'Hello/Goodbye' Hampstead Theatre ****

Does the interpretation of the commencement and termination of a ten year relationship work within a two hour performance? The outstanding Off West End venue, the Hampstead Theatre’s current production of Peter Souter’s, ‘Hello/Goodbye’ was a heart-wrenching story that captivates this most strongly, and the performances were passionately phenomenal.

‘Hello/Goodbye’ was first performed at the Hampstead Downstairs in March 2013, which demonstrated to be a mammoth success with audiences. As such this instigated its transfer to the venues’ main house. The play is set immediately after the New Year, where Juliet, a young, intelligent and sassy woman, who has recently become single due to her discrepancies, moves into her new flat. But there is a problem as Alex, a quirky, slightly autistic and collector of unconventional memorabilia is the sole occupant of the flat that Juliet assumes is rightfully hers. On the other hand, there appears to be contractual difficulties from two separate estate agents.  Of course, Juliet finds it weird that Alex collects items such as; metal Pepsi bottle caps, McDonalds Happy Meal toys etc. and ridicules him profusely. Alex, when he learns of Juliet’s unfaithfulness towards her former boyfriend, he teases her at every single opportunity he as, and unmannerly declares that he will be sleeping in the master bedroom as he’s immensely fruitful in bed, as he so believes.  When Alex is introduced to Juliet’s former lover, Luke (Luke Neal), we witness that he is in fact a courteous and kind gentleman, who resents Juliet’s uncouth actions, which Alex is gratified to be informed of as she is a complete liar. Through a magical interval, which is quite possible one of the most riveting act changes one has ever seen, we are transported through the decay of their relationship, where Alex and Juliet have evidently married, and have decorated the flat to a contemporary finish, they are currently going through a divorce.  There appears to be an enormous amount of sadness that are clearly visible; especially with Alex as he feels that he is an utter failure, and what is utmost heart-breaking is that to financially support himself, he has to sell of his collections to auctioneer, Amanda (Bathsheba Piepe), which costs a lot of money. What is apparent here is that the two of them are still in love with one another and as there is a fraught atmosphere there may not be a chance to rekindle their passion for each other. Souter’s narrative is impressive during the whole performance as it’s such an emotional rollercoaster where a blossoming relationship can eradicate over a decade, as well as the traumas of divorce.

One found the performances by the company of ‘Hello/Goodbye’ were beautifully operated within all aspects of the performance, and within all personas of their characters. Shaun Evans is magnificent as the autistic collector, Alex; principally when he reveals to his soon-to-be ex-wife his secretive lair of her unwanted or lost possessions, which enables us to see his passionate side. Miranda Raison is spectacular as Alex’s icy wife, Juliet; specifically when she constantly argues with Alex over his constant lack of attention to her whist they were married and her facial expressions were quite chilling too.

Tamara Harvey’s direction is marvellous here as she has been able to capture how relationships begin and how they can come to an end in the most unfortunate of circumstances, moreover, her attention to detail in encapsulating both sadness and humour was particularly charming too. Lucy Osborne’s design is elegant entirely as one was immediately transmitted to the atmosphere of how love and hate can be presented through opulent fixtures and fittings.  Furthermore, the thrust stage formation works wonders here. Overall, one found the experience of ‘Hello/Goodbye’ was an engrossing play that combines teary and funny moments to flawless effect.  Go and see this production. 

'Islands' Bush Theatre **

There are a number of productions that one does not contemplate on what the playwright is attempting to convey within their work, as well as the repelled nature during the entire performance. The Bush Theatre’s recent play of Caroline Horton, ‘Islands’ was one that is disgracefully grotesque, also the characterisations were dreadful.

‘Islands’ is set in an uninhibited swimming pool, which has now been distorted into a kind of a wasteland to depict an abnormal perception of tax havens. We are introduced to Mary, a peculiar woman who appears to revel in her own self-importance, alongside her frustrations to those who will not conform to her domineering commands. Her associates, Agent (John Biddle) and Swill (Seirlol Davies), who confidently dress in drag give the impression that they are malevolent to a degree, additionally, they seem to be a sort of marketing tool to illustrate the power of money. However, Mary acts as a reassuring individual who will endeavour to make new people enormously peaceful and welcome into the commune, this is shown through married couple, Adam (Simon Startin) and Eve, in the biblical sense allow their greed to emancipate as they are blissfully unaware that their new environment is bursting with sinful consequences . Eve begins to comprehend this and argues with Mary that the circumstances of these activities and lifestyles that she has become pressurised into is deplorable and legitimately dishonourable, as such she decides to rescue her dignity and leave this so called island of paradise. Conversely, this verdict is at a cost as her husband, Adam has to remain behind, Mary is repulsed by her disloyalty and explains that she is a factor to a corrupt society that avoids paying tax on a majority of items that they own. In addition to this, it becomes obvious that Mary’s obsession will inevitably lead to gargantuan mockery for all those outside of the commune, and as Eve re-emerges from her cursed life, she revels in Mary’s ultimate destruction.  Horton’s narrative is bafflingly ludicrous as one could not understand the reasoning why she has written a piece of theatre that does not challenge its themes whatsoever. Furthermore, the plot is confusing and tedious, and increasingly vulgar.

One found the performances by the company of ‘Islands’ to be discreditable and categorically unfunny. Caroline Horton is despicable as the creepy, Mary; chiefly when she cannot even formulate a cohesive argument as to why she’s living in an abnormal and abandoned swimming pool. Her vocal work and movements were poorly executed too.  Hannah Ringham is tragic as the eerie, Eve; exclusively when she tries to describe the undignified lifestyle choices that Mary and her two sidekicks are living under.

Omar Elerian’s direction is monstrous here as he presents a play that enables you to become nauseated throughout the entire performance, and conclusively walk out as it’s mind-numbingly dull and depressing. Oliver Townsend ‘s design is exceedingly unflattering as there does not seem to be an actual explanation as to why certain objects are in its position, as well as, the in the round staging formation is questionable as it does not work at all. Overall, one found the experience of ‘Islands’ to be a catastrophic one and not at all a positive representation of the Bush’s prestigious work and not a recommendation fundamentally, 

'Bat Boy: The Musical' Southwark Playhouse **

Last year was not the greatest for musical theatre within London’s entire theatre scene, and one anticipated that 2015 may prove to be more successful. Lamentably, it appears that this is not the case with Southwark Playhouse's performance of, ‘Bat Boy: The Musical’ as it’s exceedingly meagre, and the performances lacked finesse.

‘Bat Boy; The Musical’, written by Keythe Farley and Brian Flemming, and music and lyrics by Laurence O’Keefe is situated in Hope Falls, where three teenagers are presently near a dark and bloodcurdling cave, come into contact with the creature that looks half human and half bat. The town Sheriff, (Russell Wilcox) captures the person, and cordially requests that the Parker family to handle him as Dr Parker, (Matthew White), is in fact a veterinarian.  At first the Parker’s are hesitant by this responsibility; especially Shelley, as she scared but by what he may attack her. On the other hand, Shelley's mother, Meredith decides to be the caring variety, and endeavours to welcome ‘Bat Boy’ as a member of their family, additionally to educate him. He soon reforms his character, and even gains an undergraduate degree, and ultimately is welcomed to the Parker family with open arms. Nonetheless, due to a negative connotation from the townsfolk, and the doctor gives the impression that he feels neglected by his wife’s attention, this instigates bitterness, and assures that ‘Bat Boy’ will not be in attendance at the religious gathering that’s directed by Reverend Hightower, (Simon Bailey). Defiantly Meredith, Shelly and ‘Bat Boy’ decide to make an appearance at the event, which inevitably leads to ‘Bat Boys’s disappearance. Shelley seems to have romantic feelings towards ‘Bat Boy’, and she soon has sexual experiences with him when she discovers his wherabouts. Farley and Flemming’s  narrative is abysmal as they are stupidly trying to replicate the fantastic musical the’ Rocky Horror Show’ on a much smaller scale, furthermore, O’Keefe’s music and lyrics are severely mediocre; such as me musical numbers ‘Another Dead Cow”, “Three Bedroom House” and “Apology To A Cow”.

One found the performances by the company of’ ‘Bat Boy: The Musical’ were vastly adequate, and of course lacked physicality from Joey McKnelly’s cut-rate choreography. Rob Compton is reasonable as the central protagonist’ ‘Bat Boy’; mainly when he pours his heart out to the locals with the song , “Let Me Walk With You”, in addition, his movements are well executed to depict the characteristics of a bat. Lauren Ward is fitting as nurturing Meredith Parker; chiefly when she repulses our husband’s actions towards ‘Bat Boy’, and how his previous deeds have led to a marriage of utter concealment, that had caused pain to have well-being. Georgina Hagan is acceptable as the daughter Shelley Parker; exclusively when she explains of her admiration and love toward ‘Bat Boy’ and that she does not care about the consequences that may arise in such actions.

Luke Frederick’s direction is woeful here for as it appears that the production does lack a gargantuan amount of precision and accuracy within their characters developments, likewise, it is far too melodramatic in places, which leaves a lot to be desired. Stuart Charlesworth’s set and costumes are horrendous as it appears to be a lack of attention to detail with the detailing n many aspects, and it's sickening to witness as there doesn’t appears to be a conclusive concept to the design at all. One could not even understand the location of the production either. Overall, one found the experience of ‘Bat Boy: The Musical’ to be of poor standard, and not even worth a ticket purchase.

'The Boys Upstairs' Above The Stag Theatre ****

What transpires when a supposedly heterosexual young man comes into communication with three openly gay men, who assume that he is hiding his true identity? Above The Stag Theatre's current production is the European premiere of Jason Mitchell’s 2009 play, ‘The Boys Upstairs’ was a performance heaving with side-splitting moments, and performed with magnetic performances.

‘The Boys Upstairs’  is set in a Hell's Kitchen apartment, that radiates flamboyancy as it's possessed by aspiring web blogger, Josh, who is seeking out for some journalistic acclaim, and has entered a competition, in the anticipation that is concept of an app can be fabricated. His best friends Seth, teacher and Ashley appear increasingly close with one another. However, when they are introduced to Josh’s new neighbour, Eric, antagonism activates between the two single men to see who may be able to convince Eric of his real sexuality. Over the course of the play, it seems that Josh and Ashley have immense difficulties in maintaining fruitful relationships as the two of them are particularly needy. Whereas, Seth (Stanley Eldridge) is in a passionate relationship, and his frantic to move on with his life and resides with his, as a signal to put to depict progression in their relationship. Josh does not like this plan, as they've been friends since college, and is apprehensive of the changes that may occur; such as Ashley moving into his room. Eric appears to be somewhat intrigued by their sexual openness, but refrains from attempting to learn of his true feelings towards men; apart from when he is on the sofa bed with Ashley after a drunken night out, which means they've had sex. Conversely, at the finale, Eric finally accepts his sexuality freely to Josh.  Mitchell's narrative is extremely hysterical, as you witness the robust kinship of three friends, who know exactly what each of them are like, along with this, the dialogue flows profusely in leaps and bounds.

One found the performances by the company of ‘The Boys Upstairs’ was wonderfully captivating throughout the entire show. Simon Walton is brilliant as the up-and-coming app developer, Josh; especially when we see his machiavellian nature exude when he wants to keep Seth to himself and away from his boyfriend. Joe Leather is charming as the slightly showy, Ashley; especially when he does not even know the name of the men he has been sleeping with during that night, additionally, his vocal work within the characterisation was well conveyed during his moments. Daniel Gracia is splendid as the new neighbour, Eric; chiefly when we see that he is comfortable with liaising with openly gay man, which enables him to explore his true self and hopeful relationship launching with Josh.

Andrew Beckett's direction is delightful here, as he has enabled an audience to observe the New York gay scene, and how friendships have positive and negative factors towards them, and presenting a scenario of self-discovery is interesting to inform audiences of the struggles of coming out. Zoe Hurwitz’s design is dazzling, as you’re  immediately engrossed through Josh, Seth, Ashley and Eric's individual journeys, moreover, the attention to detail within the set was exhilarating, as you could immediately tell that this apartment is owned by a ostentatious person. Overall, one found the experience of ‘The Boys Upstairs’ to be one of such humour and a provocative tale of men understanding their sexual preferences. A definite visit to Above The Stag Theatre within the next month.  

'Urinetown The Musical' Apollo Theatre ***

For the past year or so, the West End theatre has relied profoundly on transfers from Off West End and Fringe venues as the standard of certain productions have proven to be of the uppermost quality. Victoria’s St James Theatre’s West End transfer of musical, ‘Urinetown The Musical’ received some critical acclaim, in March 2014. Then again, one found the production at the Apollo Theatre lacked vigour, and the performances were underwhelming at elements.

‘Urinetown The Musical’ by Greg Kotis and Mark Holllmann transports us to a society where water is at a premium, and that the only mode in which people can urinate is from the public toilets, at a fee, which are managed by “Urine Good Company”. On the other hand, if you do not have the correct amount of money, you will be hauled to Urinetown where your face your penance. Nonetheless, Bobby Strong, the toilet attendant does not support the fact that you have to pay to go to the lavatory, and along with the local community, they dissent against this ridiculous restriction. However love blossoms between Bobby and the villain’s daughter, Hope (Rosanna Hyland), but when the police become involved, Bobby decides to kidnap her, in the hope that their demands will be approved. Unfortunately, this does not happen and when Bobby's is caught, and he is immediately taken to Urinetown, and brutally murdered. As such, it causes disgruntlement from his distraught mother Josephine Strong (Lucy Ewing), and his friends seek revenge. It appears that the police, and influential government figures have been corrupted by Caldwell B. Cladwell, the managing director of “Urine Good Company” are given a well-off sum of cash so that they align themselves with him, but indubitably the good prevail, and eventually take over. Paradoxically, the drought conquers ultimately, and everyone ends up dying from thirst. Greg Kotis’ narrative and lyrics and Mark Hollmann's music and lyrics are somewhat satisfactory as the performance only livens up in Act 2 with such musical numbers as; “Run, Freedom, Run”, “Tell Her I Love Her” and “I See A River”,but some of the dialogue, throughout was far too clichéd for one liking.

One found the performances by the company of ‘Urinetown The Musical’ were quite courteous as they encapsulate the malevolence of a world of deprivation. Matthew Seadon-Young is decent as the hunky male lead, Bobby Strong; especially when we see the horror on his face when he sees what Urinetown actually is. Phill Jupitus is acceptable as the baddie, Caldwell B. Cladwell; particularly when he revels in his own self-importance in the musical number, ”Don’t Be The Bunny”, as well as, his comic timing is rib- tickling. Jonathan Slinger is fine as Officer Lockstock, who also performs the role as the narrator; visibly the interactions it has with Little Sally, (Karis Jack) explains that musical theatre does not need to be a cheerful experience, which one finds vastly accurate.

Jamie Lloyd's direction is tolerable here, as he has created a production that makes you think about that you should appreciate that water can be dried up in uneasy climates, if we don't protect the planet. Soutra Gilmour's design is miraculous as she has fashioned a set that appears to resemble a 1930’s environment with a lair of pipes and tunnels to depict the title and concept of the show, which is phenomenally riveting. Overall, one found the experience of ‘Urinetown The Musical’ to be in a watchable one, even though it had disappointing moments. 

'East is East' Trafalgar Studios 1 ****

I have often questioned whether staging productions on the progression of the positive perception of ethnic minorities can be fruitful. It does prove somewhat successfully; especially when the concept is familiar to the audience. The second production in the Trafalgar Transformed second season is Ayub Khan Din’s, ‘East is East’ was a performance that is exceedingly enthralling, as well as being complimented by splendid portrayals.

‘East is East’, of course is a theatrical adaptation of the 1999 popular film conveys the story of the Khan family in 1971 Salford, Manchester are prone to racial abuse. However, the father, George Khan has immense difficulties in accepting that his British-born children, (apart from Maneer) do not conform to the Muslim rules and regulations as they understand that their culture is fundamentally English. Additionally, George’s English wife, Ella has problems with his overbearing controlling nature, in terms of their children's life choices, and when George is conjuring an arranged marriage to their sons’ Tariq (Ashley Kumar) and Abdul (Amit Shah) to the daughters of the wealthy Shah family, she appears quite disappointed and aggravated by his ideas of who their boys should be married too. Conversely, the youngest son Sajid, (Michael Karim) has not been circumcised as a young child, and when George realises this, he abruptly commands that he must, as it's one of their religious requirements, and this request is granted. George does have a fiery temper, and when is pushed to  his limits, his hands do the talking as he physically assaults Ella and Saleem (Nathan Clarke) as they express their concerns about his constant deceitful actions, which has caused upset within the family. The finale enables us to see George at his foulest as the meeting with the Shah family ends tragically, and his reputation within the Muslim community is eradicated, which gives his children the opportunity to explain that he's been a terrible father to them, and that he must change his ways. Ayub Khan Din’s narrative is sublime as the story of an Asian family in 1970s Manchester is vastly thought-provoking, and particularly exciting to see, furthermore, the humorous and emotive elements within the dialogue were satisfying too.

One found the performances by the company of ‘East is East’ were brilliant throughout the entire performance. Ayub Khan Din is incredible as the controlling, George; principally when we see his cheeky side when he brings home a filthy old barber’s chair for his wife, and how romantic he can be at points. Jane Horrocks is boundless as George's wife, Ella; chiefly when she exclaims to her friend Annie, (Sally Bankes) about the struggles of being a wife to a Muslim man who does not agree with English culture whatsoever, and her vocal work was dazzling too.

Sam Yates's direction is polished here as he has constructed the Muslim culture in 1970’s Manchester with extraordinary panache, and it does convey whether there has been a change in the rules of and regulations of the Muslim religion, which is truly unlikely. Tom Scutt’s set and costume designs are opulent as one was enchanted by the elegance of the textures of the scenic flats, through to the gorgeous patterns on the sari fabrics, moreover, the scenic transitions were fluid throughout. Overall, one found the experience of ‘East is East’ was one excellent way to start 2015 on, and well recommended when it travels across the country on tour.