'Accolade' St James Theatre ****

What happens when one single party appears to cause havoc and dishonour to one explicit individual, who is quite well regarded, and what consequences can occur because of this act? The final production in Stage One’s, ‘One Stage’ season at the St James Theatre of Emlyn Williams’ 1950 play, ‘Accolade’ was one that’s been delightfully revisited, as well as, the performances were faultless throughout. This interpretation of Williams’ text was originally staged at the Finborough Theatre, three years ago, however, the casting has changed with the likes of Alexander Hanson. ‘Accolade’ is set fully in the study of writer, Will Trenting, who has been given the nobility of a knighthood by His Royal Highness, The King for his services to writing. Trenting’s wife, Rona, and their son, Ian are of course overjoyed by Will’s superb news, and are now planning to celebrate this remarkable occasion. However, their plans are upturned during the celebration by the arrival of Will’s friends from his hometown of Rotherhithe, Phyllis and Harold, who seem to startle Rona due to the fact that she does not know of her husband’s sordid past where one event will soon come back to haunt him for the remainder of his existence. Progressively, after Will has collected his knighthood from the king, his luck deteriorates when he is introduced to drunken and disorderly, Daker, who explains that Will had undertaken sexual intercourse with his fifteen, which was an illegal act, even in the 1950’s. Will understood that she was greatly older as she was dressed as a young woman, additionally, her persona and maturity allowed her to seem older than she actually was. Once the story is exposed to the national press, Trenting’s house, in Regents’ Park is surrounded by tonnes of protesting people, who are disgusted by his actions, and with this, Will and his family think that they should vacate the country, and move to the island of Guernsey. Williams’ narrative is exceptionally entrancing as we witness how a repulsive and wicked situation can affect one man’s position of popularity; especially if he has become a Sir. One found the performances by the company of ‘Accolade’ were vastly well portrayed throughout the entire production; in particular their movements which capture the essence of the early 1950’s. Alexander Hanson is magnificent as the central protagonist, Will Trenting; specifically the moment in which he tries to comfort his son, Ian, (Sam Clemmett) when he states that he might have to leave him, and his mother for a while. Abigail Cruttenden is wonderful as Will’s wife, Rona; principally when she’s perturbed by the arrivals of some undesirables from her husbands’ past, furthermore, when her character cries at the news of her husband’s disgraceful past was slightly upsetting to observe. Bruce Alexander is sublime as the alcoholic, Daker; chiefly when he’s frequently manipulating Will into offering him piles of money and of course alcoholic beverages, such a comic moment within the show itself. Blanche McIntrye’s direction is charming here as she has taken a neglected play and given it a new and fresh lease of life, and her work to instil the troublesome circumstances of underage sex has been sensitively approached with grandeur. James Cotterill’s design is agreeable, but one found that there could have been more care and attention as one could see the backstage areas when the doors open during the performance. Overall, one found the experience of ‘Accolade’ to be an pleasurable one, and a well recommended production.  
 

'Silent Planet' Finborough Theatre ***

More frequently, playwrights do find it problematic in being able to discover a platform in which to stage their work. The Finborough Theatre’s ethos is to stage plays that are either pieces of vibrant new writing, and unique rediscoveries. Eve Leigh’s first full-length play, ‘Silent Planet’ was one that's well-developed, and comfortably characterised. ‘Silent Planet’ is set during the summit of the Cold War, where we are acquainted with rebellious writer, Gavrill, who is facing a lengthy stretch in a mental health prison. However, the main reason as to why he's in there is because literature is a hypothetically corrupting influence, but he can relax slightly there as he has open access to the prison library, under the watchful eye of the prison guards. Weekly, Gavrill has meetings with interrogator, Yurchak who surreptitiously requests that Gavrill reads one of the books in the library, each week, and is the purpose of these discussions are to deal with the political meanings behind the writers’ notions; in particular contemporary writers premonitions of the Cold War itself. Yurchak develops a colossal fascination in Gavrill’s passion towards literature, but he realises that he must maintain his professionalism at all times, and when one of the prison guards enters the room he vindictively demeans Gavrill, and demands that he be sent into a torturous like scenario, he soon apologises to him because of Yurchak’s action. Over the course of the play, we witnessed Gavrill's mental episodes where there is a mixture of seizures and twitches, which enable Yurchak’s delicate side to exude; one such aspect is when he offers Gavrill some scraps of quite luxurious food as a way to apologies to him for his ruthless nature at points. It appears that Gavrill has been speaking to someone else during these sessions, which leads to his ultimate downfall. Leigh’s narrative is increasingly inquisitive as we are taken on a journey of a cerebrally insane man, who seeks gargantuan comfort in reading literature, as his creativity has become dented because he is forbidden to write a single piece of literature. One found the performances by the company of ‘Silent Planet’ were appropriately conveyed, and the delivery of the penetrating moments was quite compelling. Greame McKnight is superb as the prisoner writer, Gavrill; specifically when he explains the importance and freedom to read novels as a way to express your individuality, additionally, the movements of the character’s metal episodes were executed with such panache. Matthew Thomas is rousing as Gavrill’s interrogator, Yurchak; principally when he violently punches Gavrill in the mouth, which does create a quite shocking moments within the performance. Tom Mansfield’s direction is tremendous here as his analysis of the writers’ vision has been dealt with careful ease and understanding, as well as, his companies characterisations have been directed elegantly over the duration whole presentation. Petra Hjortsberg’s design is pleasant and simplistically chilling as the atmosphere in the intimate space enables one to sympathise with Gavrill’s plight as a writer excluded from being accepted in a corrupted scenario. Moreover, the choice of instilling a slight Orwellian influence was principally effective too. Overall, one found the experience of ‘Silent Planet’ to be an enjoyable one, but some aspects of this production needs improvement slightly.

'Piranha Heights' Old Red Lion Theatre ****

Repeatedly, one has often commented on the quality of London's theatre scene, and the Off West End and Fringe segments have proven to be increasingly enjoyable, compared to the West End’s disastrous array of performances. The Old Red Lion Theatre’s present production of Phillip Ridley’s 2008 play, ‘Piranha Heights’ was an electrifying production that's bursting with enormous amounts of intimacy, and provided with charismatic performances. ‘Piranha Heights’ was first performed at Soho Theatre in 2008, is entirely set in the flat of the deceased mother of Alan and Terry, who are quarrelling on who deserves to be the rightful proprietor of this habitat. Alan the ragged and anxious taxi driver endeavours to seek possession of his mothers’ home, in the hope that his son, Garth and himself to move in as Alan is planning to divorce his wife. However, Terry a frequent fugitive has other ideas for their mothers’ property as he's already agreed that immigrant Muslim, Lily and slightly demented, Medic can reside that with him. Alan appears fuming and confused by this as he thinks that having himself should've spoken about this. Terry has become brainwashed by Medic, but this will infuse negative connotations as Medic is severely psychotic, this is shown when he sets his eyes on Alan for the first time, he maliciously assaults him. On the other hand, Medic explains to Alan that he does not want to live with Terry whatsoever, and states that he will be abuse Terry so that Alan can I own the flat. It seems that the psychotic being is quite poignant here as Alan’s son, Garth has enormous mental issues as he seems to presume that his only friend is invisible cricket called, “Mr Green”, and to show his appreciation his clothing accessories are of an luminous green, likewise, it appears that Garth has immense disgust towards his father, and uncle as he puts a gun towards their faces, with the assistance of Medic. Ridley’s narrative is enthralling as we are observing the traumas of mental health, and how unnerving the explosions can be for those who are closest to them, as well as, Ridley’s plot presents us with another thought-provoking plot, as seen with the Arcola Theatre’ summer production of ‘Ghost from a Perfect Place’. One found the performances by the company of ‘Piranha Heights’ was fabulous during the entire performance, especially within their movements and facial expressions. Ryan Gerald is marvellous as the aggressively frightening, Medic; in particular when we see his expression change dramatically when he sees Alan, additionally, it appears that he has understood how one must portray someone who has mental health issues. Jassa Ahluwalia is transcendent as Alan's menacing son, Garth; especially when we learn of his arsonist past when he when he was an early teenager, also his facial expression when he speaks to his friend, “Mr Green” was chilling too. Max Barton's direction is terrific as his interpretation of Ridley's play is spectacularly exhilarating; principally at the finale as the flat is destroyed by Medic and Garth, which is an unexpected moment indeed. Cecile Tremolieres’ design is uniquely brilliant as it's a surprisingly sumptuous as the quality of the detailing was principally fluid and precise. Furthermore, one was massively captured into this tale of seeking your identity and the uncertainty of life for the young person. Overall, one found the experience of ‘Piranha Heights’ to be an electrifying one, and congratulations to the Old Red Lion Theatre’s new artistic director, Stewart Pringle for his inaugural production.

'Pomona' Orange Tree Theatre ****

Should theatres experiment with comparatively different productions that they do not usually present? The Orange Tree Theatre's current play, Alistair McDowall’s, ‘Pomona’ was one that the venue has done wonders with. The play is completely delightful as the performances are beautiful. ‘Pomona’ was originally staged at the Royal Welsh College of Music and Drama this spring is set within the mysterious and gloomy surroundings near the M 60 ring-road, however there are solemn and destructive powers ahead. Pomona is an actual location, which is an island in the middle of Manchester where it's isolated by canals and one footbridge as a way to access this worrying island. The production is centred around the character, Ollie, who is frantically searching for her twin sister, who has recently become missing. She then comes across Zeppo, a quite unsavoury person, who is dressed in practically nothing but a vest, coat and underpants. Furthermore, he's a volatile individual as with the majority of the characters within the play. Progressively, throughout the performance there is a sense of intrigue when a somewhat disturbed youngster, Charlie and enigmatic loner, Keaton as the two of them play a childish game called, ‘Dungeons and Dragons’, as well as, the game creates the atmosphere of mystery especially when Keaton decides to wear a particularly disconcerting mask as a way to depict the terror of what's occurring beneath a deep drain, which one does not want to spoil it for you. There is a definite sporadic nature in terms of how the flow interconnects through a story of a dystopian environment where everyone is being controlled. McDowall’s narrative is exceptionally chilling as the concept of a world in which not everything is what it seems is somewhat challenging, but this is in a positive way. One found the performances by the company of ‘Pomona’ were impressively captivating, due to the fact that the voice and movements were excellently portrayed, and there's a sense of clear camaraderie between the company. Nadia Clifford is brilliant as the investigative sister, Ollie; in particular when she's pleading with people to aid her in a quest to find the missing sister, also her vocal range at this moment was excellent too. Guy Rhys is dazzling as the supposed tycoon of Manchester's underworld, Zeppo; singularly his obsession with McDonald's chicken nuggets was vastly comical, additionally, his intensity in not only the voice, but movements was superb. Sam Swann is charming as the geeky gamer, Charlie; explicitly when we learn that due to a lack of appropriate qualifications due to his naughtiness as a schoolboy, he cannot obtain a genuine job, which instils a sense of compassion for him. Ned Bennett's direction is heavenly here as he's enabled one to feel incredibly mesmerised by how this quite discombobulated world can impact on how people communicate with one another; moreover, the developments of the characterisations were impeccable too. Georgia Lowe’s design is alluring as you are immediately engrossed into a world that does not appear to be entirely truthful, and that the textures and the aroma within the auditorium made one feel quite uncomfortable, and complimented, stunningly by Elliot Griggs’ lighting design and Giles Thomas’ sound design.  Overall, one found the experience of ‘Pomona’ to be a fascinating one and definitely recommended, and most likely to succeed in this years’ Offies.  

'Electra' The Old Vic *****

It's continually pleasant when theatres programme productions that transport us to the foundations of what created theatre, and the final performance of The Old Vic’s in the round configuration is Frank McGuinness' interpretation of Sophocles’, ‘Electra’,  which was another outstanding performance, and complimented with stellar characterisations. ‘Electra’ was written, supposedly around 410BC, and widely regarded as Sophocles’ formidable creations is set within the estate of Agamemnon, where his recent homicide has enforced immense rage from Pylades, Orestes and the servant who are examining the identity of Agamemnon's killer. Orestes, Agamemnon’s son has been commanded by his sister, Electra to obliterate the eradicator, additionally, her grief is enormous and is a frequent visitor outside the palace, where they reside, as a reminder of the fond memories that she had with her father. Electra’s youngest sister, Chrysothemis materialises from the palaces’ doors, with another funeral offering, is unsurprised that Electra is sat outside mourning, however, compared to Electra, she appears to be coping, and demands that she must accept that their father is dead, as well as, this is annoying the mother Clytemnestra, and informs her that she will be locked in solitary confinement if she does not pull herself together. With this, Electra has frequent confrontations due to the immense grief and childish nature, and when they learn of Orestes’ death, whilst on his quest for their father’s murderer, this increases Electra’s emotional instability. Thankfully, there is a possibility that Orestes may not be dead, which enables Electra to develop some form of happiness, and when Orestes returns from among the grave, the identity of Agamemnon’s  slaughterer is exposed, and the murderer is exterminated at the finale. McGuinness' version of Sophocles’ narrative is spectacular, as the original tragedy has been cleverly retained with gracious panache, and allows contemporary audiences to abundantly engage with such an ancient piece of theatre. One found the performances by the company of ‘Electra’ were portrayed with flawless rigour, and the intensity of the emotion was extraordinary. Kristin Scott Thomas is sublime as the grief-stricken, Electra; especially when we see her pouring a heart are outside the palace, in addition, her vocal work was outstanding within the such moments. Jack Lowden is brilliant as Electra’s brother, Orestes; specifically when we observe his anger at the point where he's about to finally massacre his father’s obliterator, as well as his movements were executed effortlessly. Liz White is wonderful as the youngest sibling, Chrysothemis; especially the moment when she acts as the mature sipping when Electra is outside the palace sobbing, and her vocal ability was increasingly powerful throughout. Ian Rickson's direction is charming here, as the Greek tragedy has been elegantly constructed, and the attention to detail within the sensitive elements was pleasantly interesting to witness during the course of the show. Mark Thompson's design is opulent as one was immediately transported to the Greek amphitheatre style environment; furthermore, the textures decided here were exceedingly beautiful and attractive to the eye, seemingly blissful. Overall, experience of ‘Electra’ was one that should not be missed as it’s an spotless piece of theatre, and you'll be an idiot to miss it. 

'Sunny Afternoon' Harold Pinter Theatre *****

More often than not, current musical theatre performances have taken influences from the back catalogues of pop music artists, and the West End transfer of the Hampstead Theatre’s, ‘Sunny Afternoon’ , which conveyed the voyage of the notorious 1960s ensemble, ‘The Kinks’ was one that is truthfully outstanding, as well as reigniting the utmost quality of musical theatre. ‘Sunny Afternoon’ is set predominantly where ‘The Kinks’ began their tremendous music career, Muswell Hill, additionally, the musical explains how siblings, Ray and Dave Davies, two average lads face immense difficulties with coalescing work and family relationships. Increasingly, the show invites us to observe the troublesome attitudes that ‘The Kinks’; singularly the youngest band member, Dave cause the general public within their upsurge of popularity, in addition the misuse of alcohol and drugs. Furthermore, the atmosphere that’s surrounded by the band becomes slightly fraught as the lyrics for the songs have been conceived by Ray, Dave demands that he should have more of an input into the song writing process. However, this involvement proves disastrous at one of ‘The Kinks’ concerts, and Dave's rudeness towards the drummer, Mick Avory instils a fight, that soon ends poorly, and is their reputation is damaged somewhat. Also the pressure of the American tour demonstrates through Ray’s humongous homesickness where we see his phone conversation with his newly married wife, who has recently given birth to their first child. When he’s finally returned home, a sense of depression is apparent as he's hardly responsive with anyone who attempts to communicate with him. Joe Penhall’s narrative, of course with Ray Davies music and lyrics are phenomenal as they have constructed a musical that permits the audience to journey with ‘The Kinks’ through their triumphs and failures. One appreciated such musical numbers; “Lola”, “Sunny Afternoon”, “You Really Got Me” and “Waterloo Sunset” as they incorporate both bright and disconcerting aspects of the band, on and off stage. One found the performances by the company of “Sunny Afternoon” were delightful throughout the whole production.  John Dagleish is magnificent as the mind behind the music, Ray Davies; especially when we witness his emotional conversation with his wife as he explains his longing to return home, and to be a loving husband/father, of course he's vocal stamina was the electrifying too.  George Maguire is sublime as the rather insecure and transvestite brother, Dave Davies; specifically the moment when we see his youthful naivety at the point where he's drunkenly swinging on the chandelier in women's clothing. Adams Sopp is brilliant as the unpredictable drummer, Mick Avory, and Ned Derrington is amazing as the desensitised bassist, Peter Quaif. Edward Hall’s direction is mesmerising here as one found himself to be fully engaged throughout the show, and at certain elements, one became quite involved enthusiastically, which is exceedingly gratifying. Miriam Buether’s design is rather cool and quirky, as the concept of incorporating a catwalk in the centre of the stalls, and the decision to use masses of speakers as the scenic backdrop was particularly effective with the dramaturgy of the performance. Overall, the experience of ‘Sunny Afternoon’ was an enjoyable and riveting one. Exceptionally recommended, and you won't regret either.

'Jonah and Otto' Park Theatre ***

What happens when the homeless and the ministry encounter where wealth and trickery appear to remain completely unlike? The Park Theatre's current production of Robert Holman’s 2008 play, ‘Jonah and Otto’ was one that fundamentally conveys this; however the performance does lack some scandalous moments. ‘Jonah and Otto’ was first staged at the Royal Exchange Theatre, in 2008, which introduces us to ancient and nervous minister, Otto seems to be a lonely individual, even though he's married with four daughters, finds comfort in himself by talking to a wall, as was caressing it too.  He soon converses with homeless, impenitent, and practical joker, Jonah, who is carrying an immense amount of hurt in his heart, and has a mentally unstable mind. It appears that the two have some similarities; such as the mental instability, on the other hand, their backgrounds and position in society are massive miles apart. In addition, Otto is surprised when Jonah reveals that he's a father, so Otto takes pity on him, and offers him some money to support the child and Jonah’s mysterious nature is expressed when Otto’s wallet is supposedly missing, but it suddenly reappears from under a pavestone. Progressively, we come to learn that Otto’s eldest daughter has been left disabled due to a horrific accident when she was a young girl, this instils a sense of sympathy towards him, and of course it enables us to see his vulnerable side. Jonah is conjuring a plan as the mother is his child is actually in France, and is desperate to be reunited with her as his life can return to a more positive state. To ensure that this is completed with triumph, he astonishingly and magically changes into Otto’s more refined outfit to ensure he is well respected and well-groomed. Of course Otto is angry that this has happened, but he understands that Jonah has to dress appropriately to be really reunited with his lover. Holman’s narrative is somewhat compelling as you’re allowed to witness two men, in different stages of the life appear to be suffering with similar conditions, then again, the dialogue does lack some emotional strength when the characters are explaining the traumas that they have occurred. One found the performances by the company of ‘Jonah and Otto’ were quite pleasing to the critics’ eyes as their voice and movement executions were incredible appealing. Peter Egan is wonderful as the lonesome vicar, Otto; especially when we observe his compassion towards Jonah, and his daughter. Moreover, his understanding of Jonah’s plight was particularly comforting too. Alex Waldmann is intriguing as the charlatan, Jonah; particularly when we see him magically changing out of his unsavoury clothes into Otto’s smart attire, as well as his movements of the characters’ spasms were achieved with tenacity and ease. Tim Stark’s direction was discreet here as we are we have been allowed to witness the story of two troubled people who are experiencing quite a lots disappointing and upsetting moments within their lives, as well as understanding the mental unsteadiness within all types of people. Unfortunately, some of the scenic transitions could have worked more fluidly throughout the performance. Simon Bejer’s design is severely minimalist and disappointing as there appears to be a lack of full creativity due to the fact that the Park’s exposed brickwork is the only aspect of the set here, additionally, the cloud aspect of the set were not comprehended with as much precision as you’d expect, which is quite lacklustre. Overall, the experience of ‘Jonah and Otto’ was watchable, but one finds that there needed further work to enable a more cohesive production.