Kitchen Sink, Bush Theatre, Shepherd's Bush

The Bush Theatre has moved to a gorgeous new venue on the Uxbridge Road, conveniently close to my house. I've never been before and was drawn by glowing reports from various friends about the current show, The Kitchen Sink. This new play from Tom Wells is acutely written, displaying wit and warmth in an endearingly modest fashion. It offers tenderness and hope and is the perfect play for Christmas.

Set in Withernsea, a crumbling seaside resort in Yorkshire, the action involves a normal family dealing with daily struggles; we follow them through the four seasons of a year. The father, Martin, is the most traditional member of the family, a good man turning sour as he loses his broken milk float and his livelihood slips away from him... he likes life plain and simple. His wife, Kath loves her family unconditionally, she is resilient and caring, the pillar of strength who everyone relies on. Their overtly gay son, Billy idolises Dolly Parton, and desires nothing more than to win a place at art college in London, though once he is there feels totally out of place among the pretentious arty types commenting, “I’m not wearing ripped jeans. For anyone. Life’s draughty enough.” Feisty daughter Sophie plans to qualify as a ju-jitsu instructor but her plans are scuppered after a mishap, punching her chauvinistic teacher landing him in hospital. She is entirely unresponsive to the timid advances of Pete, a nervous young lovesick plumber, who is forever hanging around to fix the faulty taps!

Tamara Harvey directs this play beautifully and subtly, and designer Ben Stones has created a fully functional shabby kitchen for the play. It is lovely watching the family move about cooking, eating, drinking and washing up and the play works superbly well in the round. The acting is sublime, so believable and realistic we wondered, on the way home if they all had those particular northern accents or not, as they sounded so genuine, the dialect coaches must be congratulated. The characters are so likeable - by the end I felt I cared deeply for each of them, the five cast members produce such natural and fluent ensemble work, the parts seem written for these very people.

There are hilarious interchanges between husband and wife, Steffan Rhodri as Martin and Lisa Palfrey as Kath. Martin cannot understand it when Kath tries to spice up their lives a little by cooking couscous instead of potatoes or laying on an unconventional sushi dinner instead of turkey for Christmas. She gives him chocolate body paint for Valentine’s Day, they eat it on toast! Siblings Ryan Sampson as Billy and Leah Brotherhead as Sophie produce brilliant characterful performances, they are mesmerising to watch. But it is Andy Rush as Pete who caught my eye most, he is utterly convincing as the shy plumber boy, who after losing both his parents, must live with and look after his eccentric gran. Rush somehow manages to be both deeply touching and hilarious.

There are so many unrealistic sitcom type dramas about, it is wonderful to watch a genuinely moving narrative about a family who are just getting by; it is, after all, what so many people’s lives are like. As Kath puts it “All I want… is for the four of us to just: manage. That is all I want.”

Kitchen Sink is a poignant and utterly gripping play, definitely one of my theatre highlights of the year.

Visit the Bush website for more information here.

Judgement Day, Print Room

Judgement Day is a new version of Ibsen’s “When We Dead Awaken”, adapted very comprehensively by Mike Poulton and staged, for the first time at The Print Room. Ibsen is not my favourite playwright, and I often find myself expecting the worst - lengthy and wordy, his plays can be quite overwhelmingly full on. Judgement Day runs at only eighty minutes and, without an interval, is a dramatic and consuming piece for the audience.

Ibsen’s play gives a creepy insight into the life and preoccupations of a tortured artist, Arnold Rubek. After creating his ultimate, highly regarded work, the master sculpture ‘Judgement Day,’ Rubek has become deeply unsatisfied and consequently angry. He resents his young optimistic wife and searches desperately for inspiration. Holidaying away in a spa hotel, his past love and muse Irena appears, mysteriously dressed in white and accompanied by a nun. She reignites his passion and he hopes for the future of his art now he has again found his inspiration, however Irena seems unable to give him what he so urgently desires. This is a poignantly autobiographical piece, and like Rubek, Ibsen is critically examining and scrutinising his artistic output.

The production is engrossing and powerful, though at times a little too melodramatic, with little thematic journey. Michael Pennington is compelling and impressive as the frustrated artist. He manages to portray a weary man with a crazed fire in his eyes, and his devotion and energy onstage is commendable. Penny Downie plays the impossibly possessive Irena, Downie commits to the role but seems a little daft at times, wafting around the stage wide eyed. I loved watching Sara Vickers as the young trapped wife of Rubek, she is suitably feisty and works beautifully with Pennington.

Despite the attractive adaptation and some intuitive directing from James Dacre, no one can deny that this play is bizarre and perhaps a little self indulgent. As ever, the Print Room is brave with its programming choices and luckily here the acting is superior enough to pull it off.

Judgement Day continues until 17 December, book here.

THOROUGHLY MODERN MAN: Goodbye Barcelona, Arcola Theatre

Firstly, the writers K S Lewkowicz and Judith Johnson must be commended for writing a musical about such a notable and tragic period of European history, and also for the sensitive way in which they have put this show together. For the press night a considerable number of Spaniards were present, and their reaction at the end spoke volumes about the emotional power of the evening.

Although 'Goodbye Barcelona' is not an account of a true story, it was largely inspired by interviews with five surviving Brigaders (men from across Europe who volunteered themselves to fight Franco's Fascist army during the Spanish Civil War.) The Republic forces resisted the Fascists for nearly three years despite the 'Non Intervention Policy' from Britain and France meaning that they were unable to purchase weapons, while the Fascists were supplied with state-of-the-art military equipment and personnel by Hitler and Mussolini. This whole period is glossed over by the History curriculum, and the fact that British men and women were among those who supported the movement is an almost unobserved fact. The great significance of the period is that it stands on the brink of the Second World War, and marks the beginning of the great fight against fascism. It is a terrific backdrop for theatre.

For the most part it succeeds. There was certainly an air of 'first night' about the opening half an hour or so: the cast were trying so hard to sell the show that they lost their way somewhat in the telling of the story. The musical opens in London's East End, and it was these opening scenes that seemed a bit jagged and over-cooked - not all the jokes were landing, and you could feel the nervous energy gathering. But once the action transferred to Spain and we heard 'La Pasionaria's Welcome' the cogs began to turn nicely. (The sporadic musical appearances of Laura Tebbutt's La Pasionaria were sung with real Spanish gusto and commitment.)
Spain arrives in a blaze of red sunrise, and the introduction of Pillar (Katie Bernstein) brings a real injection of positive energy to the play. Bernstein plays the role with such senstivity, hiding her grief and desperation behind a front of sensuality, confidence and Iberian determination. She grew with the performance, and with each scene you could feel her stripping away layers of Pillar's defences, baring herself to Sammy (Tom Gill), the eighteen year old East-End lad who is guided to Spain by his conscience and personal experiences of fascism. He is another who grew with the performance, and gave a highly convincing portrayal of a young man's fear in the face of brutality and war.

Sammy's mother, Rebecca (Lucy Bradshaw), is tortured by her son's departure, and leaves London to follow her son to Spain, becoming a volunteer nurse. She gave a beautifully measured performance, never indulgent or over-played. It was a shame that some backstage clunking and flapping scenery got in the way of some of her more poignant moments. Hopefully this will be remedied as the run continues.

The two stand out performances of the night were Mark Meadows, as the tortured soldier, Jack, and John Killoran as the wounded anarchist, Ernesto.

Mark Meadows' impressive CV reveals is the former musical director of the world-famous singing ensemble, The Swingle Singers. He has had an impressively varied career, performing with the ground across the world, including in La Scala, Milan, and recently having finished playing Frank Lockwood in 'Betty Blue Eyes' on the West End. In 'Goodbye Barcelona' he plays Jack, the essential comic ingredient. He knows how to make a joke stick, and that is vital in getting this show of the ground, and for providing the relief to the tragic backdrop of the show. Like Bernstein, he covers his own grief behind a wall of glossy confidence and cockiness, but his own history and experience is never far from the surface.

It is John Killoran who won it for me though. His relationship with Bradshaw is played out beautifully. What begins as some cheeky back-chat in a hospital ward quickly crescendos into something more serious, and, in the most unlikely way, the relationship between a Spanish anarchist and an East End widow becomes the most endearing and compelling plot-line of the whole show.

Ultimately, the show succeeds in hitting the spot - the second half is particularly well-tuned. But like so many musicals the story itself is slightly tarnished by failing to fully balance the score with the play. Occasionally, I felt that I was listening to dialogue which was only serving to pave the way for a new song. So few musicals really get this balance right. The music really needs to be blended into the text in order to get the right effect, particularly in shows which deal with such grandiose backdrops as the Spanish Civil War. For me, it is one massive reason why Les Miserables continues to enjoy such success around the world, and why Sondheim succeeds in creating such magic again and again: the linkages between spoken text and singing seem so seamless that you are barely aware of them. None of this should dissuade you from seeing and experiencing a wonderful night of theatre!

Goodbye Barcelona continues until 23 December, buy tickets here.

Written by a Thoroughly Modern Man, Alex Knox.

Three Days in May, Trafalgar Studios

Three Days in May is a history lesson, Winston Churchill and his war cabinet argue about the difficult situation between the British and the Nazis in May 1940. If I'm honest I didn't know much about these crucial three days in our country's history, and I left the Trafalgar Studios feeling much more educated but slightly ashamed of my pathetic historical knowledge.

Phenomenal casting brings this play to life, the obvious star of the show is Warren Clarke as Winston Churchill, who lives and breathes as the great leader. He is so convincing it could be mistaken for an impersonation... apart from looking almost identical, his croaking voice and gestures feel perfectly judged. The rest of the cabinet are suitably austere and the ensemble acting is on pointe throughout. The only actor I found a tad irritating was James Alper as Jock Colville, Churchill's young assistant. Alper is a narrator-like character and is rather pompous and patronising, over-annunciating every word and lecturing the audience.

The set by Gary McCann is bland and as a plain backdrop doesn't help the actors much. Though the acting was impressive, this is not a particularly thrilling topic for a play and at times I felt bored, luckily the Trafalgar Studios sells particularly yummy mint choc chip ice-cream which revitalised me in the interval and I enjoyed the second half more.

Three Days in May continues until 3 March 2012, book here.

Love Question Mark, Tabard Theatre

If, like me, you are a bit cynical about marriage then 'Love, Question Mark' might be a play for you. This quirky new drama is currently enjoying a run at the adorable Tabard Theatre in Chiswick. The piece addresses the all inclusive topic of LOVE, what it means and why it exists; it is a sad but witty comedy designed to make you think.

With only two actors in the cast, it is certainly a direct and engaging production, the audience is often addressed and included in the drama. At times though, the action is so bizarre and aggressive that I was perplexed and confused about the message.

In brief, the play seems to be a loose comparison of marriage and prostitution, examining how society has shaped these conventions and stereotypes. The programme quotes Simone de Beauvoir: "the only difference between prostitution and those who sell themselves into marriage, is the price and length of contract". As 60-something year old Stuart Sessions loses his wife, after 32 years of marriage, he is forced to seek sex elsewhere and he believes hiring a Russian prostitute to come and live comfortably with him is the ideal solution.

The set is minimal - a standing screen saying LOVE is placed on one side of the stage, staring at us throughout so we can never forget its presence, or threatened absence. Michael Smith and Clare Cameron take on the massive task of delivering Robert Gillespie's controversial drama to us; quite how they remembered such vast monologues is still a mystery to me. Smith is frank and expressive but when onstage alone I found his speeches a little awkward, he insists on constant eye contact which is often unnerving. Cameron is a mistress of accents and manages the Russian well, throwing her weight around as the experienced lover though is never entirely convincing.

Robert Gillespie definitely has something to say with this drama and I admire his conviction with that, but no matter how engaging and energetic the actors make the narrative, it stretches credibility.

Love Question Mark continues until 23 November, book here.

THOROUGHLY MODERN MAN, guest blogger: Next Time I'll Sing to You, Orange Tree Theatre

Next Time I'll Sing to You, at the Richmond Orange Tree has a brilliant ensemble with some real star turns:

Roger Parkins (Meff) delivers a strongly felt comedic performance in this, his professional debut; Aden Gillett (Rudge) brings a winning mix of passion, inventiveness and humour to the role of 'the creator', Rudge. His speeches have great clarity and space - he speaks at his own pace (a real lesson to so many actors), and he savours his lines. It is a terrific performance.

The star of the show is undoubtedly Jamie Newall, 'the Hermit'. Towards the end of the play, Newall circles the Orange Tree stage, wearing in his frayed hermit rags and saintly beard, clutching his pocket-sized bible; his eyes are fixed on the movements and discussions continuing stage-centre, but something tells you that his thoughts are far from the action and indeed the theatre. His on-stage character becomes so wrapt up in the part he is being directed in, that he gradually ceases to be himself - you get the sense that Newall goes through this same journey. It is wonderful to watch.

The Richmond Orange Tree theatre is in the round, which always creates challenges for a director. Anthony Clark does a wonderful job, constantly changing the positions and angles of the actors. Communication has been made a clear focus. Audience members are directly addressed throughout the play: eye contact is made, and fleeting moments of improvisation break down the invisible barrier. This is just one of the objectives in a complex play by the late James Saunders. It is an examination of the human mind: to see humanity through the eyes of a single man (the Hermit). But although it is challenging to an audience on many levels, it is also incredibly funny. Holly Elmes' speech at the beginning of the second act is theatre comedy at its best. Look out for Brendan Patricks too, whose dry wit is set against the clownish humour of Roger Parkins. Fans of Downton Abbey may recognise Patricks as Evelyn Napier from the first series.

The Richmond Orange Tree is a wonderful place, a few metres from Richmond station. It was one of the first theatres I went to as a child, and it always has a certain magic for me. This is a rare chance to see this strange but hilarious and thought-provoking play. Don't miss it.

Next Time I'll Sing to You continues until 10 December, book here.

Written by a Thoroughly Modern Man, Alex Knox.

The Changeling, Southwark Playhouse

The Changeling is a tale of passion, of love and hate, desire and vengeance. In the coming months two productions of Thomas Middleton and William Rowley's play are showcasing on London stages. I saw the first, the smaller of the two shows last week, a very impressive first offering from the Production Works company at the Southwark Playhouse.

There is little narrative to understand, basically a whole lot of sex and murder, and with the substantial cuts these aspects are emphasised even more. The lead couple are sizzling hot... Fiona Hampton has an evil sparkle in her eyes as the wicked and beautiful Beatrice-Joanna and David Caves is fabulously animalistic as the hunk, De Flores. The chemistry between them is electric, to mix a metaphor.

The young Rob Heaps as Alsemero and James Northcote as Alonzo de Piracquo also give notable performances really exerting themselves in this demanding piece. There is a slightly lacklustre performance from Jonathan Benda as the father, Vermandero, his reactions are rather vacant and he seems reticent to portray sorrow or happiness.

Little known director, Michael Oakley should be commended on his exciting and unique adaptation of this famous play. His use of voice-overs for the frequent asides is brilliantly utilised and makes the whole production very expressive and affecting.

This is a firecracker show, an experimental but enthralling portrayal of a classic English Renaissance play. The Production Works are certainly a theatre company to watch.

The Changeling continues until 26 November, book here.

13, National, Olivier Theatre

13, Mike Bartlett’s new play at the National Theatre is not the best show to see if you suffer from nightmares already, which I do... it is intended to scare. Set on an intimidating stark stage, it is another dreary morning in London: students are rioting, war is looming and everyone is waking up from the same identical haunting dream, but no one knows what it means.

Most obvious to me is the similarity of 13 to Bartlett’s earlier work, ‘Earthquakes in London’ which received rave reviews last year in the National’s Cottesloe Theatre. 13 feels like yet another play depicting the discontent and gloom of modern society, showing London to be a depressing well of misery and debating the political unrest for far too long. But whereas Earthquakes in London was slick and illuminating, 13 doesn’t say anything very new.

After a fast paced and eventful first half, the second half is weak and dull in comparison. Focusing solely on the impending war, the other issues thrown up at the beginning are left unaddressed and unanswered. We are left watching a stale and dragging political conversation and I walked away feeling dissatisfied and disappointed.

I went to the first preview so allowances must be made for some imperfections and the cast mostly acquitted themselves well. Adam James is suitably self involved as Mark the disillusioned lawyer, he is distracted by the recurring nightmare and desperately searching for an explanation, his rapidly escalating terror is captivating to watch. Lara Rossi as student Holly is memorable, she strides about the expansive stage and looks at home at the National. Terrifying, frank young Grace Cooper Milton is astounding as Ruby, despite being the only child in the cast she, at times outshone her onstage parents with her convincing tone and presence.

It is a big cast and a challenging play to produce for director Thea Sharrock, but I feel her vision just isn’t as inspiring as Rupert Gould’s impressive production of Earthquakes in London. It is also not helped by the vast stage, the Cottesloe's scale added to the impact of Earthquakes, here in the huge Olivier all the intimacy is lost.

13 Continues until 8 January, 2012, book here.

Jumpy at The Royal Court

I really enjoyed Jumpy at the Royal Court, often the experimental plays performed at this boutique theatre encourage you to think too much, but April De Angelis’ new drama is just the right mix of fun and thought provoking subject matter. There is nothing terribly groundbreaking perhaps about the theme: a life-after-fifty crisis for a middle class married couple and their difficult teenage daughter... but what is wrong with that?

Writer April De Angelis has a way with words, and the Royal Court seemed to catch alight with laughter at her witty script. It helps that the play is led by the great comic actress, Tamsin Greig who commits to the role and adds a spark of her own personality as mother and wife-in-despair, Hilary. Greig is ultra-relatable and manages to be funny, desperate, angry and timid so naturally that you wonder if the part was written for or about her.

As ever, the Royal Court operates a slick production with sharp lighting and music shifts to match the action. The set, a plain white box, allows the drama to bounce off the walls and seems to magnify every emotion, though at times I wished for a few more props. The cast work together beautifully as a team, with particular chemistry between Greig and her on stage daughter Bel Powley as Tilly.

Doon Mackichan is absolutely hilarious as Frances, Hilary’s best friend; at times her scenes with Greig reminded me of similar situations in ‘Absolutely Fabulous’ and looking at her resume, I realised that I recognised her daft but brilliant humour from tv series ‘Smack the Pony’! Sarah Woodward is suitably cruel and calculating as mean mum Bea, but the actor who made me really giggle was Richard Lintern as Roland. Lintern is charismatic and naturally funny and with De Angelis’ fast paced jokes, he excels.

You can’t complain when you come out of a play with cheeks aching from laughing, and after Jumpy I really did. April De Angelis carefully balances humour and deeper meaning to create a play that resonates.

Jumpy continues until 19 November, book here.

Jerusalem, Apollo Theatre

Jerusalem (the anthem) immediately denotes patriotism, in fact I sang it for the English Rugby team in the middle of the pitch at Twickenham once upon a time and with my national hat and scarf on, I certainly felt like a mascot for my country. Jerusalem (the play) deals with associated themes.

Jez Butterworth’s unique drama is “a comic, contemporary vision of rural life in our green and pleasant land”. The play comments on modern day mores and antics while lamenting the loss of freedom and corruption of country life. It is the eve of the annual Flintock fair, and the new May Queen is to be crowned. Johnny “Rooster” Byron, local daredevil and leader of the wandering rebels, is protecting his home and existence which are both under threat from the local townspeople who are petitioning to evict him. He is unperturbed and continues on with his rowdy drunken parties and drug fuelled gatherings.

Mark Rylance, tour de force extraordinaire, makes this play what it is and I just cannot envisage it having the same success without him. In fact as I attended a Saturday matinee, I was terrified I'd only see an understudy as is often the case in the earlier weekend performances. But Rylance was there, in his full glory, and just as magical as I had heard he was. He must now be used to daily standing ovations. Playing this unlikely hero, Rylance seems to embody the character in such a seamless fashion that it is impossible to find where one man starts and the other continues, it is completely mesmerising to watch.

There are other outstanding cast members too, MacKenzie Crook excels as Rooster’s sidekick, wannabee DJ, Ginger. Dazed and out of it, he stalks about the stage provoking hilarity as if by mistake. Danny Kirrane is utterly convincing as the slightly plump abbatoir worker and Johnny Flynn is his usual aloof self, which fits for the part of Lee, the boy who is radically going to leave Wiltshire. I saw Flynn in a similar role in The Heretic (Royal Court) and the similarities are uncanny.

The design by Ultz is first rate, an atmospheric woodland grove, I could tell it had originated from the Royal Court as its slick naturalism is of the same genre. We are confronted with a silver mobile home, a sodden sofa and many, many cans of beer, bags of drugs and other detritus in a clearing in the Wiltshire countryside. The design is so vivid, the trees are windslept and appear real, mud coats the floor, and live hens, a tortoise and goldfish! appear on stage.

Back in the West End and better than ever, Jez Butterworth’s ‘Jerusalem’ is a must-see. Book tickets here.

The Pitmen Painters, Duchess Theatre

When I walked into the Duchess Theatre to see The Pitmen Painters, I had no idea what the play was about. I assumed from the title that art and painting would have a major role but aside from that I didn't know what to expect. On press night the theatre was full and had a real buzz, obviously everyone else was intrigued too.

The Pitmen Painters is set between 1932 and 1947 and documents the lives of a group of working class pitmen who turn to art to learn and escape the harsh reality of their jobs in the mines. With the encouragement of their teacher, they create work that is both sensitive and beautiful; it is a revelation to themselves and the world. Through their own experiences and creations they learn what art ‘means’. I found the story very powerful and moving, a real narrative that translates wonderfully to the stage.

We were in row B, very close to the stage, so close my neck ached by the interval, and the fountains of spit from the energetic and angry actors were not far from our faces! Though the real Pitmen Painters consisted of over thirty members, writer Lee Hall focuses on five men to depict, characters that are all based on their historical namesakes.

After hearing so many dodgy accents recently, I was delighted by the cast of Pitmen Painters who all seem totally at ease with the Geordie accent, it is believable throughout. The acting is superb, each and every man seems totally involved in the play and manages to balance the feelings of enthusiasm and confusion towards the new found interest. Trevor Fox is astounding as the most talented artist, Oliver Kilbourn, his nuanced performance is very affecting and made me feel both joy and sorrow with him. Joe Caffrey expends endless energy as the sniffling grumpy WEA union official, though convincing and hilarious he shouts perhaps a little too much. Ian Kelly strikes a contrast with the pitmen as the posh uptight art teacher who is initially perplexed by the men but gradually becomes devoted to them and their work.

I felt genuinely sad at the end of the play when, despite all their efforts and exhibitions these ‘Ashington Painters’ remain unknown and their artwork seemingly forgotten, hopefully this play will help to revive interest in these talented heroes.

The Pitmen Painters continues at the Duchess Theatre until 21 January, 2012. Buy tickets here.

Victoria Station/ One for the Road, Print Room

Pinter is never easy to produce or perform, but the Print Room proves its worth with an affecting evening of two of the playwright's shortest pieces. One for the Road and Victoria Station have not been performed together since 1984, and though some may doubt the pairing, I thought it worked remarkably well. They are poignantly split by only a few seconds blackout.

This dark double bill will shock but is also surprisingly funny. Both plays focus around disturbing power struggles. For Victoria Road this is between Driver 274 and the increasingly frustrated cabbie controller who is unable to persuade his colleague to cooperate on a job. In One for the Road the actors are reversed and we see a more vindictive and scary partnership between victim and controller, a tale of torture. Rather more concentrated and uncomfortable than the first play.

The Print Room space has a sensible adaptability about it, which enables the theatre to produce highly diverse and ambitious productions every time. For these plays the room is cleanly set out in a minimalist fashion, a few necessary props become crucial to the action, and the empty space between allows the tension to hang in the air.

Keith Dunphy and Kevin Doyle are utterly mesmerising as the alternating duo. Both actors are able to switch, in an instant, to an entirely different character and frame of mind. Doyle, transforms from terrified and bewildered cab driver to sinister interrogator, questioning and terrorising Nicolas (Dunphy) and his family. While Dunphy goes from a commanding controller to a nervous bullied and beaten wreck in the second play. Anna Hewson adds another dimension with her painful rendition of the suffering wife, and Thomas Capodici is very convincing as the young son.

Press night was a roaring success, a completely full theatre (I was sandwiched between two other young reviewers) and a very positive and lively drinks party afterwards. Thanks to Jeff James’ insightful direction and a small cast of clever and committed actors, this double bill is fresh and exciting and brings a new perspective to two of Pinter’s rarely performed plays.

One for the Road and Victoria station will be at the Print Room until 1 October, and at the Young Vic from 6-15 October, book here.

The Faith Machine at The Royal Court

‘The Faith Machine’ is a loaded title for a play, despite the central topics of faith and capitalism it seems a little over dramatic to me. Alexi Kaye Campbell’s third play is staged at the Royal Court Theatre after his first two plays received exceptional responses from audiences and critics. I went along to the UK premiere, and joined the excited throng. I spotted several familiar faces in the crowd, including a certain famous bald actor who I struggled to identify throughout the evening, a challenge that kept me quite preoccupied. Finally my blackberry answered my vague question – bald actors' names? He was, in fact, Stanley Tucci from ER.

The Faith Machine is set over ten years and follows the lives of a young couple, Sophie and Tom, their inevitable connection and the consequences of their choices as young adults. It begins on a fateful morning in New York - Sophie requires an answer from Tom, a decision that will change both of their lives forever.

In fact, the story reminded me of ‘One Day’, the David Nicholls book that has just come out at the cinema. Essentially the message that love conquers all is a constant in both narratives. Both focus on a young couple, a strident girl and a less strong minded boyfriend; and although One Day is more trivial, the overriding message feels the same, a girl on a quest to prove something and make a difference. They conclude with parallel tragic endings.

The Faith Machine jumps to and fro within the ten year time span, making the production at times rather incoherent. Sophie’s father, Edward, is the pivotal character; a bishop who, after dedicating his life to the church, is now furiously rebelling against its beliefs and rules, threatening to leave forever. He is the voice of change and reason throughout the play, and the affecting force in his daughter’s life. Of the cast, I found him most convincing, thanks to a wonderfully thoughtful performance from Ian McDiarmid, who I recently saw in the National’s Emperor and Galilean. Kyle Soller as Tom and Hayley Atwell as Sophie both have an appropriate eager youthfulness to them, and give fine performances as the leading couple, though they both seemed a little shaky at the start.

The set is bare, with very few props to assist the actors. Mesmerising film projections from Lorna Heavey fill the gaps between scenes and add an ethereal touch. Director Jamie Lloyd seems to focus attention on the dialogue, cleverly written by Campbell to reflect each character's nationality. It is an intense piece and I felt alert throughout, despite the lengthy running time. Even if a little baffled by the overall message conveyed, on the whole I found this production appealing and now am keen to experience some of Campbell’s other work.

The Faith Machine continues until 1 October, book here.

Richard III, Old Vic

Kevin Spacey’s limp body dangling upside down high above the Old Vic stage is an image that I will never forget. The success of the current production of Richard III at the Old Vic is very much thanks to Spacey and his utter devotion to the title role, the strenuous rendition of the conceited monarch.

The narrative has elements in common with Emperor and Galilean, Ibsen’s epic play that I recently saw at the National Theatre. The story of a man’s Machiavellian rise to absolute power and the struggles he incurs on the journey. Richard III is rather less humane than E&G with several bloody killings helping Richard reach the throne. Miraculously Spacey manages to bring both humour and authority to this role, playing this nasty calculating man as a modern dictator and evoking such a depth of character that he commands the stage throughout.

The play is long, and at times complex, and yet director Sam Mendes manages to deliver a slick show that is surprisingly coherent. Words are projected on stage prior to each scene to show the arrival of new characters - stylish announcements that make the production refreshingly clear. It is presented in modern dress, a decision that manages to revitalise the Shakespeare text while making it all the more exciting and eccentric. Mendes and Spacey have worked together several times before, and this production surely proves more than ever what a successful artistic partnership they make.

There are strong performances from much of the supporting cast: the women are particularly dazzling in this male dominated cast. Annabel Scholey is very convincing as the striking Lady Anne and Haydn Gwynne as the grieving Queen Elizabeth. I felt Chuk Iwuji overdid it slightly as a very keen Buckingham, Richard’s cousin. Designer Tom Piper has created an imposing, stark box stage that is later transformed to reveal a long corridor. Doors line the two walls that allow characters to sweep in and out dramatically, and also help with swift prop changes.

I particularly enjoyed the hilarious scene towards the end that uses a large screen to show Richard’s fake reluctance to accept the request to be King. He pretends to be praying and spurs his subjects on as they beg and beg him to take the crown. Spacey’s wonderful interaction even through a screen is amusing, though the characters placed to clap and shout among the audience sounded a little hesistant and lost. The whole cast take part in the finale, each person has their own drum to bang violently in rhythm... it is a spectacular group effort, in perfect unison.

This production of Richard III is mesmerising, and a rare chance to see Kevin Spacey doing what he does best, however at three and a half hours, it needs to be cut to reach a five star rating.

Richard III continues until 11 September, book online here.

Journey's End at Duke of York's Theatre

It was strange returning to the Duke of York’s Theatre, my last visit here was for the terrifying Ghost Stories, for which the theatre had been elaborately decorated with duct tape and hazard warning signs. This month it plays host to R.C. Sheriff’s ‘Journey’s End’ returning to the West End for only fifty-five performances before embarking on a National Tour.

It is a devastating story, based on the author’s own experiences of life in the trenches. A brave young group of officers face the tragedy and terror of the Great War with courage and humour. We are invited to watch this compelling homage and to remember the men that sacrificed so much for their country. I was first struck by how instantly absorbing this script is. Sheriff writes in such a natural but exciting way - conversations that might first appear mundane are utterly enthralling. There is also a degree of poignant realism: he understands and knows the pain these men endure.

The play is brilliantly executed thanks to the powerful vision of director David Grindley; he draws on the smallest subtleties and nuances in the script to create an intense piece of drama. It helps that the all male cast are faultless, presenting themselves with such conviction that it is painfully moving from start to finish. Graham Butler is exquisite as the young hero worshipper, Raleigh. He is the newest and youngest addition to the company arriving with an insatiable energy. His commanding officer Captain Stanhope is quite the opposite, despite only being three years older he is bitter and hardened by his time at war. He no longer wishes to remember his schoolyard friendship with Raleigh, challenging the younger boy harshly. James Norton gives a mesmerising performance as the bullying Stanhope, despite the ugly character traits, he manages to show a sensitive side occasionally that makes this character remarkably human.

Designer Jonathan Fensom has created a simple but effective set that really draws you into the action. Only using half the height of the stage, it is a claustrophobic dirty trench, equipped with only the meagre necessities. There are no scene changes and yet somehow the play remains thrilling throughout - perhaps it is the close proximity that keeps it exciting. The curtain call sees the men silhouetted against a list of fallen heroes - it is a tragic contrast to the cramped trench setting.

Despite being written in the 1920s Sheriff’s account of the First World War experience remains a profound, touching and undated memoir.

Journey's End continues until 3 Septmeber, book tickets here.

London Road, National, Cottesloe Theatre

After a ridiculously successful initial run, 'London Road' has returned to the National's Cottesloe Theatre for a limited period. This original innovative drama is based on the horrific real life events of Autumn 2006, when five prostitutes were found dead in Ipswich. Surprisingly the piece grew out of an experimental workshop at the National Theatre in which unlikely collaborators were brought together. Writer Alecky Blythe interviewed those on the periphery of the case – residents of the area, and inhabitants on London Road (the road the murderer lived on), cameramen, and other press. He then used their words, transforming their speech into drama, a technique known as verbatim theatre.

We witness exactly how the events have affected a small segment of the community, the Neighbourhood Watch committee. They assemble regularly to discuss their feelings and actions and through them we hear about the updates in the case, most importantly if the murderer has been caught and convicted?

It is odd to think of a drama with such a subject as a musical, a light-hearted genre that you would assume would not suit such a sombre story. However the music makes the piece all the more powerful, adding a sensitivity to the topic and giving a poignant voice to these everyday people. The music is utterly stunning, a brave offering from composer and lyricist Adam Cork. Using the natural speech patterns, Cork creates a very affecting score that uses frequent repetition and banal words to sound more natural. The musical influences are broad, minimalist at times, jazz based in other passages. A small band provide a solid instrumental accompaniment in a little space above the stalls.

The cast do a marvellous job presenting eleven well-rounded, ‘normal’ central characters while also covering fifty-two other parts between them! It is a great team effort to pull off this ensemble piece, and no-one lets the side down, each and every actor excelled on the night I was attended. I was particularly impressed with Kate Fleetwood’s portrayal of Julie, the Events organiser who suggests the idea for ‘London Road in Bloom’ a flower growing competition that brings the group closer. She shows great depth and empathy as this hopeful woman. Claire Burt and Nicola Sloane are also fantastic both offering witty innuendo to the play. I was amazed by the secure musical performance, the solo and tutti singing are both faultless in a score that is filled with tricky harmonies and challenging melodic progressions.

Visually London Road is a joy, a simple layout that provides endless staging possibilities for director Rufus Norris. Aside from the hovering plant basket installation, there is one mesmerising scene when a white suited investigator weaves in and out of the stage stretching warning Police tape in zigzags trapping the characters.

Some may be offended by this frank piece of drama, but I'm sure most will be touched by how utterly human it is: a thought-provoking, startling musical play that illuminates how one awful event can dramatically affect and alter a normal community.

London Road continues until 27th August; if all seats are sold out it is worth calling on the day for standing tickets or cheaper day seats - details here.

Pericles re-imagined, Regent's Park Theatre

The warning: "suitable for children 6 years and up" told me immediately that this was not to be your standard Shakespeare production. Sure enough, I seemed to be the only audience member without an excited child on my arm. As we entered the auditorium for the 10am Sunday performance (no weekend lie-in for me) I was handed a flimsy programme that cleverly opens out to be made into a pirate's hat. Pericles re-imagined is a new production being performed in the magical Regent's Park Open Air Theatre, an adaptation of the classic play that caters for the whole family.

The play is abridged with the first two acts of Shakespeare’s original script omitted, and yet the narrative stays very much intact, a surprisingly coherent plot despite regular jumps back and forth through time. Director Natalie Abrahami gives the focus to Marina, a pretty young girl, born dangerously at sea and left to be brought up by an evil guardian Dionyza. She is kidnapped by pirates and forced to perform as a singing mermaid in a circus show. While we watch her maritime adventures, we are also very much involved in the quest to find her long lost father.

A tiny cast of six take on all the play's characters, resulting in some very tricky but brilliantly managed character switches, which are genuinely hilarious at times. Hara Yannas is very personable as the innocent Marina. I have previously seen her excelling in Chekhov and here she is just as convincing, encouraging the kids to wave their boats and pass a message in a bottle across the stalls in the hope that it will find her dad. Gary Milner as Pericles is regal and speaks the Shakespearean text with a humble charm and deep understanding. It is Liza Pulman who stands out most for me though, with a strong singing voice and an ability to metamorphose from malevolent Dionyza to kind Goddess Diana in seconds which is quite magnificent to watch. Pulman is very engaging and has a brilliant sense of comic timing.

Pericles succeeds in the ultimate challenge: to stage a children’s panto that will also appeal to the mature audience members, I was very impressed.

Continues until 23 July, book here.

Devil's Festival at The Print Room

After a successful first year The Print Room present to you The Devil's Festival, an eclectic mix of dance, music, theatre and art projects. This two week summer bonanza brings together all aspects of the creative world in some exciting contemporary pieces, celebrating the inspiring new work of talented young artists, choreographers, and performers. I went along to the final invited dress rehearsal to check it out before anyone else.

It was pouring with rain, and visitors to the Print Room were huddled in their tiny foyer pleased to be somewhere dry. First up in the rehearsal was the dance piece, 'Kanaval' choreographed by Hubert Essakow. The routine is inspired by the photographs of Leah Gordon and the film The Devine Horsemen, some of which are on display elsewhere in The Print Room vicinity. It is performed by Benny Maslov, Benjamin Ord, Hannah Rudd and Fukiko Takase and is the longest of the four featured festival pieces. There is something instantly aggressive about the movement and gestures we are watching, the dancers are almost animalistic. It is striking and in some places quite harrowing to watch such force, but I found it moving and gripping, and was hugely impressed with the dancers' unfaltering stamina.

The next two plays were'Swan Song' by Anton Chekhov and 'Fewer Emergencies' by Martin Crimp. The Chekhov piece is only 18 minutes long, and the playwright claimed to have written it in just one hour and five minutes. The play shows a brief encounter with aging actor, Svetlovidov and is pretty much a monologue, an afterthought of his life in the theatre and his love of the stage. Malcolm Rennie gives a stunning performance as Svetlovidov, nuanced and believable and carefully thought through. Despite its brief length it felt like we were being given a real insight into this characters life.

The second dramatic piece is a short play from trendy and fiercely modern playwright Martin Crimp. Don't expect to understand it, I couldn't, we listen to bursts of conversation excerpts that are entirely abstract and bizarre. The acting here is impressive too, with particularly convincing performances from the two girls Emma Dallow and Nicola Harrison.

Finally we are treated to Petra Jean Philipson's incredible sound and light installation. While we wait in the foyer a huge white tent is put up in the theatre, filled entirely with white fluffy pillows. We are invited inside, but not until we have slipped into more appropriate outfits: all in one white paper boiler suits complete with hoods and booties! After everyone stopped giggling and got over the novelty of the idea it was quiet and contemplative in the tent. ‘Of the things we do not see’ is an experience that is supposed to heal your body using creative stimuli. Amazing Mongolian singing and music sooths you gently and the vibrations melt peacefully into your body. It is an amazing concept and the 20 minutes of meditation were not enough for me, I soon fell asleep and would have been quite happy to spend the night in this wonderfully calm structure.

The Festival is on now, for two weeks until Saturday 2 July. Only on Saturdays will all four pieces be available to see, on weekday nights the shows will alternate, each pair showing every other night, book here.

Chicken Soup with Barley at The Royal Court

‘Chicken soup with Barley’ is a ferociously political play, a genre which the Royal Court Theatre seem to thrive off with their snappy sharp productions of controversial topics. This particular drama is set between in 1936 and 1956 - 20 years of great political unrest. We watch the affects of the clash between Communist and Socialists, as conflicting ideals threaten to tear apart a working class Jewish family.

‘Chicken soup with Barley’ is the first play from Arnold Wesker’s theatrical triptych. Dominic Cooke’s production is a stylish revival, so polished that harsh critic Michael Billington gave it a glittering five stars and pronounced it “flawless”. I enjoyed it, and could certainly notice its attributes though failed to really grasp the narrative due to my shameful lack of historical knowledge.

I have come to expect neat and impressive sets from the Royal Court, and here they didn't disappoint. Set and costume designer Ultz has created two mundane and yet fascinating dining room settings, from which the action flits in and out. Each room (one for each half) holds significant reminders of the families struggle and story, with a central emphasis on food and mealtimes, as the play’s title also suggests.

Samantha Spiro is tremendous as Sarah Kahn, the feisty Jewish mother desperate to hold her family together - the driving force throughout the play. Spiro gives a powerful performance and manages to age miraculously by almost twenty years between the two halves, with only a wig to assist her transformation. I was amazed by how human she appears, especially in the scenes between her and her incompetent husband, Harry Kahn (Danny Webb). Sarah is obsessed with making tea, in fact this action preoccupies her character throughout. A nice cup of tea seems to be her answer to any, and every problem. It is a tiny, insignificant motif that effectively ties the plays two halves together perfectly, giving some much needed continuity.

The cast was strong all round, each character with their own socialist opinion. Danny Webb is spectacular as the frustrating father and husband, particularly in the latter half when after two strokes he sits rotting away crippled in his chair, barely moving or muttering a word and yet always making his presence known. The enthusiast son, Ronnie Kahn, is played by a dashing Tom Rosenthal. He is inspiring with his upbeat optimism and romantic view of the crisis, until he returns home a few years later, aggressively confronting his mother after his complete loss of faith - an alarming and wonderfully commanding final scene.

‘Chicken soup with Barley’ continues until 9 July 2011, book here.

Butley at The Duchess Theatre

English actor Dominic West is best known for his role in HBO series The Wire, in which he played detective Jimmy McNulty from 2002 to 2008. He returns to the London stage to take on the title role in Simon Gray’s hilarious play ‘Butley’. Celebrity actors and critics turned up to support the play on press night last week.

The play takes place on a single day; University professor Ben Butley is having a tough time, his personal and professional lives are collapsing simultaneously. He is suffering the final breakdown of his marriage, while his friendship with best friend Joey is also on the rocks. At work he is accused of poaching a student from another lecturer, and is hassled constantly by his melodramatic colleagues. Butley deals with his woes by annoying his friends as much as possible.

I thoroughly enjoyed Lindsay Posner’s production of this humorous piece. Effective direction enables the actors to make the most of Gray’s hilarious script. The action is set in a campus office, dusty books balancing precariously on the bookselves, with Ben’s desk and surrounding floor littered with the day’s debris - a visual depiction of the turmoil wrecking Ben’s life.

Dominic West gives a witty and intelligent portrayal of the play’s selfish protagonist. Butley is a charismatic and clever man, but is also sulky and solitary in a juvenile way that reminded me of Hugh Laurie as Dr House (another British actor in a successful American show). Butley seems overtly interested in his gay friend’s relationship, so much so that it suggests he may be bi-sexual, though this remains ambiguous. He is totally preoccupied with rhyming verse and regularly pesters those around him with relentlessly silly rhetoric. It is wonderful to watch West tackle this fast paced dialogue with such ease and panache.

The rest of the cast support West well, despite having rather small roles by comparison, Martin Hutson is the pathetically timid Joey and Paul McGann his unbearably petty Yorkshire bred lover, Reg Nuttall. I enjoyed Emma Hiddleston as wide eyed student Miss Heasman, she takes on the role of this overly sensitive student, innocent and unaware as Butley bullies her.

Simon Gray wrote Butley forty years ago and yet in this well adjusted and amusing production I felt it was undated and fresh as ever.

Butley continues until 27 August, book here.