'Measure for Measure' Shakespeare's Globe ***

What transpires when the Duke makes a choice to leave the city in the command of a really austere judge, and what does this mean to those who are not huge fans of individual? Moreover, the change of the city suggests who people actually respect and who categorically is in charge.  The recent revival of William Shakespeare’s 1603-1604 play, ‘Measure for Measure’ was a pleasantly convincing piece of dramatic art, as well as, the performances were pleasingly conveyed.

‘Measure for Measure’ is set in Vienna where we are introduced to Duke Viencentio who informs the people of Vienna that he intends to leave the city to venture on a diplomatic mission; as such he appoints judge Angelo to rule Vienna in his absence. The cities brothel keeper, Mistress Overdone (Petra Massey) informs Lucio (Brendan O’Hera) and the other people in the city that Claudio, an unmarried man is being condemned to death due to the fact he got Juliet (Naana Agyei-Ampandu) pregnant. As a result of a new law, this means that all brothels have to be torn down, the bawd Pompey (Trevor Fox) promises Mistress Overdone that he’ll continue working for her. Over the course of the performance, Claudio is immeasurably agitated about his death sentence, so he along with Lucio persuades Duke Viencentio to oversee Angelo’s lacklustre approach. Thankfully, he accepts this request and poses as a Friar. Escalus (Paul Rider), second in command pleads to Angelo to reconsider Claudio’s death penalty, but Angelo is unrepentant, furthermore, Claudio’s sister, Isabella (Mariah Gale) is desperate to save her brother’s life. Throughout this presentation, Isabella interrupts the Duke’s guidance to her brother, Claudio, and when the Duke overhears their conversation about Angelo’s suggestion for her to become his lover which she has declined. The Duke seizes to state his own opinion by proposing that Isabella should agree to Angelo’s offer, nevertheless, Marianna (Rosie Hilal) who was once engaged to Angelo would have sexual intercourse with him but covered up.  Those involved in the brothel industry are jailed for their crimes and are refused bail by Lucio, however, Pompey is offered parole if he aids in the execution of Claudio. Nonetheless, when the Duke suggests other prisoners to offer as a sacrifice, paradoxically, the ones that are selected by the Duke are not suitable and this causes concern to Claudio. At the finale, the Duke returns to Vienna with some sour words to say to Angelo, as well as, we learn that Claudio has been killed and this makes Isabella furious and is planning revenge, but is Claudio dead? Shakespeare’s narrative is acceptable as there are very agreeable and amusing moments present within the play; for example between Mistress Overdone and Pompey, on the other hand, there are aspects in the dialogue that could have captured more emotion.

One found the performances by the company of, ‘Measure for Measure’ to be exceedingly well depicted through gracious voice and dialect by Martin McKellan and choreographic sequences by Sian Williams. Kurt Egyiawan is grand as judge Angelo; particularly how his unremorseful nature suggests that with increased power shows how pretentious he has become, yet when he finds Isabella attractive it does suggest that he came be smouldering at times. Dominic Rowan is bounteous as Duke Vienciento; specifically when he poses as a Friar and how idea and methods of ruling Vienna is is completely different to that of Angelo and he is respected due to this as he realises that people do make mistakes. Joel MacCormack is virtuous as Claudio; especially when you see his anguish due to the fact that he is about to be killed for a ridiculous crime and when he breaks down in front of his sister it shows how much he does not want to die.

Dominic Dromgoole’s final directing role at Shakespeare’s Globe is floaty here as he has shaped a production that encapsulates the themes of justice and mercy in a titillating way as we can see the opposing views of Duke Vienceito and Angelo and their approaches to commanding the city. I would like to thank Dromgoole for his incredibly hard work and determination in his tenure as Artistic Director and break a leg in your future ventures. Jonathan Fensom’s designs are opulent as one could understand where one was in the play’s duration and the scenic elements complimented this with such finesse. Overall, the experience of, ‘Measure for Measure’ was a lovely way to end Dromgoole’sreign at Shakespeare’s Globe and with an interesting topic in the play it’s of a good standard.

'People, Places and Things' National Theatre, Dorfman ****

Addiction can be colossally hard to admit to anyone, but when the person has predicaments with owning it up to themselves, then this can cause problems for their own wellbeing. The National Theatre’s production of Duncan Macmillan’s newest play, ‘People, Places and Things’ suggests the fears of admitting an addiction and how to overcome these worries in a consideration fashion, also the characterisations were well developed.

‘People, Places and Things’ is set mainly in a rehabilitation centre where we are familiarised with theatre actress, Emma who is at present performing in a production of, ‘The Seagull’ where Emma is struggling to come to terms with separating personal and professional life. To solve her issues she resorts to taking and consuming a whole heap of substances that are not good for her. However, she realises that if she repeats this lifestyle choice she will end up dead and she then decides to admit herself to a rehab centre where she is immediately confronted with Paul (Kevin McMongale) who yells incessantly about the state of the country, in addition he repeatedly relapses as the process is not working for him. Emma, who also uses many stage names, struggles to have common ground with the Doctor and her assistant, Foster (Alistair Cope) as they are both endeavouring to help Emma confess about her addiction.  To progress on her road to recovery, Emma must talk about her addiction to a group of fellow addicts; these include Mark, Meridith (Sally George), T (Jacob James Beswick), Jodi (Jacqui Dubois), Shaun (Nari Blair-Mangat) and Laura (Laura Woodward), furthermore they have to do some role play to identify how their addictions could have stemmed from.  Paradoxically, Emma does not participate in any of the group’s activities whatsoever, which means she is hardly aiding in her own recovery, as well as, the group state that everyone in the group needs to participate in order for the entire group to recuperate their own unique problems. Over the course of the performance, we learn that Emma’s brother died at a young age which lead to her becoming reliant on drugs. She checks out of the centre but she checks herself back in again where Mark now works as Foster has committed suicide.  On the other hand, this time she is ready to fully contribute to the group’s activities and the changes are remarkable and she fully recovers from her drug addiction and graduates from rehab. At the finale, she is back home living with her parents and when she tries to apologise they are far from ready to apologise from what she has put them through.  Macmillan’s narrative is stimulating as we are observing the teething troubles of people fighting their compulsions in a very thoughtful manner and the attention to detail with the relationship between Emma and the Doctor was intriguing to witness.

One found the performances by the company of, ‘People, Places and Things’ to be superbly portrayed. Denise Gough is excellent as addict thespian, Emma; especially as she is going on a real journey of improvement for her health and sanity, moreover, her naivety and diva attitude shows how much she needs to learn about herself and it seems that her method acting technique has impacted on her life in leaps and bounds.  Barbra Marten is fantastic as Doctor, Therapist and Mum; particularly as Doctor where she guides Emma on her responsibilities as a person and she shows that her work is tremendously challenging at times i.e. Paul’s outbursts and that you have to have a rock hard persona.  Nathaniel Martello-White is great as fellow recovering addict, Mark; expressly when he confronts Emma that her behaviour in the group’s discussions is childish and unhelpful for the success of other people’s reclamations, yet he does this in a less aggressive tone as he understands the difficulties of explaining addiction to strangers. 

Jeremey Herrin’s direction is transcendent here as he has capture the tense topic with grand vigour and tenacity as we can observe the tasks that are undertaken in rehabilitation centres, additionally, why Emma has difficulties in speaking confidently about her illness. As such; this evidences comprehensive characterisations. Bunny Christie’s design is remarkable as I was instantaneously absorbed into the rehab atmosphere and it works wonders in the Dorfman space and the shattered tiled video projections by Andrzej Goulding was exceedingly creative and integral to Emma’s whirlwind addiction. Overall, the experience of, ‘People, Places and Things’ was a vastly interesting and educational one indeed.   

'The Heresy of Love' Shakespeare's Globe ***

At specific points in world history, the woman was perceived and treated as a second or third class citizen and could not perform certain jobs or practices that only men could do and when a person in the religious circuit is involved in playwriting this would prove too inappropriate. The production of Helen Edmundson’s 2012 play, ‘The Heresy of Love’ was an interesting story of the trials and tribulations of a woman who wanted to express her talents, as well as, the depictions were brilliantly portrayed.

‘The Heresy of Love’ is set in 17^th Century Mexico where we are introduced to nun, Sister Sor Juana Ines de la Cruz who has a concealed flair for writing plays, in Mexico her work is cherished by those in the courts, on the other hand, the church are far from impressed by her talent.  This is clearly visible when new male chauvinist, Archbishop Aguiar y Sejas (Phil Whitchurch) tries to prevent her work from being published, read and performed.  However, a supporter of her work is in fact Bishop Santa Cruz, furthermore, there appears to be a hint of fondness for each other that soon turns into total betrayal.  Over the course of the performance, we learn that a great deal of people in the convent are envious of Sor Juana’s abilities to compose both poetry and playwriting; such as Sister Sebastiana (Rhiannon Oliver) who schemes behind her fellow nun’s back to completely ruin her reputation. Over the course of the performance, there is another love story that is blossoming through  and that is between young girl, Angelica (Gwyneth Keyworth) and large nobleman, Don Hernando (Gary Shelford) which is also a controversial move on their part as they are witnessed snogging.  What is most tragic is that Sor Juana has to state that what she has written and that her opinions are fundamentally untrue and not worthy of being read and that she will have to renew her vows to save her life.  In addition, she will have to cease writing and that all books in Mexico will have to be burnt on a monumental fire. Her friendship with Santa Cruz is eradicated as he deceives her right in front of the court men and church, which understandably upset her immensely and before the court case, Sor Juana has been self-harming due to the pain and hurt. This has been affecting those closes to her i.e. Mother Margarita (Gabrielle Lloyd) and maid, Juanita (Sophia Nomvete) as they are seeing her misery magnify. At the final, all of Sur Juana’s books are removed to be burnt on the fire and she is soon taken to be tried for her crimes against her religion and her position. Edmundson’s narrative is a seamlessly fitting account of a woman who wanted to amend people’s views of woman and what the can achieve, furthermore, how the church sought to damage not only her status but her mental state too.  

One found the performances by the company of, ‘The Heresy of Love’ to be wonderfully performed through noble voice work and abundant movements. Naomi Frederick is boundless as lead role, Sor Juana; primarily where her alliance with Santa Cruz is pleasing to the eye and along the way his disloyalty surprises her to the point where she commences a process of self-destruction and forces her to have emotional breakdown.  Anthony Howell us decent as Sor Juana’s so-called friend, Santa Cruz; largely how villainous we see him becoming as he knows that his association with Sor Juana will cause challenges for his chances to succeed Archbishop Aguiar Y Sejas as new archbishop of Mexico.  

John Dove’s direction is tolerable as he has staged a performance that permits us to see how women were treated in the 17^th Century and how males dominated them in a ghastly manner which is depicted through Sor Juana’s constant demeaning.  Besides this, the immersive elements at the start of the performance were great too. Michael Taylor’s set and costume designs was slightly substandard at times as I was frequently confused by my whereabouts was. The costume constuction was impressive so well done to Jane Colquhoun, Jane Conin, Charles Hanrahan, Glen Hills, Megan Howell and Elisa Threadgold. Overall, the experience of, ‘The Heresy of Love’ to be a prodigious show indeed but the set design does let the production down.     

'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.