'Gypsy' Savoy Theatre *****

The musical theatre genre in the commercial sector has been combating a long and lengthy list of failures for the last couple of years; nevertheless this could all be at an end with a transfer production from the prestigious Chichester Festival Theatre. The West End transfer of Arthur Laurent, Julie Styne and Stephen Sondheim’s 1959 musical, ‘Gypsy’ was an astounding production that is simply out of this world and accompanied by mesmerising performances.

‘Gypsy’ is based on the memoirs of burlesque performer, Gypsy Rose Lee. We are accustomed to domineering stage mother, Rose whose two children, June and Louise have been forced to perform the same vaudeville act over and over again. When Rose has a meeting with former talent agent, Herbie she entices him to become the manager for June and Louise by using her seductive façade.  To escape her Pop (Harry Dickman), Rose steals a beloved item of his for cash and with this she travels across the United States with this vaudeville performance and throughout the show, June (Gemma Sutton) and Louise now older are becoming distressed by Rose’s passion with the act and as such this has caused problems with their development and maturity.  As well as, the boys that Rose had kidnapped many years before, Tuska (Dan Burton), L.A. (Roger Dipper), Yonkers (Kieran Jae) and Little Rock (Luke Street) have also had enough of the monotonous act too.  June really wants to be an actress and Louise just wants to learn of her real age, as such; Rose’s daughters are desperate to become young women rather than be treated as children.  When Rose turn’s down June’s offer for a place at a top Performing Arts college from Mr Goldstone (Jack Chissick), this leads to June making a sensible decision for herself and writes a letter to her mother explaining that her mother has ruined her life and then goes missing.  Intrinsically, Louise is pushed to be the part that June has done for years and years and with the act fading as Tulsa has been working on a dance performance that he wants to perform without the act.  As soon as Louise comes into contact with three burlesque performers, Mazeppa (Louise Gold), Electra (Julie Legrand) and Tessie Tura (Anita Louise Combe) this inspires Louise to grow up and become a burlesque star.  Alternatively, as Rose and Herbie are about the get hitched on the same day, Herbie realises that Rose is not suitable to be an adoring wife and leaves her at the theatre venue. The years pass on by and Louise has grown into one of the world’s most famous burlesque artistes with the stage name, “Gypsy Rose Lee” but Rose is enormously jealous of her daughter’s notoriety and her difficult presence is evident when Rose is about to have a raunchy photoshoot  for a magazine. With this Louise tells her to leave the room in a heated argument, Rose is deeply upset by this. After her debate with Louise, Rose in a heart-rending moment claims that she could have been a star if she didn’t have children to look after and at the finale, Louise takes her mother’s hand and the walk to join a party that’s in Louise’s honour. Laurent’s narrative is superlative as it is based on factual events and it has been formulised in a remarkable manner, in addition to this, Styne and Sondheim’s musical numbers such as; “Let Me Entertain You”, “If Momma Was Married”, “You Gotta Get A Gimmick” and “Rose’s Turn” are phenomenal pieces of musicality.    

One found the performances by the company of, ‘Gypsy’ to be outstanding through flawless vocals and stupendous chorographic sequences.  Imelda Staunton is beautiful and extraordinary as central protagonist, Rose; chiefly how her portrayal of Momma Rose will be very much remembered for many decades to come and it her performance of this character is definitely the finest musical performances I have ever witnessed. Peter Davison is stunning as agent and Rose’s fiancée, Herbie; particularly how much he really worships Rose for who she is and his and Staunton’s vocals in “You’ll Never Get Away From Me”  was pleasing to see how their romance  has been developing over time.  Lara Pulver is glittering as Rose’s burlesque and slightly unconfident daughter, Louise; specifically when she cultivates so much confidence to perform burlesque for the very first time and this soon becomes her career choice. Moreover, her rendition of “Let Me Entertain You” was increasingly flirtatious indeed. 

Jonathan Kent’s direction is exquisite here and with superb choreography by Stephen Mear we are guided on a charismatic and moving journey of Rose and Louise’s relationship, furthermore, the characterisations are hugely comprehensive are the dance ensemble compliment this too in such a magnificent approach.  Anthony Ward’s set and costume designs are extraordinary as the quick changes of locations shows the expedition that Rose, Louise etc. have gone on and the years passing by shows how times and moods have changed in terms of what is popular. As well as the inclusion of grand video design by Ian William Galloway and spectacular lighting design by Mark Henderson and sublime sound design by Paul Groothuis clarifies how perfect this show is. Overall, the experience of, ‘Gypsy’ is one I will never forget in my entire existence and simply go people.  

'The Mentalists' Wyndhams Theatre ***

Some people’s notions on how they might change the world can be immeasurably delusional and idealistic and when one man decides to create a promotional video to form a brand new cult proposes a damaged soul with pitiable life experiences. The West End revival of Richard Bean’s 2002 play, ‘The Mentalists’ was a side-splitting production, moreover, the delineations were graciously conveyed.

‘The Mentalists’ is set in a hotel room in North London where we are acquainted with Ted, who is a middle manager for an industrial cleaning syndicate is obsessed with the work of American psychologist, BF Skinner. Ted, at present is going through some tough times with his matrimonial as he has an almighty argument with his wife as he persistently lies to her about his whereabouts. To generate his promotional video, Ted’s friend, Morrie a camp hairdresser is responsible for the filming and editing of the material, conversely Morrie is concerned by Ted’s frame of mind, but he identifies with Ted as Morrie has faced some of the similar childhood traumas. Over the course of the performance, Ted has not paid for the rental of the hotel room and both Ted and Morrie are frequently interrupted by the hotel staff as Ted’s credit cards are maxed out. When Morrie says that he can be paid at a later date, Ted is adamant that he’ll pay his friend first before he pays for anything else. Ted and Morrie’s relationship is incalculably heart-warming as we can see how their difficult upbringings have affected them in different behaviours as Morrie is quite tranquil compared to Ted who is fundamentally disturbed and not on this planet whatsoever. The filming and staging of the marketing video aggravates Ted as it is not up to the standard required for it to be publicised and even when Morrie offers his own creative ideas, they are completely dismissed by Ted as he is fixated by what is inside his own head.  When the police arrive outside the hotel room, Morrie is understandably alarmed by their appearance and Ted soon admits that he has murdered a homeless man and the police have of course come to arrest him for his crimes. At the finale, there is a tender moment when Ted is given a haircut by Morrie before Ted has to face his fate and after Ted has his hair washed by Morrie; Ted soon departs the room to face his demons. Bean’s narrative is particularly diverting as the two-hander approach advocates how people have ridiculous ideas on what can make the world a better place, plus the dialogue and one liners are streaming through Ted and Morrie’s connection.   

One found the performances by the microscopic company of, ‘The Mentalists’ to be wittily characterised through fitting vocal delivery from Zabarajad Salam and movement accomplishment. Stephen Merchant is lovely as the anti-hero, Ted; expressly how bothered he is in terms of what his future holds and that his nature can be at times strange and abnormal, as well as, because this is Merchant’s theatrical debut he has done a spiffing job indeed. Also the character’s crazy presence is very appealing to observe. Steffan Rhodri is superlative as the camp hairdresser, Morrie; exclusively how surprising it is to learn that the character is in fact a heterosexual male with feminine qualities, then again, he comes across immensely mature and artistic in terms of what camera angles would be effective for the video.

Abbey Wright’s direction is gratifying here as we are taken on an expedition of a self-obsessed man’s principals and methods in founding a society which is incomprehensible and Wright compliments this through tremendous camaraderie by both Merchant and Rhodri. Richard Kent’s design is pleasing to the eye as the shocking décor of the budget hotel room portrays how under-prepared Ted is at his quest for self-worth, in addition to this the scenic construction and scenic art elements of the set is wonderful detailed. Likewise, David Plater’s lighting design and Ben and Max Ringman’s sound designs and composition contributes to a highly fruitful design team which is splendid to witness. Overall, the experience of, ‘The Mentalists’ was a vastly effective one and a definite grand choice for a summer production.   

'The Invisible' Bush Theatre ***

Legal aid has been experiencing drastic cuts latterly and with many organisations being required to cease trading due to these cuts, where can people go to ask for legal advice without having to pay for such advice? The Bush Theatre’s production of Rebecca Lenkiewicz’s freshly written play, ‘The Invisible’ shows this through a meticulous account on the basis of the topic with decent performances all round.

‘The Invisible’ is set in contemporary times where we are introduced to lawyer, Gail who is on a date with single dad, Ken who is currently fighting for visiting rights to his children and throughout the date, which Gail is loathing, she soon learns that the Ken has asked her for a date just to pursue free legal advice on how to win his custody case without a paid lawyer; this instigates the decay of free legal advice in Britain. We are soon taken to a newly married Pakistani couple, Aisha and Riz (Scott Karim) who are both coming to terms with married life; however, Aisha is concerned that Riz’s mother will become too controlling in terms of what she will be permitted to do.  At Gail’s legal aid organisation’s headquarters, Gail along with her secretary, Laura are increasingly worried by the cuts as the lease of their building is at risk of termination, so the two make an effort to keep their cases flowing. But over the course of the performance, one of Gail’s regulars, Shaun (Niall Buggy) asks for some help on an issue where he could be evicted from his flat due to the ill health of his dog, contrariwise Gail and Laura state that they cannot help him and that he should go somewhere else.  It is obvious that Gail appears unloved and when Laura’s boyfriend, Ryan (also Karim) comes into the office to see his girlfriend it seems that there’s some resentment to the fact that Laura and Ryan are flaunting their passion in her face as Gail’s dating experiences are ill fated. This is evident when Gail has a date with doctor, Andy (also Buggy) where he, like Ken has invited her on a date only to seek free legal advice.  Progressively, Aisha as she has been undergoing domestic violence from her husband, Riz and thankfully legal aid are able to prove her with security and a court trial in the hope that Riz will be sent to prison for attacking her physically, emotionally and mentally. Wretchedly, Gail receives bad news as she learns that her lease has now expired and that this cannot be appealed so Laura and herself now face unemployment and at the finale, Shaun who has lost everything makes a disconcerting suicide attempt as Gail did not help him in his desperate hour of need.  Lenkiewicz’s narrative is amenable as the concept of the play about the declining legal aid services was well presented; nonetheless, there is a lack of extensiveness with regards the amount of stories that is going on which makes it harder to really observe what is being conveyed. 

One found the performances by the company of, ‘The Invisible’ to be seriously well portrayed, but the transformations of characters did entail more refinement at periods.  Alexandra Gilbreath is first-rate as central protagonist, Gail; mainly how bothered her life is at this present time with the fact that her facility could be taken away from her and her courting life is non-existent too. Nicholas Bailey is acceptable as single dad, Ken; precisely how zealous he is at wanting to gain access to his children, on the other hand, the crying moments were extremely false and unrealistic and this is not very impressive. Sirine Saba is respectable as both Laura and Aisha; for example how flexible she conveys a legal secretary in a professional and stern manner and a woman who is combating with her husband in a vulgar fashion. 

Michael Oakley’s direction is delightful here as he has illustrated a production that could be perceived as controversial, yet the topic needs to be addressed to explain that the cuts could cause problems with those who are facing disputes such as Shaun and Aisha, but then again the characterisations could be improved. Ruth Sutcliffe’s design is attention-grabbling as the vastness and emptiness of the space conveys that the cuts in all aspects are forcing people to address what they can or cannot purchase on a regular basis, as such this is fantastic for a designer to accomplish this. Overall, the experience of, ‘The Invisible’ was a though-provoking performance about the dastardly cuts to the legal aid system.  

'The Beaux' Stratagem' National Theatre, Olivier ****

With the National Theatre’s new area in full swing under the direction of Rufus Norris, the decision to stage a piece of Restoration Theatre is a pleasant one indeed where we’re witnessing a tale of two men who have lost their fortunes are endeavouring to seek out a possible wife to recuperate their dwindling wealth. The National Theatre’s production of George Farquhar’s 1707 play, ‘The Beaux’ Stratagem’ was a highly amusing revival and the performances were wonderfully portrayed.

‘The Beaux’ Stratagem’ is set in Lichfield, Staffordshire where we are familiarised with two young gentlemen, Aimwell and Archer who have ventured to the countryside after losing all their money in London. When they arrive at Boniface’s Inn, the landlord, Boniface (Lloyd Hutchinson) and his daughter, Cherry (Amy Morgan) welcome them in and give them an understanding of the prospects that could be on offer. Their arrival causes intrigue from Boniface and highwayman, Gibbet (Chook Sibtain) and his companions Hounslow (Mark Rose) and Bagshot (Esh Alladi) who assume that they are quite wealthy individuals. Moreover, Dorinda (Pippa Bennett-Warner) and her sister-in-law, Mrs Sullen are also interested in them too and over the course of the performance, we realise that Mrs Sullen is unhappy with her nuptials to heavy drinker husband, Mr Sullen (Richard Henders). When Mrs Sullen and Archer meet each other for the first time, there appears to be immediate feelings for one another as does Dorinda with Aimwell. Throughout the show, the French army have been imprisoned in Lichfield where Count Bellar (Timothy Watson) and the priest, Foigard (Jamie Beamish) we soon learn that Fiogard has been lying about his true nationality.  At the house of Lady Bountiful (Jane Booker), the mother of Mr Sullen and Dorinda, Archer and Mrs Sullen conjure up a plan to allow Mrs Sullen and her unloving husband to get a divorce. To do so she asks Gipsy (Molly Gromadzki) to send a telegram to her brother, Sir Charles Freeman (Nicholas Khan) about the state of her marriage. Aimwell decides to tell Dorinda the truth about his lack of finances and Archer does the same with Mrs Sullen too and thankfully they do not mind whatsoever. One night in the house of Lady Bountiful, the highwaymen try to steal some of Mr and Mrs Sullen’s possessions and a battle soon commences and the highwaymen obviously loose the fight and are captured and led away by Scrub (Pearce Quigley). At the finale, Sir Charles Freeman enters and forces Mr Sullen to divorce his wife and for her to retain her fortunes. Archer and Mrs Sullen become romantically involved and Dorina and Aimwell do the exact same thing.  Farquhar’s narrative is marvellously rib-tickling in terms of how the battles, false nationality and romantic activities combine together to present something so funny. 

One found the performances by the company of, ‘The Beaux’ Stratagem’ to be radiantly depicted through careful voice work by Jeanette Nelson and Michaela Kennen and movement direction by Jonathan Goddard.  Samuel Barnett is wonderful as untrue, Aimwell; chiefly at the moment where he is having a shot at tempting Dorinda to become his partner, additionally, his friendship with Archer is compelling to see. Geoffrey Streatfield is fabulous as Mrs Sullen’s saviour, Archer; especially when he talks about how his love with Mrs Sullen could prove problematic due to the circumstances but with repeated tries this comes into fruition at the end of the play.  Susannah Fielding is impressive as Mrs Sullen; such as how depressed she seems when she explains how her marriage to a drunken man is disgusting e.g. when he comes home drunk at the early hours of the morning. 

Simon Godwin’s direction is grand here as he has been able to interconnect all the character’s stories together in a seamless manner and his revival of this classic play does not disappoint as the ere are both humorous and some emotive scenes present. Lizzie Clachan’s set and costume designs are immensely opulent as the attention to detail in depicting the era of the show is tremendous, plus the transformation from inn to lavish country manor was very decent indeed. Overall, the experience of, ‘The Beaux’ Stratagem’ to be undeniably pleasing and exceedingly watchable and a brilliant selection to include in the theatre’s repertoire.  

'The House of Mirrors and Hearts' Arcola Theatre ****

The loss of a family member will be a truly paining time; especially if the circumstances of the death remain undisclosed, besides this, what occurs when one man enables a reserved girl to come out of her shell and the secret is revealed? The Arcola Theatre’s production of Eamonn O’Dwyer and Rob Gilbert’s contemporary musical, with assistance from  Katy Lipson and Perfect Pitch, ‘The House of Mirrors and Hearts’ was a titillating piece of fringe theatre, in addition to this, the performances were enticing to witness.

‘The House of Mirrors and Hearts’ is situated in the kitchen of a family of four, however, the father who is a maker of mirrors has been brutally murdered in his workshop by his eldest daughter, the Young Laura (Sophie Pourret Wythe/Ella Doherty) by a sharp piece of mirrored glass. As you’d expect why did she kill her father? Seven years passes and Anna, the mother is still mourning for the loss of her husband and resents her daughter, Laura about the death, as well as, Laura has grown into a silent and gentle soul who hardly utters a proper exchange of words. To pay the bills, Anna has been renting her spare bedrooms and her new lodger is geeky young scholar, Nathan who is compiling a collection of his favourite poets work. Anna’s youngest daughter, Lily who is comparatively opposite to Laura as she is enormously flirtatious for a sixteen year old, moreover, her dress sense is quite sexual as she tries to use her physique to stir up trouble as a means for attention from men and her mother. This is evidenced when she attempts to seduce Nathan whilst he is working, but he pushes her away from him and when Anna’s other lodger, David (Graham Bickley) catches them in which he assumes Nathan is raping her, Nathan explains that this is not the case as Lily was drunk. Over the course of the performance, Laura becomes intrigued in Nathan’s preferential poets work and through this; it develops into a thriving and strange relationship. Furthermore, when she takes him to a place where she throws empty wine bottles against the wall there are some sweet moments present, nonetheless, Anna is worried by Laura’s newly found confidence.  Through flashbacks with Anna, Young Laura and Young Lily (Charlotte Pourret Wythe/Isabella Doherty) you can see how the family has been turned upside down due to Anna’s husband’s death and at the finale, we learn the real reason why Laura murdered her father and this is because he tried to force himself on her and have sex with his own daughter. O’Dwyer and Gilbert’s narrative and music and lyrics were excellent as the story is about an enigmatic situation where a young girl had to assassinate her own father and with such musical numbers as “Little Bird”, “Secrets & Lies”, “Catch the Light” and “Beauty in the Breaking” were exceedingly well written and captured a lot of emotion.

One found the performances by the company of, ‘The House of Mirrors and Hearts’ to be wonderfully characterised through tender and tough scenes. Gillian Kirkpatrick is splendid as alcoholic mother, Anna; mainly where you see how much she is struggling to keep her feelings inside and when she shouts at Laura it is a sense of her being able to be honest, correspondingly her vocals in “Something for the Pain” and “Here” depicts her overwhelming sadness. Jamie Muscato is outstanding as the scholar, Nathan; chiefly the point where he begins to cultivate feelings with Laura shows how frantic he is to help Laura in building her confidence and this shows his sensitive and decent side. Grace Rowe is vivid as Anna’s very inaudible daughter, Laura; specifically how troubled she has been due to the horrific circumstances in her childhood, in addition she lightens up when Nathan shows affection towards her and it does surprise her as she has not had this experience beforehand.  Molly McGuire is brilliant as vivacious daughter, Lily; especially how the lack of a male role model and limited mother’s warmth has caused her to turn into a wild child of a teenager with no inhibitions whatsoever by excessive drinking and being drunk almost daily.

Ryan McBryde’s directions is atmospheric here as he has crafted a musical that is of near perfect with spectacular panache as we are taken on a journey of a mother and two daughters who have been through a hellish time as of late and the battles they currently face on a day to day basis. Additionally, his expansion of the characters was dealt with with such transcendence.  David Woodhead’s set and costume designs are gorgeous as I was absorbed into the world of Anna, her two children and Nathan with amazing detailing and comprehension. Overall, the experience of, ;The House of Mirrors and Hearts’ was a gratifying one indeed. 

'Orson's Shadow' Southwark Playhouse **

What transpires when a fading stage and screen director has to make a sensible decision to rescue his career from the brink of despair by collaborating with somebody who to some extent you do not like, as well as, how an illustrious critic tries to keep the peace between them? Southwark Playhouse’s production of Austin Pendleton’s 2000 play, ‘Orson’s Shadow’ was a somewhat unconvincing portrayal of factual events; also the performances didn't excite me that much.  

‘Orson’s Shadow’ is set during the 1960’s where we are introduced to distinguished and controversial theatre critic, Kenneth Tynan who has made a journey to Ireland to have an informal meeting with his long lasting friend, the director, Orson Welles who is really desperate to make a successful theatre and/or film project.  Orson’s servant, Sean (Ciaran O’Brien) who is vastly abrupt informs Orson of Kenneth’s appearance. On the other hand, there is a tense atmosphere as Orson is unhappy with Kenneth as he made some snide comments in a review about one of Orson’s theatre shows.  But Kenneth has a proposal for Orson as a strategy to save Orson’s dwindling career and this is direct one of Britain’s notorious actors in a production of Eugène Ionesco's, ‘Rhinoceros’. Back in London, when Kenneth meets with legendary actor, Laurence Olivier about an anticipated job role as dramaturg/literary manager for the new National Theatre, he asks Laurence about working with Orson on the Ionesco play and even though he is apprehensive, he accepts both offers.  Once Orson arrives from Ireland with Sean we can see how British and American creative have different views on how to construct theatrical work and analysis of playwright’s intentions. Moreover, it seems that Orson has an appreciation for Olivier’s crazy and conceited wife, Vivien Leigh (Gina Bellman), which Kenneth has also slated in his reviews for The Observer.  Alternatively, Olivier has been having a courtship with another woman by the name of Joan Plowright (Louise Ford), who soon becomes Olivier’s second wife. Joan pleads with Laurence to talk to Vivien abut a divorce and when he chickens out on doing so, Joan understandably is not exultant.  Over the course of the performance, Tynan, who is overseeing rehearsals with both Laurence and Orson and it’s noticeable that Olivier has issues with his and Joan’s characters and Orson’s abnormal directing style.  At the finale, Olivier is still in his marriage with Vivien even though he is in love with Joan, Orson who has lied about his intentions for being a part of the creative team for Rhinoceros makes one more successful film and Tynan remains as one of the United Kingdom’s influential theatre critics. Pendleton’s narrative is satisfactory as a play about how Rhinoceros came together did feel too melodramatic, furthermore, at times the plot falls flat on some aspects i.e. Kenneth Tynans’s poor health and the amour between Sir Laurence Olivier and Joan Plowright.

One found the performances by the company of, ‘Orson’s Shadow’ were adequately conveyed through agreeable movements and good voice work which emulates similar characteristics of the personalities mentioned. Edward Bennet is conventional as of theatre criticism’s marvels, Kenneth Tynan; mainly how the lack of clear and coherent conversations is exact to the real Tynan as he had a lisp and only had the confidence to convey his opinions through his writing, just like how I have troubles. Adrian Lukis is tolerable as the wondrous, Sir Laurence Olivier; in particular when he tries to justify to both Vivien and Joan about his love for them, similarly his worrying expression for his characters enactments shows that Olivier was the ultimate professional in his craft. John Hodgkinson is acceptable as struggling American film and theatre director, Orson Welles; for example how his failing career has impacted on how long it takes for him to make a film and when he wants to complete his Shakespeare movie he explains he has to stop when money is non-existent.

Alice Hamilton’s direction is second or even third rate here as there is not enough attention to detail within the entire production as an abundant amount of moments were lacklustre and the work in capturing Pendleton’s play was really disappointing to be quite frank. Max Dorey’s design was however well designed as I could see where I was and the in-the-round configuration did work here, plus Nicholas Holdbridge’s lighting design incorporated a dark environment. Overall, the experience of, ‘Orson’s Shadow’ was a slightly disappointing one and one of the most shocking shows I’ve seen at Southwark Playhouse.

'The Gathered Leaves' Park Theatre *****

Being a part of a family unit can be particularly enjoyable, but are there periods when a family do come together as a whole to celebrate someone’s birthday cause skeletons to come out of the closet? The Park Theatre’s current production of Andrew Keatley’s newest offering, ‘The Gathered Leaves’ was an intellectually stimulating and touchingly warm production on such matters with tremendous performances all the way through.

‘The Gathered Leaves’ is set in the country home of the affluent Pennington family where at first we are transported to 1964 to Young Giles Pennington (Hamish Brewster) and his autistic brother, Young Samuel Pennington (Oliver Buckner) who are acting out a scene from the third Doctor Who story, ‘The Edge of Destruction’. Samuel is peeved that Giles is not conveying his lines correctly and as such we will see how this commences a moving relationship that will last forever. Thirty three years later, in 1997, the Pennington clan all come together to celebrate the birthday of head of the family, William (Clive Francis). His wife, Olivia is busy ensuring that the festivities are going to plan where Samuel has spent a whole week baking and decorating a cake that’s modelled on their family home. Giles arrives with his wife, Sophie (Anna Wilson-Jones), and their two young adult children, Simon (Tom Hanson) and Alice (Katie Scarfe) and it seems that Giles and Sophie’s marriage is “on the rocks” where they sleep in different beds.  When Giles and Samuel’s sister, Emily (Georgina Beedle) who they have not seen for some time has returned with her daughter, Aurelia (Amber James) for her father’s birthday it appears there is a reason for this.  The reason of her absence is due to the fact that William isolated her out of the family because of Emily’s pregnancy to a black man and over the course of the production we learn that Olivia has been visiting her daughter and granddaughter in secret for years.  When Emily plays a tune on the piano she played as a child, it enables the family to come together in a positive way and the point where they’re playing board games it allows us to see how educated Samuel is as he remembers a quote from a Charles Dickens novel from memory.  Another skeleton in William’s closet is his past infidelity and when he tells Giles, Giles is so furious that he walks out of the living room when William opens his presents as he cannot look at his father. Alternatively, William shows his sensitive, parental and soft side when he has a few alcoholic drinks with Aurelia and when he wants to see the scene of Doctor Who after an altercation with Giles about how he does not take much notice of Samuel’s brilliant and creative mind. At the finale, Giles is still angry with his father, nonetheless he does compliment Giles in his role as a brother as it’s quite hard having a brother with autism. This is increasingly poignant as I have autism and my younger brother is a spectacular one indeed who helps me out.  Keatley’s narrative is excellent as the formation of a play about a well to do family who have the same challenges and problems as those in the middle classes and working classes allows all classes to identify and unify together.

One found the performances by the company of, ‘The Gathered Leaves’ to be extremely well portrayed through impeccable diction and movement execution that is so inspiring. Jane Asher is impressive as matriarch, Olivia; especially how amazing she is a doting mother, wife and grandmother and when Samuel injures himself with tea she is on hand to help him no matter what. Alexander Hanson is exhilarating as older sibling, Giles; specifically when he frequently argues with Sophie about his brother’s condition where Sophie thinks he has been staring at her in the shower, but this is not the case. Neil Sampson is awesome as autistic, Samuel; primarily how truthful and representative he depicts an autistic adult and his impression as William Hartnell’s Doctor is nothing more than funny. Well done I must add.

Anthony Eden’s direction is fabulous here as he has created and presented an engaging and enlightening  piece of theatrical work about how a family such as the Pennington’s do have both ups and downs, as well as, the cute relationship between Giles and Samuel.  James Perkin’s design is simple yet effective as I was immediately taken into the Pennington environment in the 1990’s, plus with miraculous lighting by Paul Colwell and Stella Cheung and beautiful sound by Harry Johnson it’s a delightful design network and collaboration that’s unmatched. Overall, the experience of, ‘The Gathered Leaves’ to be a dazzling one indeed and one must conclude by commenting on slick stage management by Amy Clement and Valeria Bettini.