'The Duck House' Vaudeville Theatre ****

We all have had our opinions on the shocking events of the 2009 expenses scandal, where politicians would purchase items such as a glitter toilet seat, manure, hanging baskets etc. and some words claimed that money back out of the UK taxpayer’s pocket. So when Dan Patterson and Colin Swash decided to write a comic play about this event, you would have thought it would be an utter disappointment. However, it's the total opposite as it is a production that's full of comic genius and wonderful acting performances. The play is about this disloyal Labour MP, Robert Houston, who is incredibly desperate to save his seat in parliament that he resorts to the ultimate betrayal by moving to the Conservative party. As well as his fellow politicians he has been claiming expenses, which the Tories find woeful so he tries to cover up his dastardly deeds. One, in suggesting that is his own wife, Felicity is his secretary and two, he his young son, Seb, who's at University's is his technical advisor. The play is full of hilarious dialogue and the timing is comedy gold. The setting from a traditional family home to a derelict London flat is a clear reminder of who you can trust within politics. The acting is brilliant here as they convey the realisation of how cunningly lacklustre politicians were throughout this horrendous situation. Ben Miller as the lead role, Robert Houston MP provides an amazing comic through comprehensive timing in the delivery of one-liners and slapstick comedy. Nancy Carroll performs the MPs wife, Felicity to an eclectic standard of finish that makes you understand the role a politician wife plays in their career. Debbie Chazen is outstanding as the illegally employed housemaid Ludmilla. James Musgrave is excellent as the MP's troubled son, Seb and former X Factor star, Diana Vickers is wonderful as Seb's fiancé Holly. The direction by Terry Johnson is phenomenal as he has captured quite controversially a disgusting scandal and presents it with such comic flare and precision that makes it a well-deserved success of a farce. The set and costume design by Lez Brotherston was of a sound level of professionalism but some of the textures thought of wasn't as beautiful as you would expect from a West End show. With all of this considered it a play full of delight. Purchase tickets if you can.

'Stephen Ward' Aldwych Theatre ***

The master of London's West End musical theatre, Lord Andrew Lloyd Webber has made a welcome to return with his latest offering 'Stephen Ward'. For me it's a show that leaves me quite confused as to whether I really like it or whether I found it a really boring production. The musical takes its back story from the controversial 1963 scandal of Stephen Ward and the Profumo Affair which for me, is a slightly strange subject matter for a musical. The narrative begins at The Chamber of Horrors in Blackpool where Stephen Ward is one of the mannequins and is amongst such villainous figures such as Adolf Hitler and many more. From this we are taken on a journey of how the idea of this man was earning money from prostitution which caused a nationwide controversy.  The plotline is clearly thought of with care and attention but what disappoints me about the adaption is the dull and dreary nature that the musical numbers present and whilst observing the reactions from the audience it seems that they didn't appreciate them much either. The score just lacks the spectacle you'd expect from a musical from the legendary Lord Andrew Lloyd Webber especially his hit musicals 'Joseph and his Amazinf Technicolour Dreamcoat', 'The Phantom of the Opera', 'Cats' and 'Starlight Express' and you know the rest. The performances by the company however will have a good standard of finish. Alexander Hanson's portayal of the central protagonist Stephen Ward was wonderful as it captures the actual person with such tenacity and shows the man's fight for justice in a situation that caused a huge uproar in the early 1960's. Charlotte Spencer's Christine Keeler is acceptable as she performs one of Stephen's conquests quite well and fresh from the Royal Central School of Speech and Drama Charlotte Blackledge's Mandy Rice-Davies is brilliant. So well done to her for her West End debut. I found Richard Eyre's direction for 'Stephen Ward' to be vastly satisfactory and this upsets me slightly from a man who was in charge of the National Theatre from 1988-1997. This shows choreography by Stephen Mear was far too poor and is not up to the standard you would like to see from a West End performance. On the other hand, Rob Howell's design for both the set and costumes well wonderfully and unbelievably thought of with the highest calibre and this annoys me when the score, direction and choreography is of a meagre standard. This production is definitely not for a variety of audiences so be aware when booking tickets for this.

'Fortune's Fool' The Old Vic *****

 I have seen a large amount of theatre productions over the past year and Mike Poulton's version of Ivan Turgenev's 1848 play 'Fortune's Fool' is one at that has amazed me because of how wonderful it is. The production focuses around the character Kuzovkin who's a poor man and is living in a cupboard in a Russian country estate becomes happy and excited when the young woman Olga Petrovina returns home as a married woman to the strong minded Government official Pavel Nikolaith Yeletsky. However there celebrations are ruined by their ghastly neighbour Flegont Alexandrovitch Tropatchov and here's unflattering friend Karpatchov who nastily get Kuzovkin incredibly drunk and make him feel like the court jester of the party. I found the entire narrative to be vastly captivating as well as being highly clear and coherent which is wonderful to witness. So a massive well done to Poulton on a miraculous version of this classic text. It's a production that makes you value the people you socialise with daily and questions he you should avoid at all costs. Sarah Bird's casting for this production is nothing more than exceptional as her decisions have made a huge impact that has proved successful here. Unfortunately, due to their indisposition of Iain Glen, Patrick Cremin played the lead role Kuzovkin and for me he performs the character with such precision and ease that you don't seem to mind that the style is unavailable. Richard McCabe's portrayal of the arrogant and unlikeable Tropatchov it's phenomenal as he captures the lacklustre aspects of the characters personality to the highest level of characterisation imaginable. Lucy Briggs-Owen is brilliant as the Lady of the Manor Olga Petrovina and Alexander Vlahos is amazing as her new husband Pavel Nikolaith Yeletsky. The director of this touching and engaging play Lucy Bailey is electrifying as she has encapsulated the sadness and pain that Kuzovkin has had to endure his whole life. The precision in her direction and timings are nothing but perfect and emotive. William Dudley's design is just simply beautiful as it details the life of the wealthy people of Russia of the time period. It seems that there has been great thought behind the design. It's safe to say that The Old Vic has returned to producing outstanding productions compared to its previous woeful Shakespeare production of 'Much Ado About Nothing'. It's a production that you should purchase tickets for.

'Twelve Angry Men' Garrick Theatre ****

One of Britain's leading produces Bill Kenwright has returned to the West End with Reginald Rose's 1964 theatre play, taken from the 1954 teleplay 'Twelve Angry Men' and it's a show that gets the brain working in leaps and bounds. The play is centred around an American jury of twelve men who were faced with the challenging task to decide whether a young boy, charged with the murder of his own father faces his ultimate nightmare, the death penalty or to be freed. The narrative is quite simplistic and questions whether, we the audience think the young boy is guilty or not guilty, but also to understand the reasons why each member of the jury has come up with their decisions. I thought that the concept of Juror 8 being the sole person who stands up and expresses his opinion that the defendant is not guilty for the crime he is accused of and attempts to obtain the other members of the jury on his side to allow the young boy to be cleared of all charges against him. I did become intrigued by the anger and frustration that the twelve men, all from a variety of different ages had with one another and this was captivating to see. The performances by the entire cast were acted with such elegance and allow you to understand the differences of class that are exuded through careful characterisation. I found Martin's Shaw's performance as Juror 8 to be one of such conviction of how we maintain uses vocal dialect throughout the whole production. The legendary Robert Vaughn portrays an outstanding Juror 9 with Nick Moran conveying a wonderful performance as Juror 7 and Jeff Fahey playing an acceptable standard of performance as Juror 3. Christopher Haydon's direction is brilliant as he directed play that definitely makes your brain think and clearly question is how you judge people on a regular basis either through appearances and such like. It definitely reflects on how Brecht made audiences think throughout the entire play. The design for 'Twelve Angry Men' has been crafted so intently by Michael Pavelka as he works quite consistently with the use of the trusses that holds the set lighting together. It seems a lot of careful work has been undertaken to work with not the most perfect of plays but a performance that is worth watching. I had a wonderful experience so I urge you to book tickets for the play that fights for justice. 

'Emil and the Detectives' National Theatre, Olivier ***

The National Theatre's annual family production has a long and prestigious history and this years show of Carl Miller's rendition of Eric Kastner's 'Emil and the Detectives' is one that will keep the children entertained but for the older audience member it fails to stimulate you somewhat. The narrative was far too simplistic and it felt that the production was the only appeal to the younger audience member rather than the entire audience. However when you consider that Kastner's classic children's book was like the Harry Potter of its day I believe it does belong on the Olivier stage . We are taken on a journey of young Emil Who attempts to rediscover and find the 140 marks that he was robbed of on a train journey to Berlin to visit his grandmother. The play accomplishes an array of outcomes, it focuses on the idea of children who form a kind of detective agency decide to break away from that young people shouldn't be listened to and to help Emil with his mission to find the bowler hatted thief. I thought that they show lends itself to let the vast city that is Berlin, which acts as its own. character through the fast pace of every day commuters using cars, trams and buses. The acting by the company will wonderfully acted and this gives me a slight sense of ease about the whole production. I found Ethan Hammers' portrayal of the central protagonist Emil was brilliant especially in the section where he is in the city's very claustrophobic and frightfully smelly sewers. Stuart McQuarrie is captivatingly menacing as the thief Mr Snow and Naomi Frederick is exceptional as Emil's over protective mother Ida Tiscbein. Even the child performers were incredibly entertaining and engaging. The direction by Bejan Sheibani was off an acceptable standard of finish but the flow of the show seemed somewhat primitive. I thought that Bunny Christie's spectacular design captures the expressionistic atmosphere of the story and the director's vision through wonderful video projections by 59 Productions as they suggest the setting and environment really meticulously. Bunny Christie has definitely done well here. I think that this is the production for children to enjoy and one that would make the parents and/or grandparents have a relaxing time without having to think about the children throughout the proceedings.

'Jumpers for Goalposts' Bush Theatre *****

What can I express to you about the Bush Theatre's current production 'Jumpers for Goalposts'? It's a play that definitely resonates a hint of emotion in everyone, even the masculine of men. Written so effortlessly by Tom Wells it depicts the story of a pub five-a-side football team, who a part from one are all gay and shows the struggles of being accepted in and an array of different circumstances. I found the narrative to be incredibly infectious as it makes you realise the pressures of being gay in a sport that's not stereotypically associated with people of this sexuality. I would like to convey my immense gratitude in Wells' approach to this issue that has been in society, worldwide for decades. As well as, I particularly admired the setting as it enables audiences to recognise the way they should speak in daily situations by thinking whether homophobic language is acceptable. The acting by the small company were beautifully and emotively performed and it's the standard you'd expect from even the best West End productions. Vivienne Gibbs' portrayal of the coach Viv is intellectually superb as she encapsulate see lesbian woman trying to break the boundaries by acting as a football coach that motivates and pushes the players in them most professional way possible. Jamie Samuel's Danny is sublime as he captures and out and proud homosexual who has been living with an immense secret and is desperate to find the love and happiness he most desires. This becomes possible when 19-year-old Librarian Luke (Phillip Duguid-McQuillian) joins the team and romance is afoot for Danny. The others, Geoff (Andy Rush) and Joe (Matt Sutton) where extraordinary as well that means comprehensive characterisation was key to the shows success. James Greive's direction is beautiful from beginning to end as he has created a production that moves an audience from laughter to tears in a matter of seconds. I like the decision to have a hint of actor musicianship through the character of Joe. The design by Lucy Osborne was wonderful as she has interpreted a football club's changing room with impressive detail and even though the design is somewhat simple it doesn't make a humongous to the professionalism of the production. I feel that all aspects of 'Jumpers for Goalposts' were phenomenal and should be recognised as a nominee for many theatre awards next year. I think the Bush Theatre has fundamentally established why it is one of London's greatest Off West End theatres.

'Charlie and the Chocolate Factory' Theatre Royal, Dury Lane ***

The musical adaptation of Roald Dahl's classic children's story 'Charlie and the Chocolate Factory' is a production that's full of moments of golden magic but with moments of pure annoyance. I thought that the narrative written by David Greig was brilliantly clear and concise and definitely captures the atmosphere that Dahl had envisioned for his children's book of how we we see a boy, Charlie Bucket who comes from a less than wealthy family becoming the bearer of a golden ticket and from this is his dreams finally come true. Greig's decision to adapt it from the novel compared to the movie version was clever as many musicals have been adapted from films. I found Marc Shaiman and Scott Wittman's music and lyrics to be of an acceptable standard of creativity and wonder as the score does hint essences of humour and emotion. However some numbers are far too cliche someone liking in particular 'Veruca's Nutcracker Sweet' and 'The Amazing Tale of Mr Willy Wonka'. It would have been more appealing if some thought had been undertakes here. The company for 'Charlie and the Chocolate Factory' where beautifully executed in all aspects of acting, singing and dancing.  Douglas Hodges portrayal of the fastly eccentric chocolate factory owner and inventor Willy Wonka was extraordinary as he embodies the character with such tenacity and ease that we the audience become fascinated in everything the role delivers. A lovely casting decision. The child performers were incredible and I must congratulate Jenson Steele for his comedic excellence as Augustus Gloop. I was amazed by his confidence in his small section of the show. The direction by award-winning director Sam Mendes clearly establishes his versatility in both theatre and film work but I did feel that the vast Theate Royal, Dury Lane stage could have been used to it's for potential and this saddens me as the production has taken years to finally get to this stage. Mark Thompson's set and costume design was highly satisfactory as the detail felt underdeveloped. I fought that the chocolate room was extremely lacklustre as it seems that budgetary constraints had a visible in imapct to the limitations of what could be achieved for example the chocolate river. Even though the musical is rather young it does make you question the use of the budget here. It is a production that you should see especially if you have children.