'Women on the Verge of a Nervous Breakdown' Playhouse Theatre ****

Even though I do become irritated that the West End, in terms of musical theatre does consist of Juke Box and stage adaptations from films, however, there are instances that you can brush this aside and actually enjoy the concept. The stage adaptation of Pedro Almodóvar’s 1988 film, ‘Women on the Verge of a Nervous Breakdown’, accompanied with Jeffrey Lane’s translation with music and lyrics by David Yazbeck was such a delightful production, as well as with brilliant performances all round.

‘Women on the Verge of a Nervous Breakdown’ is set in Span, 1987 where we’re familiarised with renowned TV actress, Pepa, who has just been dumped by her co-star lover, Ivan (Jérôme Pradon), as you would expect she feels incalculably rejected and broken.  Ivan’s ex-wife, Lucia is still reeling that her former spouses betrayal and wants to obliterate him by sending him to a court trial for negligence.  Additionally, she is distraught that her shy son, Carlos (Haydn Oakley) is about to get married to his unhappy fiancée, Marisa (Seline Hizli) and are about to be searching for a home to move into together. When Carlos and Marisa visit one of the apartments, it is in fact owned by Carlos’ father’s former partner, Pepa who has just returned from the hospital after collapsing due to unexpected morning sickness.  Pepa’s friend, Candella storms into the premises as Pepa has been ignoring her calls and is asking for her reasons why. Furthermore, she is too experiencing her own difficulties with men as her boyfriend, Malik (Nuno Queinmado) is a terrorist and the police are on the look-out for him.  Throughout the performance, Pepa’s helped by philosophical taxi driver (Ricardo Afonso) in talking about the rough times in which it shows there are some good men out there in the world.  At the court trial we see how sleazy Ivan is as he is having another affair with Lucia’s lawyer, Paulina (Willemjin Verkaik) and we witness how his chat-up lines are positively sickening.  At the finale, when Pepa is trying to prevent Lucia from shooting Ivan, she knocks her positioning and she actually fires the gun at Malik, the terrorist and within this moment, Pepa decides to tell Ivan that her is about to become a father again.  Lane’s interpretation of Almodóvar’s narrative is exuberant as we can see the painful effects that men can cause women due to unfaithful actions, moreover, the musical numbers by Yazbek are blissfully charismatic; such as “It’s You”, “Island”, “My Crazy Heart” and “The View from Here”.

One found the performances by the company of, ‘Women on the Verge of a Nervous Breakdown’ to be admirably portrayed and spectacularly casted as well. Tamsin Greig is fantastic as central protagonist and TV actress, Pepa; primarily when she frequently lobs the telephone out of the window when Ivan’s messages upset and anger her and it is such a comic moment too. Haydn Gwynne is terrific as Ivan’s ex-wife, Lucia; especially at the court trial when she breaks out into song with “Invisible” about how Ivan’s desertion should be held into account and that she must be allowed to express her opinions to the court to is dismissing her claims. Anna Skellon is hilarious as Pepa’s melodramatic friend, Candella; exclusively when she shrieks at the top of her lungs about a numerous amount of things, plus the point in which she conducts her suicide attempt it shows how all of her issues with Malik has pushed her to her limits.

Bartlett Sher's direction is incredible and Ellen Kane's choreography is aweome here as they have pieced together a musical that is both humourous and emotive in a such a stylisically flawless fashion where the charaterisations and and dance sequences were executed with panache. Anthony Ward's design is fabulous as his attention to detail in capturing the Spanish ambiance was particularly vivid and well constructed by Set-Up-Scenery which was nice to observe. Overall, the experience of, 'Women on the Verge of a Nervous Breakdown'  was an engaging and compelling musical that comes to show that men can cause a lot of problems for the ladies. 

'Matchbox Theatre' Hampstead Theatre **

Matchbox theatres were and still are a toy collectors’ dream, and these were a miniature theatre with set and performer’s on a particular theatrical genre, also the box was very small, which is why it is referred to as a matchbox theatre. The Hampstead Theatre’s current play, ‘Matchbox Theatre’ was an embarrassingly horrendous concept for a play and the performances were extremely vile.

‘Matchbox Theatre’ is situated in a number of localities where the play begins with two statues (Felicity Montagu) who form part of a tomb in an abandoned church are trying to sleep, even though they have been sleeping for centuries are woken up due to a rave that is happening in the uninhibited crypt underneath. Over the course of the production, there is a speedy transition between the short series of plays which convey some realistic scenarios but in a comedic fashion; such as the scene where here are two couples who are on opposite ends of the spectrum. One couple are illiterate who have troubles pronouncing certain names of places, food etc  and this aggravates the other couple who are at the other end of the restaurant and they can hear them.  We see through this performance how theatre audiences (Tim Downie) try to realise when the first act has ended and when they can go to the bar and have a drink as the blackout that you’d expect takes time to materialise.  During the show, we witness the agony for an E-flat contraphonium player (Chris Larner) who explains the struggles of the musician and conductor’s working relationship, as well as the challenges of the their craft not being a fully financially stable job.  Alternatively, the scene at the Award’s Ceremony you see the corruptive influences hat are present; expressly, that the victor of the most prestigious award is the same person, but when there’s a new winner for this award it shocks the previous recipient.  Near the finale, there are two people who have been in a holiday romance who are siting awaiting the announcement for their flights are despairing at the thought of leaving one another come to annoy the announcer and he decides that they are not going to be boarding their flights. Frayn’s narrative is catastrophic are there is not a consistent and interesting plot at all and the hilarity of the comedy is lost due to the fact that there is too much going on, moreover, I become bored at times.

One found the performances by the company of, ‘Matchbox Theatre’ to be extremely disastrous as the changes of characters were hardly recognisable and the requirements of such roles. Nina Wadia is monstrous as the maddened woman at the restaurant; for example when she is shouting repeatedly and when she is doing so it does irate me and it becomes tiresome very quickly. Mark Hadfield is heinous as one of the statues as his vocal delivery did not feel that powerful as you’d expect from a good performer and the humour was immature.  Esther Coles is jaded as the woman who is on the end of the telephone; principally how her scatter-brained persona lacked the eccentric flare that the character should have conveyed and this is second-rate performance and suggests limited rehearsal time.

Hamish McColl’s direction is atrocious here as he has not been able to depict the rib-tickling elements that could have been shown if the characterisations could have been more comprehensive, furthermore, the whole two hour performance was mind-numbingly monotonous due to the lack of a coherent narrative. Polly Sullivan’s design is bland and ordinary as I was not engrossed into the environment and atmosphere within any aspect of the play, plus the scenic art is lacking in opulence and looked tragic. Overall, the experience of, ‘Matchbox Theatre’ was an unexciting play and is one I do regret seeing, such a shame for such a well-established theatre to programme this shambles of a show.

'The Hard Problem' National Theatre, Dorfman ****

The brain is one of those organs that allows us to think and feel, also it has a function that enables us to live and remember the moments that are positive and those that are not so encouraging, but what emerges when institutes are playing up to this with coming at it as a form of manipulation and commercial commodity? The National Theatre’s production of Tom Stoppard’s newest play, ‘The Hard Problem’ informs us of the workings of brain science establishments and the studies that are undertaken, in addition, the performances were brilliantly conveyed.

‘The Hard Problem’ is set in a number of locations, but firstly we are familiarised with Hilary, a young psychology researcher who is at the end point of her Batchelor’s degree is in bed with her mentor, Spike in the hope that she will gain some extra marks for her final assignment.  When she is about to have an interview for a job at the Khrol Institute, which is a million pound association, she meets Master’s degree graduate, Amal (Parth Thakerar) a slightly aloof person with in depth knowledge about the maths behind brain science.  Hilary thinks she will not be successful, but with some helpful hints from Ursula (Lucy Robinson), an employee within the organisation she triumphs over Amal and is offered the job by her soon to be boss, Leo (Jonathan Coy).  As she settles comfortably into her role, we learn of Hilary’s teenage pregnancy where she gave her up immediately after she was born as she know ha she could not care for her.  However, the owner of the Khrol Institute, Jerry (Anthony Calf) has a daughter who is the exact same age as the one that Hilary had adopted and with the same name, Cathy. Strangely enough, Cathy is in fact adopted by Jerry and his Japanese wife.  Progressively, when Hilary is acquainted with Bo, a graduate from an esteemed Shanghai university, there seems to be a connection and they soon begin to work with one another on whether there is such a thing as a good person. Paradoxically, Bo has been secretly rejecting specific results from children as they could disprove the final outcome and fluidity of the studies’ results. At a celebration where the investigation has been printed where their friends and partners have been invited to, such as Ursula’s amusing yoga instructor girlfriend, Julia (Rosie Hilal), Bo has the courage to tell Hilary of her wrong doings. Finally, when Leo is informed of what Bo has done, Hilary makes a conscious decision and resigns to move to New York. Stoppard’s narrative fiercely conveys the fine line of what studies can be published or not, as well as the understanding of the consciousness of the brain.

One found the performances by the company of, ‘The Hard Problem ‘to be clear and interesting within all corners of the show with gracious voice and movements.  Olivia Vinal is excellent as the young psychology researcher, Hilary; predominantly in the scenes where she is in bed with Spike and how she becomes dismayed when he dampens the way in which she has written the article and declares that it should not be expressed.  Damian Molony is gorgeous as Hilary’s hunky mentor, Spike; mainly when he is in a slightly merry mood at the celebration party where he belittles Hilary and Bo’s work, in which it causes an argument between him and Hilary. Vera Chok is splendid as Hilary’s side-kick, Bo; principally she is feeling helpless as her professionalism comes under fire when it comes to light that she has been removing the factual evidence of the study that should have been implemented.

Nicholas Hynter’s final direction at the National Theatre is wonderful here as he has been able to bring the topic of the consciousness of the brain and the workings of the organ with stylistic ease and fluidity which is shown through the actor’s portrayals. It’s safe to say that the National Theatre will be very sad to see him depart. Bob Crowley’s design is intriguing as you are immersed into the environment of the brain science world and how it’s become a commercial model, furthermore the lighting installation is particularly mesmerising. Overall, the experience of, ‘The Hard Problem’ was one that is an intriguing insight into how everything is an entrepreneurial venture. 

'Oppenheimer' Vaudeville Theatre *****

Sometimes scientists can discover and construct certain experiments that will prove to be lethal in terms of the consequences that might happen, and the atomic bomb was one such scientific development. The Royal Shakespeare Company’s West End transfer of Tom Morton-Smith’s critically acclaimed play; ‘Oppenheimer’ was such a gripping production with remarkable performances throughout.

‘Oppenheimer’ is set from 1939-1945, in Berkeley, California where we are introduced to Professor of Physics, J Robert Oppenheimer along with his students, Giovanni Rossi Lomanitz (Oliver Johnstone) and Rob Serber (Jamie Wilkes) are in the process of testing the methods of atomic fission.  In addition, Oppenhiemer or “Oppie” as he is known to his friends is soon joined by his fellow professors, Hans Bethe (Tom McCall) and Edward Teller (Ben Allen) who will then aid him in his quest to make the world’s first atomic bomb.  J Robert Oppenheimer’s love life is exceedingly troublesome as he constantly cheats on those who he is in a relationship with; this is shown when he cheats on Jean Tallock (Catherine Steadman) with vivacious, Kitty Peoning Harrison and when it is revealed that she is pregnant with his child, he decides to end his relationship with Jean. Oppenheimer’s estranged brother, Frank Oppenheimer (Michael Grady-Hall) continually feels over-shadowed by his brother’s popularity, also he is the slightly less intelligent one, and as a form of revenge he soon conspires against his brother and leaks the documents about the plans to J Robert’s rivals.  When the army becomes involved with the project, their general, General Leslie Groves says that an area of Mexico is un-inhabited and that this could be the perfect location in which the bomb and its proto-types can be manufactured.  Furthermore, the base in which the scientists will be working at can house all of their families within the one vicinity. However, the scientists become very unhappy with the military’s operations and strategies which could harm the project.  When the final outcome of the bomb is unveiled to all those who contributed to the build of the bomb, you can see the effect that it has on J Robert Oppenheimer and when the bomb is dropped on Hiroshima in 1945 he appears uneasy with the fact that he is responsible for the millions killed in the explosion. Morton-Smith’s narrative is tremendous as there is such an in depth amount of research that has been undertaken to document the men and women who were involved in creating the first atomic bomb.

One found the performances by the company of, ‘Oppenheimer’ were stunning throughout the show with electrifying choreography by Scott Ambler. John Heffernan is astonishing as the central protagonist, J Robert Oppenheimer; expressly at the point when he becomes a father and how he pleads with Charlotte Serber (Sandy Foster) to adopt his child as he thinks that he and his wife are incompetent in nurturing a child. William Gaminara (whose play, ‘The Three Lions’ was recently performed at St James Theatre) is magnificent as General Leslie Groves; in particular his demanding presence where he bombards the scientists when they are working shows how ignorant the character is. Thomasin Rand is spectacular as J Robert Oppenheimer’s lover/wife; Kitty Peoning Harrison; specifically when she regularly consumes a countless amount of alcohol and smokes a lot of cigarettes when she is heavily pregnant shows how incapable she is as an up-and-coming mother.

Angus Jackson’s direction is extraordinary here as he has worked with Morton-Smith’s dialogue in such an impressive manner that allows us to be fully transfixed with the whole story of how one man’s experiment lead to one of the most memorable incidences in world history.  Moreover, the characterisations were increasingly thorough such as the role of Robert Wilson (Jack Holden), and he is an actor that is one to look out for. Robert Innes Hopkin’s set and costume designs are breath-taking as the simplicity in which the company of actors scribe the equations with chalk on the floor and onto the walls does work wonders on the Vaudeville stage and is an intriguing technique. Additionally, Karl Dixon’s video designs are a welcomed touch to this transcendent production. Overall, the experience of, ‘Oppenheimer’ was an impressive and captivating show which puts a lot of West End shows to shame.

'I Wish to Die Singing' Finborough Theatre ***

Genocide, quite frankly is the most repugnant of acts that anyone can bequeath someone as you are eliminating an entire civilisation without a real reason and is there a necessity to stage a play about one of the worst genocides in history? The Finborough Theatre’s production of Neil McPherson’s, ‘I Wish to Die Singing’ allows us to witness the Armenian Genocide through a provocative journey; furthermore the performances were well conveyed.

‘I Wish to Die Singing’ is set during the Armenian Genocide, in 1915 where we are guided on this voyage by a Narrator who explains how millions of Armenians were brutally murdered, as well as, thousands of people were tortured and many were forced to convert to Islam. Moreover, the performance through the stories of several Armenian children whose lives are over-turned by what is occurring. Each child has their own unique stories to tell; such as the young boy (Bevan Celestine) whose future is now uncertain as he was in line to be the owner of the farm and sadly this will only be a fantasy. Throughout the performance, the children are persistently questioned by three menacing soldiers, (Kate Bincy), (Tom Marshall) and (Simon Yarko) who create the environment that on one will be spared from either being massacred, tortured or enforced to change their religions. Progressively, the Narrator states that whist the perplexing incidences were going on, she explains that other countries did not even help the Armenians through this disgusting time and the countries that are mentioned is the United States of American and the United Kingdom, which is really alarming. The youngest child who seems to have been close to her parents has now become parentless due to the Armenian Genocide and to save her life, she is sent to America and is adopted. Thankfully she always remembers her Armenian routes. At the end of this hard-hitting piece of dramatic art, the Narrator supposedly tries to educate us on our responsibilities as a nation to help those who are in urgent need.  McPherson’s narrative is enormously thought-provoking as the play reminds us on how certain countries’ rulers are total barbarians, on the other hand, there’s are some minute moments where the plot is not consistent and lacking in fluidity.

One found the performances by the company of, ‘I Wish to Die Singing’ to be slightly strong as the stimulus of the play is immeasurably bleak and dark and this shines through the actors’ characterisations.  Jilly Bond is superb as the Narrator; in particular her vocal delivery at the many scene breaks in which it does suggest that she is either narrating a documentary or a university lecture. Siu-see Hung is amazing as the youngest child; expressly at the scenes where she openly says that her childhood memories will never be forgotten, plus her movements and diction is wonderful as we believe that she is a child.

Tommo Fowler’s direction is conventional here; however, Ita O’Brien’s movement direction is magnificent as they have been able to captivate such a traumatic show that challenges your own thought processes on how government figures must help those who are in urgent need of care and assistance. Phillip Lindley’s design is positively chilling as the emptiness of the set reminds us of the stark reality of a situation that is fundamentally inexcusable, in addition to this, Rob Mill’s lighting and video design is vastly unnerving, but in a good way as it encapsulates the horror of the genocide. Max Pappenheim’s sound design is atmospheric as I got goose bumps when the soundscape vibrated through the floor.  Overall, the experience of, ‘I Wish to Die Singing’ to be outstandingly informative, then again some elements do need tweaking. 

'Dead Sheep' Park Theatre **

The late Baroness Margaret Theatre was not only regarded by many as notorious and infamous for her political polices, but she is often known for her close collaborations with her Foreign Secretary, Geoffrey Howe. However, what transpires when her associate perceives her current decision to be utter poppycock? The Park Theatre’s production of Jonathan Maitland’s, ‘Dead Sheep’, categorically was a disappointing piece of playwriting which was accompanied by shameful performances.

‘Dead Sheep’ is set over the course of the end of Margaret Thatcher’s reign as Prime Minister where we are introduced to former Foreign Secretary, Geoffrey Howe who is at the end of his tether with the Iron Lady’s opinions about Europe.  As well as, he is aggravated by her aloof attitude to those in the Houses of Parliament. When he returns to his treasured home, which is not actually owned by him to his gutsy wife, Elspeth Howe, she makes it very clear that his work is making him increasingly unhappy and that he should resign from his job immediately so that he can retain his sanity, and with his wife’s assistance he is planning to obliterate her with a harsh speech.  Throughout the performance, we can see how cut-throat the political arena is, such as the fraught conversations that Geoffrey and Thatcher have with each other as she declares that he and his wife must vacate their beloved home as he has been demoted to Deputy Prime Minister. Conversely, when the national press and the television broadcasters become involved, it enables you to see why Geoffrey is not the most confident of speakers and interviewee, this is clearly established when he is participating in a television interview with Weekend World’s, Brian Walden (John Wark) and with Yorkshire press representative,  Bernard Ingham (Tim Wallers). Noticeably, they’re trying to seek out information as to expose his plans to destroy Thatcher with a painful message to show his lack of support and confidence as leader of the United Kingdom’s government.  At the finale, we see Geoffrey standing up in a televised transmission where he presents his speech, we can see how much on effect it has on the Iron Lady, and with this desertion from Geoffrey it leads to other members of her cabinet to feel the same. Maitland’s narrative does appear quite disjointed in places as he has concentrated more on the comedy aspect rather than focusing on the raw and tense period that Geoffrey and Thatcher are experiencing.

One found the performances by the company of, ‘Dead Sheep’ to be somewhat mediocre as some moments became immensely dull and not that amusing. Steve Nallon is substandard as Prime Minister, Margaret Thatcher; especially within the facial expressions which looked too cartoonish for my liking, but he does provide some fetching elements such as the movements where we see how his walk is identical to how Thatcher actually walked herself.  James Wilby is satisfactory as the former Foreign Secretary, Geoffrey Howe; for example he becomes quite uncharismatic where he is trying to be the driving force that can signify the downfall as the Iron Lady but he does this unsuccessfully. Jill Baker is agreeable as Geoffrey’s wife, Elspeth; exclusively when she tries to perform the role of his frosty wife, additionally; she does tend to lose her harsh presence which means we lose our focus on her portrayal.

Ian Talbot’s direction is unpleasant here as he has not been able to create a thought-provoking show about the decline of a relationship that became quite well-known and the characterisations at times seemed extremely under-developed which made me quite despondent towards the entire performance. Morgan Large’s design is horrible as there are too many scenes where the visibility became too restricting and even the set looked like someone had designed it within a matter of hours, and not up to the professional standard required for an Off West End production. Overall, the experience of, ‘Dead Sheep’ was a disgraceful portrayal of how Margaret Thatcher and Geoffrey Howe’s relationship ended. 

'After Electra' Tricycle Theatre ****

Old age can be particularly troubling for those who do not necessarily want to remain living, and when an elderly lady is planning a suicide party, are there any underlying occurrences that are causing these drastic actions?  The Tricycle Theatre’s production of April De Angelis’ newest offering, ‘After Electra’ establishes the traumas of growing older; moreover the performances were really whimsical.

‘After Electra’ is set in an Essex bungalow off the coastline where elderly former feminist artist, Virgine is arranging a small gathering for her lifelong friends and close family members as she is desperate for her life to come to an end. As well as, she does appreciate that she has been a terrible mother to her two children. Her daughter, Haydn, a bereavement counsellor states that her mother’s motives are preposterous and humongously childish as she was once an activist back in the 1960’s. When her friends, actor Tom (Neil McCaul) and his novelist wife, Sonia (Kate Fahy) arrive and when they’re informed of her plan, they are understandably flabbergasted by her tactics and they plead to Virgine to stop such fascinations. Virgine’s youngest sister, Shirley is peeved by her sibling’s actions and argues that she is trying to obtain a lot of attention and she reminds her of her duties she has as a parent to Haydn, as she was put into care for time during her childhood.  What is most shocking is Vigine’s uncaring nature towards her child, sister and friends as she constantly speaks about her schedule and what time she is going to jump off the cliff that is near her home.  When Virgine’s son, Orin (James Wallace) makes his appearance after his wife has thrown him out again due to the fact that he has a gargantuan alcohol problem because he is in need of a place to stay, he falls asleep at the point where he is in charge of keeping an eye on her.  Once Haydn realises that Vigine has escaped, she is angry by her brother’s lack of focus and when Vigine is found she appears noticeably perturbed as she wants to die.  Over the next couple of days, Virgine becomes increasingly quiet and unresponsive and even has to be force fed by her children and at the finale; we learn that Vigine has died of natural causes.  As well as, we see a slight romance blossoming between Haydn and taxi driver, Roy (Michael Beglay). De Angelis’ narrative is touching as she has touched on how old age can be extremely tedious when the person in question does not want to carry on living and how planning a suicide party can cause an effect on all those concerned.

One found the performances by the company of, ‘After Electra’ to be visibly engaging as you can see how much of a camaraderie there are between this company of actors.  Marty Cruickshank is wonderful as the elderly woman, who is thinking of suicide, Virgine; especially when she is openly joyful at the prospect of suicide, but this is in front of her closest people and it shows how un-empathetic she actually is. Veronica Roberts is excellent as Virgine’s daughter, Haydn; chiefly when she conveys that her mother’s lack of love and affection, also how being put into care caused a negative impact to her development and confidence as a child and teenager. Rachel Bell is great as Virgine’s sister, Shirley; exclusively how comparatively different Virgine and she are, and that their relationship has never been that close and that she thinks her sister is a colossal idiot.

Samuel West’s direction is marvellous here as he has crafted a production that portrays how elderly people who do not desire to remain living with obviously cause a lot of emotions from those closest to that specific person and the characterisations are well-characterised.  Michael Taylor’s set and costume designs are sublime as you can see how quirky and eccentric Vigine is as the bungalow has a mix of old train carriage and a traditional country barn which is grand dramaturgy. Overall, the experience of, ‘After Electra’ was an interesting presentation of how old age and planned suicide is a very sad thing to consider. 

'The Three Lions' St James Theatre ****

What would you think if three influential British figures, who you would not expect to be in the same hotel with one another are discussing the bid of the Fifa World Cup 2018 and 2022? St James Theatre’s production of William Gaminara’s play, ‘The Three Lions’ was a hilariously written play, as well as, the performances were enormously well portrayed.

‘The Three Lions’ is set in Switzerland, 2010 where Prime Minister, David Cameron is working rigorously to ensure that the United Kingdom wins its bid to host either the 2018 or 2022 World Cup. However, there is a mix up with the room situation where the Prime Minister’s assistant, Penny (Antonia Kinlay) is working tirelessly to resolve this situation, which means he will have to share the room with internationally renowned footballer, David Beckham, but he does not have a problem with sharing the room. When the regal Prince William enters the room to discuss the bid, he tries to pretend that he is one of the civilians, and ends up looking like a complete and utter fool. They are soon acquainted with one of the hotel staff, Ashok (Ravi Aujula), he appears that he is a devotee of David Cameron’s political policies, which cheers Cameron up as Ashok’s brother, Vikram does not even know who he is. Whereas he does recognise David Beckham as he is a porting talent. During the performance, there are countless rib-tickling moments when David Beckham asks Prince William if his talentless wife, Victoria can perform at his and Kate’s wedding, and when David Cameron fails at keepie uppies.  In their conversations about the bid, we can see how foolhardy David Beckham actually is and there is apprehension present when they think someone can overhear their discussions.   After Cameron, Beckham and Prince William return after finding out the Russia and Qatar have triumphed as victors of the bids, there is a huge kerfuffle about the trousers that Prince William and David Cameron have sent to be dry-cleaned and there is a moments where David Cameron is trying to put on David Beckham’s tight suit trousers.  At the finale of the play, Ashok reveals his true identity in which he is an English journalist and is about to expose these obstinate situations. Gaminara’s narrative is hysterical as you are witnessing how these three people are communicating with each other and how funny the dialogue is.

One found the performances by the company of, ‘The Three Lions’ to be increasingly side-spitting through grand vocal delivery and well executed movements that are realistic to the characters. Dugald Bruce-Lockhart is glorious as Prime Minister David Cameron; primarily when you see him wounded by the fact that the hotel staff have no knowledge of who he is and his football abilities leave a lot to be desired.  Seán Browne is fantastic as football legend, David Beckham; mainly how realistic how physically accurate he looks and his accent is very natural which is very pleasing to see, additionally how senseless the character’s traits are. Tom Davey is superlative as HRH, Prince William; largely the goofy presence that he conveys through his facial expressions snd how articulated his voice is to suggest the line of the royal family and how he thinks he can be cool, but not in this instance.

Phillip Wilson’s direction is bravura here as he has presented a play that is quite possibly the funniest play I have seen in a long while where you are constantly left with a sore stomach due to all the laughing. Colin Falconer’s set and costume designs are flamboyant with clean lines as I looks like a corporate hotel room which looks like that each room is of a similar appearance and the corporate chains of hotels such as the ‘Hilton’ are that hold conferences that will ultimately be televised worldwide. Overall, the experience of, ‘The Three Lions’ was a rip-roaring ride ha leaves you in stitches, and his can be said through the entire audience.