'Seminar' Hampstead Theatre ****

One has often thought about what makes a decent and stimulating piece of writing, and the Hampstead Theatre's current production of Theresa Rebeck’s ‘Seminar’ was bursting with enormous amounts of humorous elements that encapsulate the word of creative writing. ‘Seminar’ officially opened on Broadway in 2011,and is set within the apartment of wishful writer, Kate, who along with three of her supposed friends embark on a writing course where their tutor, the creepy and precarious Leonard teaches them the virtuous and deprived aspect of their novels. However, Leonard hardly praises their work, and frequently demeans Kate’s work as uneventful. As well as, he appears to discover faults in Douglas’ work repeatedly, referring to his practitioner identity as a “whore” which visibly upset him. On the other hand, Kate's friend Martin is hesitant to present his writing to Leonard due to the endless amount of criticism that both Kate and Douglas have received week after week. Nonetheless, the other female student, the busty Izzy is singled out more positively by Leonard as it seems he desire to have sexual intercourse with her, this craving becomes fruitful after a dinner that the two of them and Douglas have after a weekly seminar. Douglas who has a profound infatuation with Izzy becomes disheartened and turns against the two of them after this action. When Leonard takes a working vacation to Somalia, Kate’s misery is enhanced, and she threatens to leave the weekly seminars and dispense from writing altogether. Furthermore, her fixation with Martin is obliterated when she witnesses his and Izzy’s passion becomes increasingly strengthened. Once Leonard returns, he continues to be as vile, and demands to see an array of progress; especially from Martin who has never handed any work for feedback. When Martin angrily requests for his money back at Leonard’s apartment, he is stunned to grasp that Kate has been sleeping with him, and he realises that Leonard has been secretly writing a novel too. Rebeck’s narrative is enormously riveting as we comprehend the difficulties of developing the craft of writing, and the trials of being taught by a vulgar individual who cannot praise any of the students work. One thought the performances by the company of ‘Seminar’ were exceedingly well characterised. Roger Allam is ostentatious as the lecturer, Leonard; especially when we see his undying fear when Martin starts to read the novel that he's been secretly hiding. Bryan Dick is sublime as the disgruntled student, Martin. One found his moments with Izzy were quite pleasing to observe as we start to learn the he can be a contented individual that can fully enjoy life. Charity Wakefield is mesmerising as the slightly solemn Kate. I thought her comedy value was quite appealing when we see the character drowning her sorrows with Ben & Jerry's ice cream and red wine. Terry Johnson's direction is transcendent here as we are taken through the artistic process of creative writing, and the trials and tribulations of teaching, as well as being taught by someone who is afraid of praising people. Lez Brotherston's design is stylistically spellbinding as the attention to detail in capturing the lavishness of a high-profile apartment was of an agreeable standard that engross the atmosphere of self-importance. Overall, one found the experience of ‘Seminar’ was very enjoyable, and most definitely recommend to you all.

'Forbidden Broadway' Vaudeville Theatre ****

We Brits do like a good parody, specifically when it derives from impersonating certain industries and people. The Menier Chocolate Factory’s revised version of Gerard Alessandrini's mockery of the theatrical industry, ‘Forbidden Broadway’ receives its West End transfer, and I thought it was outstandingly hilarious and engaging throughout. ‘Forbidden Broadway’ has been continuously reworked since its formation in 1981, and this interpretation includes witty quick jibes to the likes of musical flops, ‘I Can't Sing!’ and ‘Stephen Ward’. We are greeted with an understanding of the egotistical and commercialist business that is theatre, especially when one member of the company instead of playing The Engineer from’ Miss Saigon’, the role has been reinvented to mimic the most successful musical producer in the United Kingdom Sir Cameron Mackintosh with “America’s cream” and establishes the pretentiousness of practitioners in this wondrous industry. In addition, the satire enables us to think why the industry has mislaid its originality, and basing musicals on children's books, films etc. , this is shown when we are when we see impersonation of Alex Jennings’ Willy Wonka with “Come with me, and we'll see a show with no imagination.” Moreover, we observe the industry's desire to cut down on employing musicians with a sneering musical number to End a Walsh’s ‘Once’ “And have you seen Once? Once is enough.” As well as, the production ridicules the role of the children’s Casting Director, and how manipulative child labour can be with the musicals, ‘Billy Elliot’ and ‘Matilda The Musical’ where the child has to carry the show. There’s increasing poignancy here with the explanation of horrifically expensive ticket prices; in particular, ‘The Book of Mormon’. Even though Alessandrini has devised a rib-tickling production I did find the lack of a cohesive narrative to be slightly disappointing, but the dialogue was exceptionally tempting. One thought the performances by the company of ‘Forbidden Broadway’ was immaculate as their comic timing was beautifully precise. Christina Bianco is sparkling here; especially her performance as the iconic diva, Liza Minnelli with a burlesque atmosphere and her characterisation as Matilda were vastly laughable as her make-up was increased increasingly childlike. Anna Jane Casey is effervescent here; in particular when she plays one of the four members of juke box musical, ’Jersey Boys’ and her musicality is unprecedented in the Sondheim section. Damian Hambley is fantastic in the’ Les Miserables’ aspect which demeans the musicals longevity with “Ten Years More”. Ben Lewis is delightful as his Australian upbringing has being used meticulously when he insults Hugh Jackman’s portrayal in ‘Oklahoma’ and his balletic movements as Billy Elliot was riotous. Philip George's direction and choreography is brilliant as we are taken on a historical journey through what musical theatre is currently within United Kingdom and Broadway in an amusingly shameful expression. Morgan Large’s set design is dazzling as it appears that one has been invited to a cabaret style club where the entire industry of theatricality is mocked to smithereens, and the tinsel texture was increasingly eye-catching too and immensely camp. Overall, the experience of ‘Forbidden Broadway’ was a funny one and a well recommended show indeed.

'Rachel' Finborough Theatre ***

What an almighty moment it is as this month we are celebrating Black History Month, and the attractive Finborough Theatre presents us with Angelina Weld Grimke’s, ’Rachel’, and one found the performance was immensely enjoyable and increasingly poignant. ‘Rachel’ was first performed in America in 1916, and receives its European premiere, and is set within an apartment where we are familiarised with old clothes maker, Mrs Loving who lives with both her young children, Rachel and Tom. However, it appears that life has not treated them well whatsoever due to the enormous amounts of racist remarks they receive daily. Rachel who is eighteen has a real enthusiasm for life in the hope that their circumstances could improve, and with the aim that she will foster child who can live more tranquilly in a nation where there is no prejudice of any kind. Rachel's brother, Tom feels a humongous sense of disdain as he’s had a relatively noble education, but due to the colour of his skin he cannot obtain a well-paid job, and to make ends meet he becomes employed as a waiter. As well as, Tom believes that there will never be substantial progress in accepting people outside of their own race. Paradoxically, Rachel remains optimistic, and when she introduces Jimmy to her mother, she’s started by Mrs Loving’s hesitation towards him, as it seems there is an undisclosed story that both Rachel and Tom do not know. Gradually, Rachel's cheerfulness reduces massively when she learns that her foster son, Jimmy has received dreadful racial abuse from the older boys in his school, and each night he has continuous nightmares. Moreover, she experiences depression, and one found it unsettling when she terminates the bunch of roses that her admirer, John Strong has sent her. This allows us to witness her scornful representation of the world she's living in. Weld Grimke’s narrative is entrancing as we voyeuristically observe a society that cannot appreciate differences but I did find that two-an-a-half hours seemed to strain slightly. The performances by the company of ‘Rachel’ were comfortably characterised, but some of their enactments were too hurried as mistakes became noticeable. Adelayo Adedado is whimsical as the central protagonist, Rachel as she portrays a young woman who becomes hatred when she understands that both her son Jimmy, and herself are living in a cursed world due to the skin colour. Miquel Brown is abundant as Rachel's mother, Mrs Loving; especially when she attempts to be more accommodating with Jimmy's presence, and her domesticity is quite appealing to see when she is at the sewing machine. Zephryn Taitte is grand as Rachel's love interest, John Strong. One found he conveyed a somewhat positive approach to life, especially when we understand he's been decorating his uninhabited apartment in the hope that Rachel will join him, but this plan never materialises due to Rachel’s anxious nature. Ola Ince’s direction is delightful here as she's captured the paining of a family and acquaintances that realises their lives would never be as blissful as it should be. Unfortunately some aspects needed to be exceedingly fluid as props kept dropping on the floor, which lead led me to think that the rehearsal process needed more refinement. Alex Marker’s designs were particularly attractive here as we see the plunging world of Rachel’s depression, and it engrosses the early 20th century atmosphere with gay abandon where being unique in terms of skin colour etc. was fundamentally marginalised. Overall, the experience of ‘Rachel’ was enjoyable throughout despite some of the obvious faults. Still worth a visit one must advocate.

'The Vertical Hour' Park Theatre ****

One abundantly recognises the colossal strains of father-son relationships, especially when their differences cause a wedge between them, and that no love is apparent. David Hare’s 2006 play ‘The Vertical Hour’ is currently delighting audiences at Finsbury Park's fruitful venue, the Park Theatre, and one found the production was especially thrilling to witness. ‘The Vertical Hour’, which became the fastest selling production in the Royal Court’s history acquaints us with former International Correspondent- now University Lecturer, India and boyfriend, Philip have decided to visit Phillip’s father in the quaint English town of Shropshire. However, Philip and his father Oliver, a former medical physician do not seem to have the most comfortable of relationships due to the fact that the divorce that occurred with Oliver and his ex-wife was increasingly horrifying, and particularly traumatic when Philip was a very young man. India asks why Philip has so much hatred towards his father, and he states that Oliver is a vile womaniser, and disagrees is that with the Iraq War that India has exceptionally strong connections with. During an awkward dinner, and throughout the early hours of the morning, Oliver and India constantly debate on whether intervening with war on Iraq was an appropriate course of action. As well as, we learn that India has had the opportunity to discuss the foreign policy in relation to the Middle East and Iraq with the American President, George W. Bush, and actually advised him on what was necessary. Oliver articulates that the reasoning why the United Kingdom and America obliterated Iraq was problematic as the reconstruction of the country has never been successful, and no weapons of mass destruction were never found. Furthermore, Oliver explains to India the actual reason why he split up with Phillip’s mother, within the same conversation which was devastating and shocking. Phillip’s jealousy is emancipated with the thought of a possible affair between his father and his girlfriend, and of course is fundamental untrue, which causes his own relationship to falter. Hare’s narrative is exceedingly captivating as the opposed and fraught relationships that Oliver and Philip have with one another is stupendously emotive in places. One thought the performances by the company of ‘The Vertical Hour’ were delivered with such tenacity and ease. Peter Davison is sublime as the GP, Oliver; in particular when he does finally explanation why he divorced his son's mother was in immensely powerful moment and conveys a somewhat softer side to the character, which is not apparent at the beginning. Unfortunately due to the indisposition of Thusitha Jayasunda, we are welcomed with Rose McPhilemy performing a role with a script in hand. Although it was unexpected, she did convey the correct facial expressions and movements that were necessary for the characterisation. Finlay Robertson is brilliant as the despondent son, Phillip especially within the tension that is between him and his father, and the possessive nature was remarkable. Nigel Douglas's direction is exceptional here as the attention to detail of capturing a stubborn relationship between a father and son was phenomenally appealing and compelling throughout. Charlie Darry’s design is opulent as one was immediately transported to the Shropshire atmosphere, and the textures used within the set were charming and mesmerising. One must commend Harry Barker's incredible sound design as it added an extra layer to a pristine performance. Overall, I thought that the experience of ‘The Vertical Hour’ was incredibly charismatic, despite the lead female's absence. Well worth a visit to the Park Theatre if you can.

'The Love and Devotion of Ridley Smith' Old Red Lion Theatre ***

Some people appear to develop a mid-life crisis a lot earlier than expected, especially when corruption is at the forefront of their life at its current state. The intimate Old Red Lion Theatre presents hopeful playwright, Miran Hadzic’s ‘The Love and Devotion of Ridley Smith’, and one thought it needed additional flair in certain aspects. ‘The Love and Devotion of Ridley Smith’ is set within the demanding and economical London, where venomous businesswoman, Janet Sullivan and her most favoured employee , the somewhat humble Ridley Smith have just secured a multi-million pound deal, which inevitably forces an associate to commit suicide. Alternatively, when Ridley encounters street artist, Freddy the morning after he and Janet celebrate in a disreputable table dancing club, he gives the impression that he admires Freddy’s practice, as well as perceiving he is a vagrant. This is completely untrue and once Ridley’s melancholy advances, he contemplates changing his career path to become an artist. His employer when Ridley wants to resign and pursue a bemused path, she knowingly realises his mental upset, and exclaims that he's never going to be successful in his quest. Ridley, Freddy and Sylvie, the table dancer from the club decide to escape from the competitive London environment, to an empty barn in the countryside so that Ridley can concentrate on developing his sketching skills, which leave a lot to be desired. Obviously Ridley becomes aggravated, and childishly destroys a splendid portrait that Freddy has crafted of the effervescent Sylvie. Of course the consequences of such actions are catastrophic, and Freddy, and as such, the two of them reject him, and return to their beloved city London. When Ridley meets up with Janet, it appears that Freddy has sexually assaulted her, and he has been lying to Ridley’s face, and using him as a sort of pawn. Hadzic’s narrative is of an adequate standard, and one finds the story progressed too rapidly. The performances by the company of ‘The Love and Devotion of Ridley Smith’ were immensely tolerable. Tom Machell is congenial as the central protagonist, Ridley Smith as he conveys a distressed businessman who is depressed with his life, and his childish approach was exceedingly intriguing. Stuart Lockwood is charming as the street artist Freddy. One liked his defensive nature when Ridley desires to see his drawing of the building where Wrigley works, and his vocal work was spectacular. Lottie Vallis is wondrous as the raunchy table dancer Sylvie, in particular when we witness her talents exude at the point where she teaches Freddy a basic Ballroom Waltz, and a somewhat romance blossoms through this tender moment. Katharine Armitage’s direction is amazingly delightful here as she's been able to instil a fraught and saddening story of a young man who's despondent with both his professional and personal life, as well as understanding the beauty of art and its process. Georgia de Grey’s set and costume designs were predictable. Paradoxically, one valued the distasteful atmosphere that it extruded through the vindictive world of business. Overall, one found the experience of ‘The Love and Devotion of Ridley Smith’ to be of an acceptable standard.

'Ballyturk' National Theatre, Lyttleton ****

 It always amazes me of the vast amounts of style of plays that surrounded around London, and one's favourite theatrical venues, the National Theatre presents us with a bizarre and uncanny play, ‘Ballyturk’, which continues the playwright, Enda Walsh’s austere representation of the contemporary world. ‘Ballyturk’ was first seen as part of this summer’s, Galway International Arts Festival, and one found the performance fulfils us  with an amalgamation of amusing and provocative elements. The play takes place within a bunker inspired environment with two enclosed young men, who appear to have forgotten their individualities, and refer to each other as, One and Two. To prevent boredom due to their penetrating isolation, they undertake many silent-comedy ceremonials and hazarding a guess into the actions of daily life in a fictional town that has been devised called Ballyturk. This is shown when One expresses a disconcerting story about the town, and how ghastly some of the townspeople are, e.g. the old lady who manages the local corner shop. Comparatively, the character Two is extremely simple-minded who meanders around in his unsavoury underpants, and does not appear to be too perturbed by his seclusion from the events of the outside world. He likes a strict and cohesive routine and if his routine is disturbed, he becomes increasingly anxious and upset that something ruthless might occur. This clearly depicts a typical Asperger’s characteristic. However, when Three enters the frame, we see the obscurity of One and Two’s situation, and it seems that the fate of One and Two is undeniably fraught with danger, as one of them has to be obliterated if they want to escape. One imagines that he abducted both of them as a child, and quarantines them from the rest of civilisation. Walsh’s narrative creates the discombobulating situation of the plays premise, and one found the plot made you frequently think about what's going on throughout. The performances by the limited company of ‘Ballyturk’ were phenomenally imaginative and, thought-provoking indeed. Cillian Murphy is remarkable as One. I thought he conveyed and fascinating portrayal of a man who becomes fixated with the world that is truly false, and his self-harming scenes were infectiously wicked. Mikel Murfi is celestial as the dopey and dim-witted, Two; in particular his facial expressions that are truly mesmerising, this reminds me of John Steinbeck’s ‘Of Mice and Men’ character, Lenny. Stephen Rea is fantastic as the heavy smoking and disconcerting, Three. One thought he instigated the perplexing atmosphere that exudes through the performance, and his presence is unprecedented as the character knows exactly what is about to occur. Enda Walsh directs his own play with heavenly ease and polish. It undoubtedly makes you question why One and Two had been segregated from society, and why the somewhat bunker appear to be a slight replica of the Big Brother house, and how Three has been given the impersonation of the George Orwell character, Big Brother. James Vartan's design is impressive indeed here as he is created the environment of total depravity with opulent detail, and there is an essence of cabin fever that is apparent through the position of furniture that's been fixed onto their scenic flats. Overall ,the experience of ‘Ballyturk' was exceedingly splendorous and most recommended.

'As You Like It' Southwark Playhouse ****

There will never be a day when William Shakespeare’s work will become dull and tiresome, and Southwark Playhouse's current production of ‘As You Like It’ was progressively well-characterised, and provides us with laughable moments. ‘As You Like It’ was written around 1599-1600, and is set within a duchy, France, as well as, the Forest of Arden where most of the action takes place. The performance commences where Frederick has seized the opportunity to govern the estate, and scandalously exiles his older brother Duke Senior from the territory. Luckily, enough for Rosalind, Duke Senior’s daughter, she's permitted to remain due to the fact she’s closely associated with Celia, Fredrick’s only offspring. Rosalind does receive male attention from Orlando, a noble gentleman in the Kingdom has been obligated to leave because he's fallen out of love with his older sibling, Oliver. Unfeelingly, Frederick becomes livid and banishes Rosalind from the terrain, with this in mind Celia and Rosalind conjure up a plan, and decide to abscond with one another, and are accompanied by Touchstone, a jester. To decrease suspicions, the ladies disguise themselves with Rosalind obtaining the persona of young man, and Celia posing herself as a poor and desolate woman. Progressively, they arrive in the Forest of Arden; with their new identities, where Rosalind is now known as Ganymede, and Celia now called Aliena. Moreover, the expatriate Duke has taken residence there too, with his many devotees; such as Jaques, a disgruntled persona, who is an emotional person too. Intriguingly enough the Duke and his daughter never come into contact. Shakespeare's narrative is exceedingly pleasurable. Wretchedly, one ponders that the array of romance stories of in one play were too ample for one's particular liking and engagement. One believes the performances by the company of ‘As You Like It’ were well portrayed, and the decision to double up on roles was an interesting idea indeed. Steven Crossley is outstanding as both Duke Frederick and Duke Senior. It was particularly stimulating to see how comparatively different his voice and posture changed to convey both characters. Simon Lipkin a spectacular as the court jester, Touchstone. He intensified the comic moments within the performance; such as his use of puppetry with a sheep to convey his love interest, Audrey with a sense of emersion. Sally Scott and Kaiser Hammerlund were charismatic as Rosalind and Celia. One admires the trusting relationship they have to ensure that both of them are content with their decision to escape from Frederick’s disorderly and volatile approach. The actor musicianship within this production was impeccable from Joanna Hickman, who portrays Phebe, and recent graduate from the Royal Central School of Speech and Drama, Samuel Townsend, who also performs the roles of Le Beau and Silvius. Derek Bond’s direction is superb throughout as his version of Shakespeare's comedy encapsulates the themes of romance and social classes with flair and precision. Emma Bailey's design is abundant as we are clearly observing the progress of the season with vibrancy and considerable flamboyancy, with the use of confetti that drops from the ceiling. Overall the experience ‘As You Like It’ was and exuberant one indeed ,and well worth a visit to Southwark Playhouse.