'Jeeves & Wooster in Perfect Nonsense' Duke of Yorks Theatre ****

What can I say about to be PG Wodehouse inspired play ‘Jeeves &Wooster in Perfect Nonsense’? It's a powerhouse of a production that leaves you in hysterics from start to finish. The play is reflective to style and tone to how Wodehouse wrote his novels, but instead of it being solely a first-person narrative that only features Bertie Wooster, Robert and David Goodale have decided to make Wooster's butler, Jeeves to act as himself and another, Aunt Dahlia's personal butler performing the minor roles. The dialogue is beautifully captivating and well-constructed; the comedy within the production is rib-tickling and most importantly does not pose any form of falsity. Exceptionally written I might add. The week in which I saw the show was in fact Stephen Mangan, Matthew Macfayden and Mark Hatfield's final week and I found their performances to be vastly breath-taking. That meant that I had trouble breathing because I was laughing a considerable amount throughout the proceedings. For an all-male cast it is definitely work of genius and the connection between the three actors is wonderful. With one of the biggest grins in show business, Stephen Mangan seems to be a great casting decision for Wooster as he provides a spectacular combination of classic comic moments with serious acting panache. The scene where we see a naked Mangan happily playing with the yellow rubber duck in an overbearing bubble bath was a personal highlight.  In addition to Mangan, Matthew Macfayden is excellent as the formidable Jeeves. He conveys the character with a superb commanding presence and forms the traits of an old-fashioned servant, who is extremely strict.  As well as, the portrayal of the other parts were brilliant, in particular when he cross-dressed as Bertie’s horrendous former fiancée Madeline Bassett. Finally, Mark Hatfield is amazing as the slightly minuscule role of Seppings. The power in his vocal delivery is sublime and when he quickly transforms into Roderick Spode, leader of British Blade-Shorts, a seven foot tall man is a moment that repeatedly moves an audience in uproars of laughter. Direction by Sean Foley is nothing more than impressive as he has constructed to play with classic concepts that can work for audiences of all ages. Exceptional job I must express. The set and costume design by Alice Power is flamboyantly well thought of that become ever more inventive and lavish as the show progresses, and this apparently makeshift production creates a delightful sense of conspiracy between the actors and their audience. I found 'Jeeves & Wooster in Perfect Nonsense' to be a worthwhile experience. Extraordinary to say the least.

'Dirty Rotten Scoundrels' Savoy Theatre *****

Forget ‘I Can't Sing’, the awaited musical for 2014 is Jeffrey Lane’s adaptation of ‘Dirty Rotten Scoundrels’, and for me, it doesn't disappoint whatsoever. The production tells the tale of Lawrence Jameson, a middle-aged man who seems to be extremely prosperous in conning and swindling money from anyone he encounters. However, a young opponent, Freddy Benson arrives in the area and appears to be occupying Lawrence prospective victims, and to ensure that he doesn't poach these people he manipulates him by taking him under his wing and educating him in this deceitful act. A challenge is set between the two when an American, Christine Colgate enters the scene. The narrative is infectious quirky and shows an intriguing portrayal of this horrific trade. What works for me is the relationship between Lawrence (Robert Lindsay) and Freddy (Rufus Hound) as they have an excellent chemistry that makes an audience not only entertained, but comfortable as well. This indicates that the two actors must relish in working with one another and establishes that rehearsals were incredibly fruitful. Musical Theatre currently has been adaptations from films, but I find that this one feels more suited to West End stage due to its lavish location of the French Riviera; also it's a fun production. David Yazbek's musical numbers are fascinatingly smouldering as they are mixed with Oklahoma hoedowns in "Oklahoma?" to the traditional musical spectacles such as "Great Big Stuff" and "Give Them What They Want". An impressive job that must be commended. The casting for 'Dirty Rotten Scoundrels' is exceptional and the performances by all the company are excellent. Robert Lindsey is phenomenal as the suave and sophisticated rogue, Lawrence. Rufus hound is hilarious as Lawrence's rival, Freddy. Katherine Kingsley is brilliant as the naive American, who has a dark personality behind her facade. John Marquez provides a gracious performance as the rogue's associate and the ever lovely Samantha Bond is amazing as the lonesome Englishwoman, Muriel Eubanks. A great cast indeed. Jerry Mitchell's direction and choreography is astonishing as he has created a show that can appeal to a wide range of audiences and oozes charisma and charm throughout and it most certainly will immerse you in the world on the Savoy Theatre stage. Peter McKintosh's set and costume designs are beautiful and clearly depicts the characteristics of the characters and the feel of the French environment that the play is set. Such a superb job I grant you. I found my experience at 'Dirty Rotten Scoundrels' to be a pleasant one and a production that I would recommend to you all to go and see.

'Good People' Hampstead Theatre ****

Once again, the Hampstead Theatre has produced another exceptional performance which is David Lindsay-Abaire’s ‘Good People’. The show tells the story of their recently sacked supermarket cashier, Margaret, who lives in a deprived area of South Boston and seeks out to find a new opportunity for employment. Margaret has a daughter with an array of learning and health problems and fears being homeless due to the fact she can't pay her rent now she's unemployed. As a fifty year-old woman, she understands that seeking out a new job will prove a daunting challenge so she decides to contact her childhood sweetheart, Mike, now a highly popular and successful doctor. Margie, who in fact is rather persistent in her quest to gain employment, invites herself to Mike's home. It's incredibly clear that Mike has moved on considerably from his routes in the undesirable area of South Boston and with Margie returning to his life it brings a lot of unwanted memories that he obviously wanted to forget. The writing is extraordinary as it's never what you would expect. It suggest the idea of the social classes within America and how people desire for a better life for themselves and Margie seems somewhat content with her life. However, she does become slightly jealous with the life Mike has made for himself. Lindsay-Abaire’s script is full of interesting themes and it's clear that desperation for money does make people rather nasty, especially when Margie shockingly advocates that Mike is the father of her disabled daughter to gain financial stability. Paradoxically, this statement is a vicious lie. I found the playwrights dialogue and concepts to be one of such brilliance and intent and encapsulates a lots of emotional energy that is sublime to witness. It is no surprise that Imelda Staunton decided to be a part of this and for me, she delivers a phenomenal portrayal of Margie. Her attention to detail is amazing and her American accent is incredibly believable. A wonderful job I must admit. Lloyd Owen performs the wealthy doctor Mike this tenacity and ease and the scenes with him and Staunton are superb. June Watson is amazing as a slightly strange Dottie. The direction by Jonathan Kent is outstanding as he is been able to create a production with real warmth and emotion that suggests the idea of improving life prospects. Hildegard Bechtler's design is beautiful as it depicts the upper and working classes with great polish. I particularly found the how experience to be a memorable one. When it transfers to the Noel Coward Theatre make sure you book tickets for it.

'We Are Proud To Present...' Bush Theatre ***

The play with the longest name ever ‘We Are Proud To Present A Presentation About The Herero Of Namibia, Formerly Known As Southwest Africa From The German  Sudwestafrica, Between The Years 1884-1915' is Jackie Sibblies Drury’s latest offering. Unfortunately I didn't find the performance to be that enjoyable due to the fact it wasn't an actual portrayal of what occurred during this time period. The play is about a collective of actors who decides to devise a performance based on the first genocide of the 20th century where German armies disgustingly obliterated 80% of Herero tribespeople. Sibblies Drury decides to focus on the six actors, who are a mixture of white and black to convey the German and African people. In addition to this, the performance clearly indicates to the audience the devising process of theatre making through improvisations where the white actors would by reading actual letters that German soldiers sent home to their partners, and the black actors would be delving into the struggle of re-enacting indigenous Herero culture and working within the rehearsal process. I found the narrative to be too long-winded for my liking and the comic moments were not that amusing and dully written. On the other hand, what does appeal to me throughout this 100 minute performance is the actors’ quest in interrogating the horrendous and not widely known first genocide and rigorously researching why this happened. It reminds me of Adolf Hitler's vile attempt in wiping out all Jews from existence. As well as, the use of the video camera to document their process was quite intriguing for an audience to witness and it relates to how Frantic Assembly sometimes document their process. The performances by the relatively small company were of an acceptable level of precision and characterisation. Ayesha Antoine is excellent as excitable group leader, Kingsley Ben-Adir is excellent as a man who requests that the play they are devising to be as non-fiction account in history. Kirsty Oswald is quite funny as the quiet actress who wants a better position in the theatre world. The use of Foley sound throughout was a superb decision by its director, Glbolahan Obissean as it adds a layer to a script that leaves a lot to be desired. The design by Lisa Marie Hall is outstanding as the set is evolved through a removable floor to depict the African landscape and the textures used were wonderfully thought of. The experience was of a very satisfactory level and not on  par to what I would expect from the Bush Theatre. 

'Blithe Spirit' Gielgud Theatre ****

I must advocate that I have an immense admiration for the legendary Noel Coward’s 1941 play ‘Blithe Spirit’ as I played Dr Bradman in an A-level production of this over two years ago. ‘Blithe Spirit’ is based around the idea of the paranormal, when séances actually becomes reality as the ghost of man's first wife is brought back to life somewhat. The play is set in rural Kent, where we have introduced to slightly pretentious writer Charles Condomine, who is researching original ideas based on supernatural experiences, decides to hold a gathering of friends and his second wife, the incredibly vulgar Ruth to analyse what goes on. Of course the main attraction for this revival is the return of internationally regarded actress, Dame Angela Lansbury as the quirky Medium, Madame Arcati and at 88 years old she exceptionally conveys this character with such precision. We become fixated by her persona on the exact stage that launched her own mother's career. Within the first act, I have found the narrative to be a little bit dull and rather dissatisfying, however once Lansbury enters the set for the first time the entire audience applauded and the play finally releases its charismatic charm. We make it our decision whether we believe that the séance is realistic or a falsity. On the other hand, when it does have a successful outcome, we become engrossed and enthralled by the circumstances that are set to follow. I must admit that the dialogue is incredibly upper-class England and it does still engage contemporary audiences and tourists alike, which makes it and incredible production indeed. The performances by the rather small company are outstanding. Charles Edwards is excellent as the writer looking investigating the world of the unseen, Charles Condomine. Janie Dee plays Charles' second wife, Ruth with an intense surge of brilliance, Jemima Rooper is captivating as the ghost of Charles first wife, Elvira. Simon Jones and Serena Evans provide exceptional performances as the Condomine’s guests, Dr and Mrs Bradman. Even for such a minor role I thought Patsy Ferran is comedy gold as the parlour maid, Edith. The productions' director, Michael Blakemore has done a phenomenal job in maintaining Coward’s extremely detailed stage directions as well as making his own creative decisions and constructing the Kentish landscape to a good standard of finish. Simon Higlett's design is sublime as he has been able to capture a traditional upper class Kent home with such precision and ease. I was definitely immersed with the whole experience especially in Lansbury's presence and the whole production is worth a visit to the Gielgud Theatre. 

'The A-Z of Mrs P' Southwark Playhouse ***

There has been an array of intriguing moments within the history of London maps. First of all we have to think about Harry Beck's illustrious Tube Map, that helped many of its commuters and tourists find their way around the fella the world’s first underground railway. The A-Z has been an icon of Britain too. Even though we value this as a chunky paperback, it enables you to find anywhere in London without getting confused. The A-Z map was founded by the slightly eccentric Phyllis Pearshall, the portrait artist who decided to create it after getting lost on her journey to a dinner party. Phyllis's life has been full of disasters. The marriage between her mother and father was often fraught. Her dad, who was a Hungarian immigrant who created a cartographic business and her mum who's Irish finally paid the price for her alcoholism and passed away in a lunatic asylum. She abandoned her husband, Vladimir Nabokov in Venice and worst of all during 1945 she was a passenger in a vile plane crash that left her somewhat paralysed for the foreseeable future. Their lyrics and composition by Gwyneth Herbert and Diana Samuels, who acted as co-writers definitely penned a lot of interesting and somewhat mesmerising material for the audience. Paradoxically, there are the occasional flaws with such an emerging musical such as this with the overwhelming repetition of songs. Obvious and unnecessary reprises I might add. I found the design for ‘The A-Z of Mrs P’ to be exceptional and particularly luxurious through the conceptual realisation of suspended objects such as; suitcases, chairs, postcards, street signs etc. Klara Zieglerova has done herself justice here. The performance by Isy Suittie as the slightly troubled Mrs P is outstanding and the opening number “Best Foot Forward” I thought it was somewhat charming and peaceful. Unfortunately the writers’ seem to focus to the shows energy onto Mrs P's parents, even though they were wonderfully conveyed by Frances Ruffelle and Michael Matus but this possess a challenge and a hindrance as there’s far too much going on to fully engage with, and to understand a characters journey and circumstances. On the other hand, the musical numbers still ensure that the production still engage with an audience and as I've never been to the Southwark Playhouse before it has made me want to go and see even more emerging work here. I was welcomed by the press officer for this venue which inevitably made it a pleasant experience. I would like to congratulate everyone involved here and good luck with its progression.

'The Weir' Wyndhams Theatre ****

According to my sources I've heard that Josie Rourke's revival of the highly successful Donmar Warehouse production ‘The Weir’ seems to have not hit its sparkle in this West End transfer. However as this is my first attendance of this play I found the entire experience to be vastly intriguing. The casting alone is a brilliant choice as they seem to appear to be right for the roles in which they are playing. It feels that the Irish are taking over the West End Theatre world with the musical theatre productions ‘The Commitments’ and ‘Once’ entertaining audiences at the Palace and Phoenix Theatres and now ‘The Weir’ at the Wyndhams Theatre seems right on cue for St Patrick's Day. There seems to have been a gratifying atmosphere within the performance as we, the voyuers, have been allowed to sneak into a conversation between four ageing man and a single woman in a traditional Irish bar. It becomes clear that there is a mystery and horror story around this community that expresses three themes; silence, regret and grief. The narrative throughout this evenings events seemed to take its time to fully engage with. I found the monologue sections were quite rushed and not genuine whatsoever. Brian Cox’s portrayal of the garage owner, Jack felt uncomprehensive as the accent he tried to convince us with bounces between the Irish flow and some of the English, RP exudes through this. The show seems to have been incredibly successful in being able to adapt from an intimate space is a vast one. I thought that the play remains very haunting and gothic. There seems to have been a mixture of styles here through naturalism to the supernatural, but it definitely works. The entire original Donmar cast have returned to their roles and for me they do a grand job. Peter McDonald's shy natured bartender Brendan is very well charaterised. Ardol O'Hanlon's reserved odd job man, Jim is outstanding and incredibly amusing throughout. Dervla Kirwan is wonderful as the very pretty newcomer to the area, Valerie. I can't really fault their performances as the vocal and movement delivery is quite captivating, apart from Cox. The work of its writer, Conor McPherson seems to still encapsulate and audience and it feels that the Donmar Warehouse does produce a good standard of theatre making. If you want to be entertained and haunted at the same time then this is the one for you.