'From Here to Eternity' Shaftesbury Theatre ****

Throughout the end of 2013 we have seen that one-time collaborators Sir Tim Rice and Lord Andrew Lloyd Webber staging two rival shows ‘Stephen Ward’ and ‘From Here to Eternity’.  This review is based on the production ‘From Here to Eternity’, which is set on Pearl Harbour, just before the Japanese attack where Sgt Milt Waden (Darius Campbell, who takes his accent from Clark Gable) is becoming lustful with his commanding officer’s beautiful wife, Karen (Rebecca Thornhill). Milt is a man who is direct to the point and within 15 minutes of the entire show he says to Karen “I want to go to bed with you” and from this they are having sexual intercourse on the kitchen table. It feels that circumstances happen too rapidly for one’s liking so the narrative and writing needed more work in ensuring that romantic moments are thought of with tenacity and ease.  This meant that the narrative did disappoint me slightly. In addition to this, I think that Campbell’s portrayal as Milt was slightly unromantic to other male-leads that deal with passionate moments e.g. the Phantom in ‘The Phantom of the Opera’ and Jerry Travers in ‘Top Hat’. His characterisation in these crucial scenes would have made more of an emotive statement to the whole show. The performer, for me that steals the limelight from Campbell and the entire company is Ryan Sampson who plays Private Angelo Maggio and his rendition of “I Love the Army” after the interval is a showstopper and nearly leaves a lump in the throat. It is a definite contrast to his performance as Luke Rattigan in ‘Doctor Who’ where he played a young genius who thinks he is far more intelligent than everyone else. I find that male leads should learn from Sampson as he provides the magnificent moments in this musical theatre piece. Tamara Harvey’s direction for ‘From Here to Eternity’ is amazing as she has been able to capture the elements of war and how young men felt that to make their families proud that they would have to enlist to the army to make this possible.  She has thought about the attention to detail in putting on a good production.  I have to commend Javier De Frutos for his outstanding and ingenious choreography as the precision of the dance sequences were performed so brilliantly by the entire company.  Once again, another gracious set and costume design by Soutra Gilmour and as I have mentioned in previous reviews I think that she is a sublime in every piece of design she set her mind to.  I have to say it is a shame that ‘From Here to Eternity’ is closing far too early but that’s the nature of the Theatre Industry.  

'The Phantom of the Opera' Her Majesty's Theatre *****

One of the most successful musicals of all time ‘The Phantom of the Opera’ has been moving audiences from around the globe since it first premiered in 1986 and for me twenty eight years later it still has that sparkle that it must have had all those years ago. For those who do not know of the story, written by Gaston Lerouse in 1905, we are transported to the Paris Opera House, of course in 1905 where an auction of old theatre props is taking place and from this Lot 666 is explained which is a shattered chandelier, this has become a spectacle in British musical theatre and this soon rises out into the audience and posited as it once stood and from this the plot begins. I have not seen ‘The Phantom of the Opera’ since 2010 and for me four years later it still amazes me at how the narrative still captures audiences imaginations and emotions from when Michael Crawford stepped out as the original Phantom nearly thirty years ago. The current Phantom, Geronimo Rauch is outstanding as he encapsulates a disfigured man who becomes obsessed with Christine Daae, a Swedish chorus girl and coaches her from behind a mirror in the art of opera to make her a miraculous singer and performer. It’s a romance story that turns into a tragedy as Christine, played so effortlessly by Olivia Brereton takes advantage of the Phantom’s gift and forms a love story with the slightly pompous Raoul, Victome de Changny (Sean Palmer) and this aggravates the Phantom immensely as he feels that Christine belongs to him. The musical is most definitely Lord Andrew Lloyd Webber’s fruitful show to date and it’s a personal one as it was intentionally written for the woman who has was passionately in love with at the time, Sarah Brightman, who was cast as the original Christine. The production’s musical numbers are without doubt engaging and will still move an audience of both men and women to tears. “The Phantom of the Opera” and the “Overture” always gives me goose bumps and this was not lacking here and “Masquerade” provides an electrifying moment that will make you want to join in with the action. Charles Hart’s lyrics are simply magical and this show was his West End debut and he has never looked back. The direction by the brilliant Hal Prince still has the believability that it must have had way back in 1986 and the work in creating the romance between the Phantom and Christine is outstanding as Prince has worked with this in comprehensive detail. What a wonderful job it is too I might add. The sequence with the boat is extraordinary. Gillian Lynn’s chorography is captivating throughout and Maria Bjornson’s design is phenomenal. Here’s to another twenty eight years and long may it continue to inspire audiences. 

'Happy Days' Young Vic ****

You may be quite surprised by this statement that I am about to express to you today but I have never seen a Samuel Beckett play before. So when the Young Vic’s newest offering ‘Happy Days’, Beckett’s 1961 play was announced, it seemed fitting that I should go and witness this and from going to see it I feel it is a show you should most likely go and see and my fellow critics have been quite unanimous in that. The role of Winnie, one of the most formidable parts for a woman has been portrayed by the likes of Madeleine Renaud, Felicity Kendall, Natasha Parry and the ever wonderful Fiona Shaw.  However, the role of Winnie this time around is Juliette Stevenson whose version of Winnie seems very British through clear and concise thought of the middle class people in society. She seems to have incredible strength in her lower body due to the fact that Stevenson is submerged from her waist down throughout the first act and when we return after the interval she is covered from the neck down. She definitely has such diligence as she never moves from one spot in the entire performance so an enormous well done to her for her tenacity and bodily strength during the whole show.  Her movements are exceptionally executed and conveys the eccentric and whimsical personality that Winnie flamboyantly presents to us and I found her vocal delivery to be one of unbelievable pace and intonation that you soon become enthralled by the troubles that Winnie’s experiencing and at points you become moved by what she is speaking. It has been gratifying to see Stevenson returning to the British stage and her attention to detail when it came to using Winnie’s possessions such as her handbag, toothbrush and mirror were beautifully achieved. The sound within this production is vastly frightening as to convey a claxon or a pneumatic drill, just like Winnie herself who appears to have a panic attack every time she hears it, we seem to feel her pain due to the intense vibrations through the auditorium floor. Well done to Tom Gibbons for his extraordinary sound design here.  I thought that Natalie Abrahami’s direction for ‘Happy Days’ is outstanding as she captures the rise and fall of society where in the 21^st Century we are always being careful with money etc.  She seems to have worked with Stevenson so affectionately that I do not care in the slightest that the play is female dominated. What can I say about Vick Mortimer’s design here? It’s simply spectacular and engaging in the most positive way imaginable and when you enter the auditorium you will be stunned at how phenomenal it truly is. I enjoyed my first Samuel Beckett and one you should go and see. It’s worth the money. 

'One Man, Two Guvnors' Theatre Royal, Haymarket ****

With only a month to go before it closes, and for all those who haven't yet been able to witness 'One Man, Two Guvnors’, Richard Beans contemporary adaptation of the commedia dell'arte piece ‘The Servant of Two Masters ‘ is one that is guaranteed to make you laugh hysterically at. The play is now set in the 1963 Brighton criminal underworld and most certainly is a comical and intellectual scenario that oozes humour and charisma throughout.  ‘One Man, Two Guvnors’ is the National Theatre's second consecutive West End transfer and this casts suggests that the play has had a pretty successful run. The company is led by the productions original understudy Owain Arthur as the bumbling fool, Francis Henshall ,who stupidly becomes involved in an awkward situation where he's been hired by two people as a kind of servant. Unbeknown to Francis these two people know each other very well, in actual fact they are romantically involved. For me, Arthur is exceptional throughout the entire performance in particular the movements that he conveys with such hilarity that makes me think that detailing has been dramaturgically been thought of with such integrity. I must admit his Welsh accent seems to add even more comedy gold to his outstanding betrayal of the immensely hungry employee. Angela Griffin is amazing as Henshall’s love interest Dolly, Dominic Thornburn provides a humorous performance as the pretentious actor Alan Dangle, Amy Cuddle presents us with an interesting take as the slightly troubled Rachel Crabbe and Kellie Shirley is wonderful as the immensely stupid Pauline Clench. Overall the entire company are exceptional and if you don't see them then you are slightly idiotic as it is an entertaining production with brilliant comic timing. The director of this energetically rib-tickling production is the National Theatre's Director, Nicholas Hytner. He has directed this entirely fast paced show which has incredible comical impetus. However Cal McCrystal's physical comedy direction is this shows main spectacle where all moments leave you crying with laughter, especially the scene involving a doddery old waiter who continually falls down stairs during the course of his duties due to the his pacemaker becoming slightly accelerating out of control. I found the design by Mark Thompson to be one of a good enough standard of panache. On the other hand, the thought behind it seemed quite lacksidasical  as it felt too pantomime like for ones gratitude. Unfortunately the design element has let this show down somewhat. Apart from this I found ‘One Man, Two Guvnors’ to be a good show and well done for the shows duration in London's West End.

'War Horse' New London Theatre *****

The National Theatre's West End production of ‘War Horse’ has been entertaining audiences since 2009 and my first experience here is just magical. The play is centred around the beginnings and through the whole of the First World War and suggests the love a young boy of 16 has with his beloved horse. The show is an adaptation of Michael Morpurgo’s novel and it's most successful and emotive work by legendary puppetry company Handspring Puppet Company has fully encapsulated the idea that the lead protagonists is in fact a skeletal bamboo frame and internal hinged horse. Within the entire production I thought that the use puppetry and human beings worked incredibly well through careful and coherent characterisation. The relationship of Albert, played so beautifully by Sion Daniel Young and his horse Joey is something very special and spectacular that no other show since ‘The Phantom of the Opera’ has been able to move me so much and Albert’s pursuit to find his best friend through the diabolical war zone clearly conveys that the romance plot is between the human and the animal. The puppeteering throughout this spellbinding show without doubt the star of the production as they have been able to comprehend the animalistic nature of not only the horses but others such as the duck to the most elegant of finish imaginable. For me personally I would like to see much more puppetry in the West End shows as it enhances another dimension of a production. Nick Stafford’s stage play is engaging at all moments and it promises to still amaze audiences at the New London Theatre for years to come. Once again the legendary theatre director Marianne Elliott has proved as to why she is the director of the decade and ‘War Horse’ is by far her best production out of them all as we seem to even forget that the puppeteer even exists and that Joey is actually alive. It feels that careful rehearsal time as enabled the show to be a profound success and the play deserves it most strongly. The design by Rae Smith is simply amazing as fully shows the misery that surrounded the First World War as well as the journey that Albert takes been reunited with his extraordinary horse. The use of video projections by Leo Warner and Mark Grimmer were brilliantly captivating and allows you to feel the full sense of atmosphere of World War I. I found the whole experience of 'War Horse' to be one of such splendour and enjoyment.

'Mojo' Harold Pinter Theatre ****

The recent revival of Jez Butterworth's 1995 play 'Mojo' is a production that is full of joyous dark comedy moments and sections of your shock. This was clearly apparent by audiences reaction to it. This version is directed once again by its original director, Ian Rickson and seems to have been a theatrical hit since its press night. The casting here is phenomenal with Harry Potter's Rupert Grint starring in his first West End show and Downton Abbey's very own Mr Bates,Brendan Coyle. As well as he ever wonderful David Mays, Ben Wishaw and Colin Morgan completing this sublime cast. Set in the a 1958 sordid Soho nightclub there is a huge event happening where they have found the newest rock 'n' roll heartthrob Silver Johnny (Tom Rhys Harries) who has been hired by its owner Ezra to entice the local ladies. However he's a gangster and been doing a deal with a showbiz head-hunter by the name of Mr Ross. The play is very compelling and makes you think whether Butterworth had taken influences from the Krays and the Teddyboys to exude through his characters. I find that this show is not for the most faint hearted of person so people please be aware as some sections are highly violent. The event preparations are ruined due to the fact that Ezra has been brutally massacred and the infamous Mr Ross has pinched Johnny for his own dastardly deeds. The performances by the entire male cast is exceptional and certainly captures the feeling of the dominance of the man in the 1950s. The comic start between Sweets (Rupert Grint) and Potts (Daniel Mays) suggest this dark reality of being involved in the life of pure illegality. The physicality within the fight sequences directed by Ruth Cooper-Brown and Rachel Brown-Williams have been beautifully staged, some moments make you laugh hysterically and some make you cringe beyond belief. Ian Rickson's direction here is outstanding as he has fully interrogated Butterworth's themes with such tenacity and ease and his staging within the Harold Pinter Theatre is nothing more than wonderful. This shows designer Ulltz has done a great job with 'Mojo' as he encapsulates the brutality of the gangsters world and the drudgery of the 1950s which has been clearly defined which is beautiful to see. The production is amazing in all aspects through to design, direction and performance. Congratulations to all involved.

'The Wind in the Willows' Duchess Theatre *****

'The Wind in the Willows' has been a children's favourite since it first published in 1908 and the very first West End transfer from the Royal Opera House is one to be seen. This adaptation is centred around the original author Kenneth Graham's  intriguing metaphor of an attic and the use of discarded furniture fabrics involved close to portray the fantasy world of the riverbanks and woods were an interesting decision to make. The show is highly dance based and is told through exceptional narration by the ever popular and incredibly engaging Tony Robinson and indicates that the production does not need hardly any spoken dialect whatsoever. The entire dance cast were beyond mystical and extraordinary. Chris Penfold captures an elegant flow of diligence of Toad and his delivery in his dance excerpts were lovely to see. The performances by Will Kemp and Clemmie Sveaas as Ratty and Mole provide the romanticism of the story and the swashbuckling moves really suggest the emotional poignancy of the whole performance. Ewan Wardrop conveys the rock 'n' roll feel of the Chief Weasel was brilliantly thought of and his dance presence with nothing more than spectacular. The other members of the company were phenomenal and makes you feel that this production and performance fully deserve a place on a West End stage. What can I say about Will Tuckett's direction and choreography? It is simply beautiful and encapsulates a wide range of audiences as 'The Wind in the Willows has been a part of British childhood that over one hundred years. This show is blissfully moving and leaves you feeling good once you leave the Duchess Theatre.  He has done a brilliant job here. The Quay Brothers' set design was outstanding and most definitely captures the rugged atmosphere of Graham's fantasy story. The. textures of the scenic material were greatly thought of and makes you value the time taken to rehearse and construct a show that reverts you back to your childhood. Personally I found the production to be wonderful in all areas.