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

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

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

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

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

'Urinetown The Musical' Apollo Theatre ***

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

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

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

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

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

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

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

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

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

'JOHN' National Theatre, Lyttleton ****

One rather admires when performances combine dramatic genres together to devise a gratifying production that conveys one man's plight from all phases of his life. DV8 Physical Theatre, one of the United Kingdom's leading companies of the genre have linked physical theatre, LGBT theatre and verbatim theatre to create their latest production, ‘JOHN’. One found the performance was particularly motivating, moreover, the performers’ portrayals were singularly charismatic. ‘JOHN’ was conceived and directed by Lloyd Newson who compresses the biography of the anxious man, John into a 75 minute performance, where we are introduced by the vehement experiences that John had to face with his father, and how abusive he was with not only himself, but his mother, who is immensely unhappy with her marriage. Additionally, she shoplifts regularly to allow her son to be nourished. The father horrifically whips John's brother on the back and bottom continually until he bleeds. Through unblemished movements, as a way of scenic transition, John enters the life of binge eating and excessive drug use, and he ends up in prison where he sets the hostel, where he is living, as he is homeless alight. This instance proves to be quite helpful as he decides to lose weight, and this idea works wonders as he loses a gargantuan amount of stones, which helps him through his mental instability. However, the crucial aspect in this performance is where he realises that he is fundamentally a gay man, as well as, this enables us to learn about what occurs in saunas suited for the gay community, and hazardous circumstances that surround unprotected sex. The unnerving moment is where we see graphical images of sexually transmitted infections, which does question about not only gay men, but heterosexual couples decisions to not protect themselves against such infections. John does revel in this lifestyle as he has the freedom to divulge in watching pornography, and an array of men who are desperate to have sex immediately. Newson’s story is increasingly thought-provoking, and severely fascinating as we are greeted with a number of aspects in how we must safeguard ourselves against STI’s, on the other hand, one would have liked a little bit more dialogue from the performers. One found the performances by the company of ‘JOHN’ were daring and stylistically wonderful through effortless choreographed sequences. Hannes Langolf is extraordinary as the main role, John; especially when we understand that he and his son, who is getting married are searching for one another, but most importantly his movements were spectacular and principally enigmatic at all angles throughout the show. Lloyd Newson also directs and choreographs this performance with an intriguingly supreme level of precision; explicitly at the gay sauna as he informs us of the horrifying circumstances that gay men living with AIDS, etc. have to endure each day. Anna Flesche’s set and costumes are appealing as her revolving set interconnects with Lloyd’s movements with remarkable grandeur, as well as, its simplicity allows you to fully engross in John’s story. Overall, one found the experience of ‘JOHN’ to be an educational and visceral one. Categorically recommended one thinks.

'Tiger Country' Hampstead Theatre ***

Staging productions that convey about the emergency services can be somewhat dangerous, in terms of how detailed it must be as to not offend certain people; such as doctors and medical practitioners. The Hampstead Theatre's existing play of Nina Raines’ 2011, ‘Tiger Country’ was one encapsulates the struggles of the medical profession, unfortunately their dialogue does lack an essence of flair. ‘Tiger Country’ was first performed at the same theatre in 2011, and set in a typical London NHS hospital, whose ethics in patient care leave a lot to be desired. In addition to this, we are acquainted with determined and hard-working registrar, Vashti who is on the verge of guaranteeing herself a promotion, on the other hand, her foremost disadvantage is gaining her promotion is her treatment of her co-workers; in particular junior doctor, Mark because she believes that educating him in a derogatory manner will enable him to become progressively fruitful in his career. Unfortunately, her relentless damnations towards his approach does not help his development, and his opinions of her are understandably negative, which does cause him to make a complaint about her. As well as the two of them battle against what would be the greatest solution in surgical procedures, which is quite unprofessional as they argue in front of their colleagues. Paradoxically, we witness Vashti’s softer side when the arrival of her incredibly unwell aunt, who is repeatedly neglected by Vashti’s colleagues, which sadly is the state of the NHS currently. Vashti is enormously angered by the lack of attention to her aunt, and makes a precarious decision to refer her privately so that the recovery is certain, and that medical staff are constantly checking up on her. Nevertheless, this decision does reducer probabilities of attaining her promotion, conversely, she realises that the care of the patient is paramount, and we learn that her professionalism is poignant to her. Raine's narrative is quite satisfactory, as the first act does not fully entice one into positive absorption as the scenes are too many skills to understand the premise of the play itself. Alternatively, the second act proves more compelling as we see Vashti coming to terms from an outsider's point of view on patient care with regards to her aunt. One found the performances by the company of ‘Tiger Country’ were vastly sound, and interestingly detailed. Indira Varma is brilliant as the central protagonist, Vashti; chiefly where her persona changes from an abrupt tone with her junior to one of compassion when the characters aunt arrives in the hospital where she works, and her vocal work was credible too. Raine’s directs her own play with a first-rate analysis of what happens when the NHS hospitals are overcrowded with people; in particular the Christmas period, gradually, the performance reminds me of an episode of former American drama series, ‘ER’. Lizzie Clachan’s design is clinically appropriate for the subject of the piece, and one likes the traverse format to suggest that we are in the operating room watching what happens in surgical procedures, additionally, the pressures of the doctors’ job to save people's lives. One must commend Dick Staker’s video designs and projections as they are impeccably intriguing to watch throughout the show; exclusively when we are looking into the body’s organs and skeleton, at the surgical elements. Overall, one found the experience of ‘Tiger Country’ to be entertaining one, despite the first half deficient of attractiveness.

 

'Behind the Beautiful Forevers' National Theatre, Olivier ****

The sole purpose of theatrical art is to inform, educate and entertain an audience that may not have awareness of the subject. The National Theatre's production of David Hare’s newest play, ‘Behind the Beautiful Forevers’ is a stage adaptation of Katherine Boo’s 2012 novel, is one that primarily enables one to understand what occurs within the slums of Mumbai, in addition to this, the performances were agreeably presented. ‘Behind the Beautiful Forevers’ is as previously mentioned, set in the objectionable slums of Mumbai, which have being bombarded by a complex of hotels and the city’s airport, and is now at titanic risk of being demolished by property developers. We are introduced to the Hussein family, who are somewhat wealthy, because they manage a business where the local children have to seek out materials such as; plastic bottles, cardboard boxes etc. as a means to make money. Furthermore, Zehrunia Hussein's eldest son, Abdul is regarded as the speediest picker within the slums, however he has meagre social interaction, and the lack of maturity due to the fact that he hasn't had the opportunity to go to school, and he, as well as his mother do not know his actual age. The Hussein family are at loggerheads continually with their neighbour, Fatima, and was they are conducting home improvements, because of the feeble materials that the bricks are made out of, a hole appears on the adjoining wall, which causes the humungous argument to occur. Progressively, Fatima endeavours to destroy the Hussein’s, and when she sets herself on fire she conveys to the police that her neighbours are the cause of this, and blames Abdul for abusing her, which we all know is untrue. The police arrest the entire family, additionally at the finale it seems that Hussein family have lost everything, and the court case against them is ridiculed and closed out right. Hare’s narrative is daring as writing a play about the slums of an Indian communities is exceptionally risky, but the one found it phenomenally gripping. It reminds me of the 2008 Danny Boyle film, ‘Slumdog Millionaire’, which one enjoyed and became intrigued by this culture. One found the performances by the company of ‘Behind the Beautiful Forevers’ are increasingly dazzling, and Wendy Spon’s casting decisions were spectacular. Meera Syal is beguiling as Zuhrunia; in particular when she emotionally breaks down as her whole world crumbles, along with a vocal work when we see her hatred towards the neighbour. Thusita Janyasundera is tremendous is the Hussein's crippled neighbour, Fatima;  especially when she lies in front of the police as a way to devise sympathy towards her, and he movements of the disabled person were executed brilliantly. Rufus Norris’ direction is fantastic here as he has established a production that indicates the pressures of living in poverty, and it's a real insight into what may be performed at the National Theatre when he takes over as director of March. Katrina Lindsay's direction design is gorgeous as you immediately transported to the saddening atmosphere of Mumbai, moreover, the scenic construction and attention to detail within the scenic art works wonders on the large Olivier stage, and it’s a sight to behold. Overall, one found the experience of ‘Behind the Beautiful Forevers’ was an exciting betrayal into Indian culture, and well recommend.

'Visitors' Bush Theatre ****

Suffering from a form of a mental health condition at any age is particularly upsetting to go through, and when the condition is the early stages of dementia, it can be disconcerting for the family, as well as those closest to them. Shepherds’ Bush’s, Bush Theatre’s current production of Barney Norris’, ‘Visitors’ was a play that explores this incredibly strong, moreover, the characterisations are extremely powerful. ‘Visitors’ is set within the farmhouse of elderly couple, the slightly quirky Edie, and her slightly apprehensive husband, Arthur. From the outset, it appears that Edie is quite forgetful as her conversations never remain consistent fundamentally, to help Arthur look after her, he hires recently graduated law student, Kate as he’s rather busy managing not only the farm, but the house itself. Kate is a pleasant and reliable carer to Edie, and is given the impression that her work is appreciated colossally by her employers. Furthermore, she seems that she does not know what she wants to do for a stable career path, so she does anything to obtain some financially firmness. During the play it is increasingly disappointing to see Edie’s recollect of memories to drastically weaken as she is forced to sit on plastic bags as a way of protection towards the material of the armchair that Edie is sitting on just in case she urinates herself. We are familiarised with Edie and Arthur’s only son, Stephen and the present situation of his mothers’ poor health is especially distressing for him to see, but he exclaims that his marriage is on the rocks, and as a mean to unleash some tension, he demeans Arthur’s decision to hire Kate to care for his mother. Gradually, Arthur understands that the home that he and Edie have lived in for an incredibly long time has to be sold so that Edie can move into a residence for the elderly, and when Stephen and Arthur pack up their possessions in the boxes, it’s an enormously tear jerker of a instance. Norris’ narrative is an undeniably beautiful story of how the deterioration of a woman’s’ psychological state, additionally, the hurt this causes the husband and the son. The pace is very fluid and particularly enjoyable too. One found the performances by the company of ‘Visitors ‘to be effortlessly portrayed and the attention to detail was flawless throughout. Linda Bassett is outstanding as dementia sufferer, Edie; predominately when she repeatedly darts through too many conversations within the one conversation. Robin Soans is fabulous as Edie’s husband, Arthur; essentially where he tries to help Edie into a clearer mind-set, in addition to this, the scenes with his son, Stephen suggests that their relationship is not as positive as you may expect. Eleanor Wyld is decent as Edie’s carer, Kate; principally the aspect where she states to Edie the reasoning behind her plan to eject herself from the practice of law, as well as, her alluring carefulness towards Edie was charming to witness. Alice Hamilton’s direction is transcendent here as there is an excellent combination of emotional and hilarious moments entwined with one another, and the work in capturing how old age can instil a sense of uneasiness within a difficult period of time. Francesca Reidy’s design is positively enthralling as the decision to base the design around the Bush’s exposed brickwork to encapsulate the farmhouse was phenomenally stimulating to observe, also the textures within the other elements were grand too. Overall, the experience of ‘Visitors’ was one that is thrilling and charismatic entirely. Work a visit to the Bush Theatre in this festive period.