Review: I'm Not Running

Hey readers!
It's time for my review of I'm Not Running.
Pauline Gibson is a junior doctor, who becomes the face of a campaign to save her local hospital. She’s thrust from angel of the NHS, to becoming an independent MP. In the Houses of Parliament, she crosses paths with her university boyfriend, Jack Gould, a stalwart Labour loyalist, climbing the ranks of the party.As media and public pressure mounts on Pauline to run for leadership of the Labour party, she faces an agonising decision. David Hare’s brand new play, set in the modern day, portrays personal choices and their public consequences, through a twenty year intimate friendship.

I personally found the storyline of I'm Not Running, as well as the ideas explored, to be rather interesting. The concept of these two characters having known each other in their youth and then having their paths cross once again through their involvement in politics was compelling. The story of I'm Not Running is most interesting during its moments of politics. The political scenes which take place are truly fascinating, and in particular the penultimate scene was riveting. This scene explores the true motives of the Labour Party, as well as the fact that the Labour Party have never elected a female to the leadership. I was, however, left desiring for even more politics. Whilst politics does play a large role in the play, a lot of it instead focuses on the background of the leading character, Pauline Gibson. I would personally liked to have seen more of a focus placed on Gibson's independent bid to become a Member of Parliament, which could have been interesting to explore. Additionally, I was a little surprised that despite the fact that the play is set in the modern day, there are little-to-no references made regarding modern-day affairs. For example, neither Jeremy Corbyn nor Brexit are mentioned in I'm Not Running, making it hard to believe that it is set in the present day. Despite having said all of this, I still thoroughly enjoyed the vast majority of I'm Not Running, but I do feel that the play would be slightly more compelling if it were to place more of a focus on the political side of things.

Sian Brooke, in the leading role of nurse-turned-politician Pauline Gibson, gives an excellent performance. Brooke is a natural on-stage and was a delight to watch. Alex Hassell, in the role of Jack Gould, is equally outstanding and makes for a worthy opponent to Brooke's Gibson. Hassell is highly convincing in his portrayal of this pragmatic politician, and it made for a good contrast with the more idealistic Pauline. Additionally, Hassell was particularly good at demonstrating the change that the character goes through from his younger and care-free years, to when he grows older and becomes a level-headed politician. Joshua McGuire, as Sandy Mynott, also gives a stand-out performance. McGuire is clearly a very talented actor and provides much needed comic relief to the play.

Now for my final verdict on I'm Not Running. I give I'm Not Running...

I'm Not Running has received a mixed response, however I personally quite enjoyed it. Whilst the play is not without its flaws, there is undoubtedly a lot of potential here and some of the ideas explored are very interesting. Therefore, I have decided to award I'm Not Running with three stars.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Reviewer

Review: Summer and Smoke

Hey readers!
It's time for my review of Summer and Smoke.
The Almeida Theatre's intensely atmospheric production of Tennessee Williams' Summer and Smoke transferred to the West End in late 2018, with Patsy Ferran and Matthew Needham reprising their central roles in Rebecca Frecknall's production. Williams’ play is set in Mississippi and centres on a minister’s daughter named Alma, who finds herself entangled in an impassioned and complicated relationship with John Buchanan, an unruly young doctor and her next door neighbour.

At the heart of this production is Patsy Ferran, in the leading role of Alma Winemiller. Ferran gives one of the best theatrical performances that I seen on the stage in quite some time. She has created a phenomenal characterisation and both carefully and cleverly conveys each and every aspect of the character successfully. From the way in which she delivers her lines, to her mannerisms and facial expressions; it was all simply flawless. The inner feelings and thoughts of Alma are also demonstrated in Ferran's expressive eyes. There were so many layers to this performance and I was left well and truly astonished. Ferran's star-making performance is worth the ticket price alone. I simply cannot praise this portrayal enough. Playing opposite Ferran's Alma is Matthew Needham, in the role of John Bucanhan. The character of John is a complex one; throughout the play he continuously demonstrates underlying rage, however John also has his softer moments. Needham excellent portrays all of the different sides to the character and gave an all-round excellent performance. It is particularly interesting to see the way Needham presents the change in John throughout the final scene, where after not seeing Alma for a whole year, he appeared to have mellowed and has largely changed his outlook on life. Both of the leading performances in Summer and Smoke are outstanding, and the chemistry between Ferran and and Needham is electric.

The story of Summer and Smoke is an interesting one and audience members are likely to take away different interpretations. Personally, I found Alma's story and background to be rather saddening and I has quite a lot of sympath for her. As a result of her Mother's nervous breakdown, Alma was forced to take on many responsibilities at a very young age, causing her to become a little eccentric and quirky. She is later mocked and taunted for being this way, which was truly heart-breaking. Additionally, the way Williams presents the relationship between Alma and John left me wondering as to whether this was true love, or if perhaps John was simply doing this to taunt Alma. The ending left this somewhat unclear, leaving the audience to decide for themselves.

Lighting design, created by Lee Curran, is outstanding. The lighting is particularly effective during act two, when after a gunshot is fired, the actors launch in to slow motion and the set is illuminated with an ethereal shade of blue. The set design, crafted by Tom Scott, despite being minimalistic is highly effective. The setting of the Almeida Theatre has been reconstructed masterfully here, and I particularly admired the use of the stripped bare pianos.

Now for my final verdict on Summer and Smoke. I give Summer and Smoke...

This rating is warranted by Patsy Ferran's performance alone. It's an excellent production and I am glad to have had the opportunity to see it before its closure.

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Reviewer

Review: Snow White

Hey readers!
It's time for my review of Snow White.
Following the recent successes of Cinderella and Dick Whittington, the traditional London Palladium panto returns to the legendary West End theatre with Snow White, starring Dawn French making her pantomime debut. I had seen the previous two Palladium pantomimes and thoroughly enjoyed them, so I was rather excited to see what this year's offering was.

For the third year in a row, camp comic Julian Clary steals the show, this time taking on the role of The Man in the Mirror. After first seeing Clary perform in Cinderella in 2016, he quickly became one of my favourite comedians. In comedy, what I find to be the most important trait for any comedian to have is the ability to have impeccable comic timing. Clary is a natural when it comes to timing, and it should come as no surprise when I say that he has the audience in stitches. His delivery and mannerisms are excellent, and the way in which he berates fellow cast members for forgetting or mispronouncing their lines, somewhat rather cruelly, is hysterically funny. Clary delivers a barrage of innuendo throughout the show, but the majority is done so in a subtle manner, and is therefore likely to go over the heads of younger audience members. In contrast to this, I felt that the smutty jokes delivered by Dawn French, in the role of Queen Dragonella, were a little less subtle. The innuendo's delivered by French appeared to lack the double meanings to such jokes that Clary has successfully mastered, therefore making certain lines appear to be somewhat inappropriate. Having said that, I have no doubt that French is in fact a highly talented comic, and I believe that in this instance it is most likely the writing at fault. Also returning this year, appearing for the third London Palladium pantomime in a row, is Paul Zerdin in the role of Muddles, who is brilliant. I would actually go as far to say that Zerdin, along with his ventriloquist doll 'Sam', is even funnier than he was last year. He has returned with completely new material, which was much appreciated. Zerdin has the ability to provide entertainment for the entirety of the family, and he is a much-valued part of the London Palladium pantomime. Fresh off of starring in Broadway's Hello, Dolly!, Charlie Stemp portrays Prince Harry of Hampstead. Stemp is a clear triple threat; he is a talented actor, a gifted singer and a good dancer. He is clearly very talented. In the titular role of Snow White is Danielle Hope, who demonstrates her outstanding singing abilities in her rendition of 'On My Own'. Despite being in the lead role, Hope does have considerably less stage time than her co-stars, which I felt was a shame as I would have liked to have heard more of her voice. The Magnificent Seven were all outstanding, and once again I really wished we had seen more of them. Finally, last but by no means least. Vincent Simone and Flavia Cacace play the roles of the deceased King and Queen, treating the audience to two delightful dance numbers. Simone and Cacace are both very talented dancers and were a joy to watch.

I did feel that this year's story, which has been co-written by Alan McHugh and David McGillivray, was considerably weaker than the previous two years. Both Cinderella and Dick Whittington had stuck somewhat closer to their original story, whilst this adaptation of Snow White has strayed from its original material. As a result of this, Snow White and the Magnificent Seven don't have as much stage time as they should do.

The costumes for Julian Clary, designed by Hugh Durant, are magnificent. Clary appears on the stage wearing a different costume upon each entrance, and therefore it would seem he has close to a dozen different costumes. Each costume has a different theme behind it and is filled with a diverse range of colours. The costume design for Clary's Man in the Mirror is incredibly artistic; the amount of detail put in to them is astounding. It is clear a lot of time and effort has been put into the costumes, and it certainly pays off.

Now for my final verdict on Snow White. I give Snow White...

This was a difficult rating to give. Whilst I greatly admire the performances of Clary and Zerdin, as well as the stunning costume designs, this year's London Palladium pantomime did not quite live up to previous years. This was largely due to the story, which mostly strayed from the original material. Nevertheless, I am excited to see what next year's London Palladium panto has to offer!

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Reviewer

Review: War Horse

Hey readers!
It's time for my review of War Horse.
War Horse is set during the outbreak of World War One, where Joey, young Albert’s beloved horse, is sold to the cavalry and shipped to France. He’s soon caught up in enemy fire, and fate takes him on an extraordinary odyssey, serving on both sides before finding himself alone in no man’s land. But Albert cannot forget Joey and, still not old enough to enlist, he embarks on a treacherous mission to find him and bring him home. This is the third time I had watched War Horse, having previously seen in 2010, and again 2015. Two years after closing in the West End, the UK Tour made a stop at London's National Theatre, meaning I was given the opportunity to see it for a third time. I believe it is safe to say that I will never tire of this play.

The puppetry of War Horse, ingeniously designed by the Handspring Puppet Company, is simply worth the ticket price alone. I do not think that it is possible to describe in words quite how amazing the puppetry featured in this production is; it simply must be believed to be seen. The outstanding detail featured on the puppets of horses Joey and Topthorn makes all of which takes place feel so real; all of which is portrayed appears to be so life-like. The puppeteers must also be commended for their outstanding works. The subtle movements of the horse puppets perfectly enrapture the real-life movements of the animal. It truly is all astonishing.

War Horse is imaginatively co-directed by Marianne Elliot and Tom Morris, as well Katie Henry who is serving as the revival director. The staging of this production is outstanding. It is a highly creative production and I truly admire the innovative way in which Elliot and Morris have directed this piece. Seeing it a third time, I noticed certain subtleties to the staging that I had not previously picked up on. An example of this would be the way in which fallen soldiers on the battleground rapidly roll off-stage to create the effect that the horses are galloping at a high speed. It is clearly understandable as to how Elliot and Morris won the Tony Award for Best Direction in 2011.

The original novel of War Horse was first written by Michael Morpurgo in 1982. For the stage, it was adapted by Nick Stadfford. The narrative of the play gives its audience a fascinating insight as to what life was like for soldiers on both sides during the First World War, told through the eyes of Joey the Horse, an uncorrupted and innocent animal. The majority of the play portrays the bond between Joey the Horse and his owner, Albert. The relationship built between these two characters is an utter joy to watch. However, a series of unfortunate events lead to Joey being taken by the opposite side, where he is cared for by German soldier Friedrich Muller. Similarly to Albert, Friedrich also cares for this horse deeply. Despite fighting on different sides of the war, Albert and Friedrich are shown to have quite similar personalities. Therefore, War Horse shows that all humans can find common ground, no matter how different they believe that they may be. The finale of the play is particularly well written, and it is an ending that is sure to leave many in tears.

The set design is excellent, as are the costumes which are well-suited to the time period. Both of these aspects have been designed by Rae McSmith, who has won multiple awards for her work in War Horse. The lighting, designed by Paule Constable, is also marvellous and really helps to bring the atmosphere of war to life.

The entirety of the cast also deserve a special mention. They are all exceptional and make a brilliant team. In particular, Peter Becker in the role of Friedrich Müller, the German officer who runs away from the battle, provides a phenomenal portrayal. He was highly believable and gave an outstanding performance.

Now for my final verdict on War Horse. I give War Horse...

War Horse is an excellent play, and this is an outstanding production. It was a delight to have the chance to see it yet again!

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Reviewer

Review: The Messiah

Hey readers!
It's time for my review of the The Messiah.
Two actors, with the help of one opera singer, portray a cast of dozens in this new comedy of Biblical proportions by the Olivier Award-winning writer of the West End and Broadway hit 'The 39 Steps'. The Messiah tells the tale of a travelling theatre troupe who have arrived by camel in the ancient city of London to enact a re-telling of the birth of Jesus Christ.

Leading The Messiah is comic giant Hugh Dennis, in the role of Maurice Rose. Dennis gives an utterly hilarious performance, which can largely be attributed to his impeccable comic timing and delivery of certain lines. In the midst of act two, the character of Maurice goes through a nervous breakdown live onstage, allowing Dennis to demonstrate his range of acting abilities. His swift change in emotions was carried out rather well. Additionally, the interactions between Hugh Dennis and the audience proved to be a highlight of the production. By Dennis's side is John Marquez, as Ronald Bream. The two leading men have excellent chemistry with one another and seem well-matched. Marquez creates an excellent characterisation for the role, helping him to win over the audience. The two men are joined by opera singer, Lesley Garret, who portrays the role of Mrs. Leonora Flyte. Garrett has a considerably smaller role than her co-stars, appearing only to give the audience small segments of opera, but nevertheless there is no denying that she has a stunning voice.

The Messiah could potentially be likened to that of a play produced by the Mischief Theatre Company, the creators of the hit comedy 'The Play That Goes Wrong'. The Messiah essentially revolves around a telling of The Messiah where, everything that could go wrong, does. The concept behind the idea is rather comical. It is not honour that will appeal to everyone, hence as to why there have been mixed reviews, however I would say that the majority of the audience seemed to find it hilarious. I personally found the funniest aspect of The Messiah to be its use of audience participation. The interactions between Dennis and the audience were hysterical, and I really wish it had been featured more heavily.

Now for my final verdict on The Messiah. I give The Messiah...

Whilst not all of the humour will be to everyone's taste, the cast are outstanding, and hence why I have decided to award The Messiah with three stars!

Think it should have got a higher rating? Agree with my rating? Think it should have got a lower rating? If so comment below.

Thanks for reading!

-The Reviewer