’s new play, ‘Encounter’ is with no strings attached a penetrating understanding of how Noel Coward and David Lean’s film, ‘Brief Encounter’ could have happened, in addition the acting is sensational.

‘Encounter’ is set predominantly in 1947, Vauxhall, London, but at first we’re transported to contemporary times where a gay couple find a book of memoirs of ideas for a film about the tale of two men who could never open up freely about their feelings for each other. Back to 1947 where we are accustomed with Dr Lawrence Marsh who’s conducting an examination of stationmaster, Arthur Hollis, but this encounter develops into something that will change their lives forever. At Vauxhall station where Arthur works, he sees Dr Lawrence sitting on a bench awaiting the train to his home in Surbiton where he says hello and Dr Lawrence responds too. Both Dr Lawrence and Arthur are married but Arthur’s marriage is not going very well as they have lost their daughter due to illness, on the other hand, Dr Lawrence is “supposedly” happy with this wife, Sarah Marsh, but is their marriage really that stable as Dr Lawrence is constantly working?  Over the course of the performance, Dr Lawrence and Arthur have secret rendezvous’ with one another in such locations as a cinema. Their meetings are getting noticed by certain people; i.e. Rev Richard Craven so their plan to go to a music concert at the Royal Albert Hall has to remain undisclosed. When Dr Lawrence fails to show up to go to his and Arthur’s trip to the Royal Albert Hall, Arthur is indeed upset by this, and newspaper seller, Mavis Madden seems to observe this upset. Dr Lawrence apologises to Arthur for this and when they have their very first sexual experience in a moving moment with one another at the church vestry they are interrupted by Rev Richard Craven who is miffed by this as Arthur is married.  The two walk to the park where they are caught kissing by PC Tom Blake and disappointingly Dr Lawrence claims that he is being harassed by Arthur. For being a coward he tries to write a note for Arthur saying sorry for his actions. Dr Lawrence is given a job to Germany where he is allowed to take his wife and son, as soon as he informs Arthur that he will not be able to see him again this does not make Arthur happy whatsoever. When they say goodbye for the final time, Arthur is so emotional that he decides to take his own life by jumping in front of the coming train as he doesn’t want his life without Dr Lawrence. At the finale, we go back to contemporary times where the modern versions of Lawrence and Arthur are about to go out for the evening, Lawrence says that they should hold hands as a way to depict the changes that have been made for accepting homosexuality.  Willmott’s narrative is resplendent as his analysis and perception of Coward and Lean’s film has shown how times have changed in Britain and what could have been materialised if homosexuality was legal in the 1940’s in such a dextrous way. 

One found the performances by the company of, ‘Encounter’ to be beautifully characterised through grand and impelling scenes between the two lead characters, Dr Lawrence Marsh and Arthur Hollis. Adam Lilley is splendorous as Dr Lawrence Marsh; especially how his confused mentality for what his sexuality is affects the relationship how has with his wife, Sarah and the person who he knows is his real soulmate, Arthur, and more when he embraces Arthur is such a tear-jerking moment indeed as we know it is never meant to be. Alexander Hueston is formidable as stationmaster, Arthur Hollis; essentially where he tries to make the moment where Arthur and Dr Lawrence are about to consummate their love for one another the most romantic experience ever, furthermore the segment where he breaks down as Dr Lawrence says goodbye to him for the final time conveys how much he really loves him and that he may never find a man like him again. Christopher Hines is exhilarating as both PC Tom Blake and Rev Richard Craven; specifically where as Rev Richard Craven he presents a quite freaky person who in actual fact turns out to be gay himself but as a minister and with his religious position he knows the power of secrecy and that people will turn against him. Penelope Day is wonderful as both Sarah Marsh and Mavis Madden; mainly as Mavis Madden she emulates the humour of the show as she is quite an eccentric individual who is funny, moreover, as Sarah Marsh we see what the job her husband does makes her worried of what he may be up to without notifying her of his whereabouts.  

Phil Willmott’s direction is priceless here as he has created a superlative performance that captivates how homosexuality in the 1940’s was oppressed and the intolerance from certain groups of people, in addition the sensitive moments between Dr Lawrence and Arthur shows what a grand job Willmott has done to shed some light into whatCoward and Lean really wanted for ‘Brief Encounter’. David Shield’s designs are once again brilliant as he has been able to form the station, paper stall, vestry and the Marsh’s home with such panache, plus the slants in the set flats shows how imposing the persecution of being gay has caused Dr Lawrence and Arthur themselves to each other even more so. Overall, the experience of, ‘Encounter’ was a world class show that categorially makes it clear that LGBT Theatre is still essential in today’s society.

'McQueen' Theatre Royal, Haymarket ****

Any industry on the planet can be vastly challenging; especially the fashion industry where fashion shows are the bane of their lives, so when the legendary designer, Lee “Alexander” McQueen committed suicide in 2010, is it appropriate for a dramatic production to expose the illustrious man’s mental instabilities in such a small space of time? The West End transfer of James Phillips’ play, ‘McQueen’ was an acutely entrancingly written play that is very gratifying, over and above, the performances were breathtakingly represented.

‘McQueen’ is situated in the home of famous fashion designer, Lee “Alexander” McQueen where he is about to hang himself in the basement as his cerebral state is not altogether stable. He soon figures out that he is not along as young woman, Dahlia has broken in to his home as she is hopeful that she can steal one of the many dresses that he has archived, and obviously McQueen is much perturbed by Dahlia’s presence. She explains that she has been watching him from a tree in his garden for the last 11 nights where she has been seizing the opportunity to thieve one of McQueen’s beautiful dresses. McQueen thinks Dahlia probably knows more about him than he knows about himself so he chooses to take her to the tailors where he found his talent, he states that to make a dress the dress must fit to the person meaning it has a more personal touch, so he finds some black material so he can swiftly create the dress. McQueen’s former mentor, Mr. Hitchcock (Michael Bertenshaw) who is still working there is surprised that McQueen is there, but is more than thrilled to see him again. As such; he does not inform the police for the pinched black fabric. The black dress is constructed like magic which shows how imaginative McQueen was. It appears that McQueen has been hiding a lot of heartache, this is evident when fashion editor, Isabella Blow (Tracy-Ann Oberman) makes him realise the positives that he has chosen to reject, and what he contributed to the fashion industry as an ingenious designer/artist he became. However when he and Dahlia are sat having an interview with reporter, Arabella (Laura Rees) about his up-and-coming collection and during the interview Arabella questions McQueen on the methods of manipulation to his models and the people who would purchase his garments. Dahlia helps McQueen throughout the course of the interview and afterwards he takes her to his mother’s flat in Peckham to show her his routes which is a stark contrast to the lifestyle he leads now.  At the finale, Dahlia who has left with the dress that McQueen has made, McQueen, alone and very sorrowful decides to set out his plan to kill himself where he takes the belt out of his jeans and hangs himself in the basement  as his insecurities seem to overcome him.  Phillips’ narrative is momentous as the story of McQueen’s demise has been written is a compassionate way that enables you to become quite emotional by McQueen’s suffering, as such it is not offensive in the slightest.

One found the performances by the company of, ‘McQueen’ to be magnificently captivating through splendid voice and movements from an awe-inspiring ensemble of endowed dancers. Stephen Wight is excessive as central protagonist, Lee “Alexander” McQueen; first and foremost when he learns to be kinder to Dahlia who has helped him in his last night of living as you can see how he is increasingly lonely, which is agonisingly sad to see a designer distressing in this way, plus the solitude that has lead him to committing suicide which is a heart-breaking moment indeed. Carly Bawden is wonderful as intruder, Dahlia; intrinsically when she is helping McQueen deal with the interrogation by Arabella, moreover on the roof of his mother’s tower block leads her to become slightly frightened by McQueen’s mental state.  Excellent casting by Kate Plantin and Jayne Collins I must say.

John Caird’s direction is glorious here as he has mesmerized how world renowned fashion designer/artist, Lee “Alexander” McQueen  where he is in the process of self-destruction, in addition the process McQueen visualises his world famous dresses shows how Caird has considered this in leaps and bounds. As well as, Christopher Marney’s choreography by suggesting the bleak and dark world that is fashion and the shows create the harshness of the industry itself.  David Farley’s set and costume designs are exemplary as the set itself of the ripped black material shows the eradication of McQueen’s life and the costumes present a colourful element of a really intriguing plot. Furthermore, with David Howe’s lighting and Timothy Bird’s video incorporated in Marney’s design shows the brilliance of tradition and modern techniques of theatrical design in a phenomenal fashion. Overall, the experience of, ‘McQueen’ was an animated and eloquent tribute to the late and intelligent designer/artist, Lee”Alexander” McQueen. Rest in Peace Mr McQueen.

'Roaring Trade' Park Theatre **

The Stock Market can at times be reflected as a sporting arena as employees are always at loggerheads with one another to earn more money for themselves, nonetheless when corruption is at stake, can morals prevent this from happening? The Park Theatre’s revival production of Steve Thompson’s 2009 play, ‘Roaring Trade’ was an extremely dull and desensitising production and leaves you wanting to roar with utter frustration, yet the portrayals are suitably depicted.

‘Roaring Trade’ is set largely in the Canary Wharf stock market establishment, where we’re introduced to the slightly vibrant, Jess who is being increasingly conniving  to her colleague, alpha male, Donny by getting him to remove all but his underpants. When young aspiring trader, Spoon arrives to begin work, he is given a harsh time by Donny as he feel that he needs to earn his stripes and his initiation is exceedingly cruel, and when PJ enters he knows that this is poppycock and very harsh. It is noticeable that all four are competing against each other in order to gain the most amount of money , as well as, their jobs are impacting on their home lives and happiness. This is evident when PJ is frantic to leave his job and focus on something else, however, his wife, Sandy (Melanie Gutteridge) is worried that if he quits his job then their lifestyles will have to change; this means downsizing from their huge mansion. Spoon and Donny are becoming rivals when they see how their bonuses are different and the conclusion is that Spoon has the biggest bonus out of the two. Bribery is rife when Spoon is going to leave for another company and asks Jess to resign and move with him to this other company, also she has to get eight other people to resign too; this excludes Donny. She learns that Spoon has backstabbed Donny so that he loses the company a considerable amount of money and that his reputations is in ruins, so she decides to side with Donny, and when Spoon is handed the nine letters they are in fact blank and Spoon’s hopes and dreams are left in shatters. Donny is informed of this and punches Spoon to the ground and as he has been sacked Donny packs up his desk and walks out. At the finale, Donny is sat with his son, Sean (William Nye) it appears that Donny has been a massive influence to his son’s life and he has been swindling his classmates by upping the prices of confectionary in a tuck shop he is managing, and this shocks Donny a lot. Thompson’s narrative is mundane as the tone is dreary and vile as it is bleak, this is unlike what was shown in the film, ‘The Wolf of Wall Street’ where excess is ever present and this is not clear here whatsoever.

One found the performances by the company of, ‘Roaring Trade’ to be acceptably conveyed despite the repulsive dialogue and plotline. Nick Moran is adequate as slight bully, Donny; chiefly the moment where finds that a young man can do so much better than him in a matter of weeks and that when he is sacked he realises that his career is over and that there’s nothing left out there for him. Michael McKell is substandard as drunken, PJ; predominantly the sense of depression is visible when the life had has drastically turned from earning millions of pounds a year to one where he is focusing on gardening and this is making his alcohol consumption to intensify in not a very good way at all. Timothy George is decent as young upstart, Spoon; expressly how his refined education to Cambridge has made him become an arrogant and pretentious person who can’t seem to get on with many masculine men, I did like his charisma when Jess hands him the blank pieces of paper and his life is shattered in front of him. Lesley Harcourt is passable as vivacious, Jess; in particular how we see that her morals are not going to be manipulated for the sake of Spoon’s progression and that her side is on Donny’s as she disagrees with Spoon about his methods to destroy Donny’s reputation in the workplace. 

Alan Cohen’s direction is tragic here as he has not even smoothed over the disappointing moments within Thompson’s narrative and this is a shame for the acting company as there are not that many amusing parts in this play and the audience reaction is not that brilliant here as it’s hard to get enthralled by such a shocking show. Grant Hick’s design is wonderful as the screens are realistic to those that would be present in an actual stock market institution, nevertheless, I would have wanted to have seen more of Douglas O’Connell’s video designs being used to determine the bleakness of the show. Overall, the experience of, ‘Roaring Trade’ did not engross you into the stock market atmosphere, and the scene changes are fundamentally messy and catastrophic.

'Our Country's Good' National Theatre, Olivier ****

When the first convoy of British miscreants were sent to Australia in 1788, so that they never returned, could we ever change our insights where you will sympathise with the prisoners compared to the soldiers who are watching them like a hawk? The National Theatre’s production of Timberlake Wertenbaker’s play, ‘Our Country’s Good’ permits us to side with the convicts in such a sparkling way, as well as, the delineations were gratifyingly conveyed.  

‘Our Country’s Good’ is set in aboriginal Sydney, Australia, 1788 where the very first cluster of English exiles have just arrived to their new home, where they will remain for the rest of their lives. Governor Arthur Phillip (Cyril Nri), Captain David Collins (Jonathan Coote), Captain William Trench (Jonathan Livingstone) and Midshipman Harry Brewer (Paul Kaye) contemplate whether the purpose of the prison would either punish or to re-educate the inmates. One idea is that hanging could be considered as entertainment for the soldiers, but Phillip thinks there’s another alternative for this and this is for the convicts to put on a play. When Harry Brewer who is inundated with guilt as he has hanged a man who was a love rival to Duckling Smith (Shalisha James-Davis), who is a prisoner; as soon as he comes into contact with Second Lieutenant Ralph Clark he informs Ralph of the Governor’s plans. Ralph jumps at the chance to be the director of the production and the play he has chosen is George Farquhar’s, ‘The Recruiting Officer’. A number of the convicts who have decided to audition are unable to read, but the shy Mary Brenham is a fluent reader and acts out the part of Silvia quite well. However, Meg Long (Debra Penny), Robert Sideway (Lee Ross), Dabby Bryant (Ashley McGuire) and the ever so frightening Liz Madden cannot read so Mary has to help them understand their lines and for the people to actually work nicely. Over the course of the performance, the rehearsals develop from a threatening environment to one where they will get on with what is required to present a good-standard of performance as the prisoners are enjoying what they are doing.  Sadly things do according to plan as two actors, Cable and Arscott have escaped from the prison.  The guards arrest Liz and fellow convict, John Wisehammer (Matthew Cottle) for their apparent involvement in a “so called” crime where food has been stolen. The prisoners and Ralph are stunned that Liz is to be sentenced to death for stealing the food; on the other hand, she could be spared the death penalty if she informs who actually stole the food. Nonetheless, Liz refuses to do so as it’s a code between the convicts.  This soon causes problems with the plays progression as Liz plays a vital role in the play and the company as a whole, thankfully, Phillip believes that there is a lack of appropriate evidence for Liz’s death and as she speaks finally the case is dropped and she can return to her role in the play. At the finale, as the acting company of, ‘The Recruiting Officer’ are about to perform in front of hundreds of soldiers the prisoners reflect on their home land and how their new home can really rehabilitate themselves into well-mannered people. Wertenbaker’s narrative is superb as there is such historical, political and social contents that unravel in this piece in such a fine manner where we can see how the Aborigines such as The Aborigine (Gary Wood) and other’s deal with this change.

One found the performances by the company of, ‘Our Country’s Good’ to be extremely likable with brilliant choreography by Arthur Pita and impressive Vocal Work by Kate Waters and Dialect Coaching by Jeanette Nelson. Jason Hughes is wonderful as Second Lieutenant Ralph Clark; especially when you see his determination flourish through his compassion to show the positives of the convicts in an optimistic light and the emerging relationship with Mary shows how couplings can develop from opposing sides.  Caoilfhionn Dunne is excellent as reserved, Mary Brenham; specifically how her patience with the less than calm and collected lawbreakers leads you to think how such a shy and reserved person can develop into someone so confident and helpful and this is because of drama. Jodie McNee is stunning as scary, Liz Morden; chiefly how at first she is not the most pleasant of individuals soon softens when she discovers her talent in the performance of, ‘The Recruiting Officer’, plus when she is given her death penalty we are emotionally moved with her at her peril. 

Nadia Fall’s direction is fantastic here as she has touched on a thought-provoking but stimulating subject where you begin to feel who is exactly in the right and who is in the wrong and what the arrivals of the lowlifes will impact on the comfort of the aborigine’s freedom to do what they want on their land. Peter McKintosh’s design is incredible as we are transformed to the untouched land of 18^th Century Australia and what the impact of the English has made to this unharmed country, plus the use of the drum was remarkably included. Well done to Cerys Matthews for her inauguration with a lovely score and amazing collaborations with stupendous Sound Designer, Carolyn Downing, brilliant. Overall, the experience of, ‘Our Country’s Good’ was a very entrancing and historical show that educates people into how Australia and Britain began its commonwealth.

'Memphis The Musical' Shaftesbury Theatre *****

In the southern states in the USA during the 1950’s a bond between a black person and a white person was seen as completely unsavoury, nonetheless when the formation of rock ‘n’ roll connects such people together then the perception needs to be radically amended. The West End transfer of Joey DiPietro and David Bryon’s powerhouse musical, ‘Memphis The Musical’ was categorically a masterpiece of musical theatre, what is more, the portrayals were astonishingly implemented.

‘Memphis The Musical’ is clearly situated in Memphis, USA where we’re familiarised with aspiring radio DJ, Huey Calhoun who enters an all-black underground Rock ‘n’ Roll bar as he really enjoys their music. The manager of the bar, Delray (Rolan Bell) and the customers are quite perturbed by his appearance.  Huey persuades them to stay and when he is about to lose his job he thinks that this genre of music needs transmitting, even though he loses his job records do get sold.  Huey soon becomes captivated by Delray’s sister, Felicia, who is vastly gifted and this soon aids both parties.  When Huey applies to become a DJ, one of the vendors, Mr Simmons (Mark Roper) allows him to do a trial run in which he chooses to play African-American music; this move proves to be monumentally successful as many teenagers are begging for more of Huey’s taste and unique style of presenting. This is evident when he goes down a storm due to his catchphrase “Hockadoo” for a commercial which persuades people to purchase it and leads to it selling out quickly. Prejudice is ever prominent when Huey’s bigoted mother, Gladys who when acquainted with Felicia outrageously smashes up a record that Delray has paid for as it is about to be played on the radio. The next day comes and Huey brings together a band and backing singers to perform the track with her and due her mammoth attainment both black and white teenagers become accepting of each other’s race.  When Huey proposes to Felicia she declines as this is against the law in the southern states of the USA. Years pass on by and Huey is the host of his own TV show which only features black dancers/singers only and when Felicia is due to sing she backs out as she knows people may think they are in a relationship. As such; Huey notifies Bobby (Jason Pennycooke) to perform instead, even though he is apprehensive he unleashes fire on the TV audiences amazingly. Huey and Felicia’s relationship is on the rocks as Felicia lands a record deal in New York, conversely Huey is hesitant to leave Memphis as TV networks are opposed to black singers/dancers.  He soon is axed from his job and is given a job at a low-budget radio broadcaster. At the finale, Felicia returns to his life but is engaged and this really moves Huey to proper tears as he remains besotted by her, so he tries to win her back by performing in her touring show. DiPietro’s narrative is stupendous as a musical about inter-racial couples is exactly what the West End tries to avoid and with such musical numbers by Bryon such as; “The Music of my Soul”, “Coloured Woman”, “Crazy Little Huey” and “Change Don’t Come Easy” were phenomenal pieces of musicality. Dazzling,   

One found the performances by the company of, ‘Memphis The Musical’ to be extraordinary through unmatched vocals and dance executions.  Beverley Knight is divine as glistening Afro-American, Felicia; predominantly when she sings “Someday” leads one to gain goose-bumps as her physicality in this musical numbers moves me to tears, moreover, her scenes with Huey shows how much she really wants to be with him no matter what. Matt Cardle is terrific as cheeky pioneering DJ, Huey; how his principals with retaining the black presence in his show shows how his morals are increasingly solid and never changing, additionally his singing abilities in “Steal Your Rock ‘n’ Roll’ shows he has progressed since his win on The X Factor in 2010. Claire Machin is excellent as Huey’s mother, Gladys; expressly when she decides to go to a black church and her opinions soon change as she soon appreciates to gospel aspects of the music which leads to you thinking you should listen to your son/daughter also. 

Christopher Ashley’s direction and Sergio Trujillo’s choreography are stunning here as they have encapsulated a tremendous story of how times have changes and how many people need to still improve the ideas of the world, plus the ensemble company was so flawless that made me want to join them on the Shaftesbury stage, simply incredible. David Gallo’s set design and Paul Tazewll’s costume designs are heavenly as you can immediately transported to the Memphis environment and there is an essence of campness that exudes through the female costumes. Furthermore, the scenic carpentry and scenic art is so impressive that my eyes kept focusing on this element. Overall, the experience of, ‘Memphis The Musical’ was a high energy musical that really makes you want to go again.    

'When We Were Women' Orange Tree Theatre ****

What happens when a hellish warzone environment empowers a naval officer to become besotted with a local girl and with this he sweeps her off her feet, yet when the person is still married to another woman, could this cause friction with the developing feelings? The Orange Tree Theatre’s production of Sharman Macdonald’s 1988 play, ‘When We Were Women’ touches on the secrets and lies of a navy officer in an awe-inspiring approach, additionally, the performances were miraculously characterised.

‘When We Were Women’ is set in Glasgow from 1943-1944 where we are introduced to free-spirited young teen, Isla who is longing to escape the clutches of her God-fearing mother, Maggie and intoxicating father, Alec (Steve Nicolson). Their marriage is consistently fraught due to the Alec’s drinking habits and their poor financial circumstances. So when Isla come into contact with navy officer, Mackenzie there seems that he could be a reason for her to leave her mother’s controlling rules and the two truly fall in love for one another. But she has sexual intercourse with him and becomes expectant and as such because gossip could commence, Maggie states that they must get married as to not arouse suspicion. Mackenzie ventures off to purchase an engagement and wedding ring and a plan for a quick wedding is put into action. However, Maggie has been hiding the fact that their bills are piling up from her husband, Alec and with the wedding to pay for she cannot pay the bills that they have. Throughout the performance, Mackenzie has been seeing glimpses of a woman called Cath (Sarah Jayne-Butler) who appears as a gust at his wedding and we soon learn that Cath is in fact Mackenzie’s wife, who he has not even divorced, so his and Isla’s marriage is a monogamous one. Understandably, Isla is furious with Mackenzie’s lies as demands that he must not see her or speak to her ever again. Due to the fact that Isla is pregnant, her parents are concerned that people will talk about their bad parenting and plead with Isla to abort the baby. Isla doesn’t want to do this and states that she won’t give up her baby for anyone. Revelations spiral out of control when Alec learns of Maggie’s secrets and lies and launches a vicious attack of Maggie as she’s not told him the truth. At the finale, Mackenzie who is about to set sail again years to see Isla become he departs but as Isla is still angry she declines to meet him even though he has written a love note. Macdonald’s narrative is fantastic as we can see how a young teenage girl who hungers for freedom turns into utter travesty as she finds a man who she loves is a bigamist and with her pregnancy it will attract a lot of stigma attached to it. 

One found the performances by the company of, ‘When We Were Women’ to be tremendous through boundless voice and movement work. Abigail Lawrie is sublime as youngster, Isla; primarily at the point before she gets married there’s a moving moment between her and father Alec as you can see her moving from childhood to adulthood within seconds, also you can see the distraught on her face flourish when she realises her marriage is a sham. Mark Edel-Hunt is wonderful as adulterer, Mackenzie; exclusively how the images of Cath makes him extremely anxious and worried as the skeletons in the closet with come out to wreak havoc with his happiness to Isla will be destroyed if this is discovered. Lorraine Pilkington is first-rate as Isla’s overbearing mother, Maggie; mainly when we see her protecting her husband’s mental state due to the pugnacious financial situations shows how decent she can be at times and when she explains for her daughter’s child to be terminated is quite appropriate to the time period.  

Eleanor Rhode’s direction is remarkable here as she has produced a performance that makes you craving for more because of the intensity of Isla’s young life twisting into a downward spiral, plus the staging of the Orange Tree Theatre’s in-the-round configuration works really well here. Moreover, with Tom Jackson-Greaves’ choreography in the wedding dance sequence was transfixing to see and it’s well executed too.  James Turner’s design is impeccable as the cracks and the lights streaming across the floor shows that there are cracks in each of the character’s couplings, in addition, the waterfall shower section was such a splendidly piece indeed. I must commend Mike Robertson’s lighting design and TJ Chappell’s production tech for their work as one was not expecting to see how heavenly lighting is. Overall, the experience of, ‘When We Were Women’ was an excellently creative revival and congrats to the entire company for this brilliant and convincing production.