Review: Betrayal

Hey readers!
It's time for my review of Betrayal.
Betrayal centres around the seven-year extramarital affair between two characters, Emma and Jerry, who would meet in secret at a flat without the knowledge of their significant others. Playwright Harold Pinter has said before that Betrayal is the one play that most resembles his own life, which is largely as a result of his of his own experiences with extra-marital affairs.

The story of Betrayal is an interesting one, and involves a number of rather interesting concepts. The idea that Jerry maintains a strong friendship with the character of Robert whilst continuing to have an affair with his wife is rather intriguing, and certainly makes for interesting viewing. The themes explored within the play include hidden emotions and veiled motivations, and their self-absorbed competitive one-upmanship, face-saving, dishonesty, and self-deception. The play does have elements of psychology within, providing an in-depth analysis of the thoughts and feelings of the three main characters. The characters of Robert, Emma and Jerry are all very well written, and the dynamics created between them are fascinating to watch. Each of them have very unique relationships with one another, and it is interesting to see how this changes over the course of the nine years.

Tom Hiddleston, in the role of Robert, was outstanding. He was excellent at finding the humour within the role, whilst also excelling during the more dramatic moments of the play. Hiddleston is gifted with a natural stage presence, and seemed well-suited to this particular role. Zawe Ashton, as Emma, gave a flawless performance. Ashton has crafted out a very good characterisation, and it was particularly interesting to watch the electric chemistry that she had with both Hiddleston and Cox, therefore emphasising the impact of this love triangle. Last, but by certainly no means least, Charlie Cox as Jerry was equally as marvellous. In his portrayal, Cox perfectly combines both the hopeless love Jerry has for Emma along with the immense guilt he feels towards his best friend. All three performances were well and truly excellent, and all were a delight to watch.

Now for my final verdict on Betrayal. I give Betrayal...

Betrayal was a very interesting piece of theatre; it has an intriguing concept, and this particular production featured outstanding performances from all of those involved. I was very glad I had the opportunity to see it. 

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: Man of La Mancha

Hey readers!
It's time for my review of Man of La Mancha.
Framed as a play within a play, Man of La Mancha sees Spanish writer Miguel de Cervantes performing a play based on his novel Don Quixote to a group of prisoners awaiting a hearing. Its score includes the standard “The Impossible Dream", as well as "Man of La Mancha (I, Don Quixote)" and "A Little Gossip".

Man of La Mancha has many praiseworthy elements, but its book is unfortunately not one of them. To put it mildly, the book is somewhat peculiar. The story makes use of a frame narrative, where in an attempt to win over a group of convicts, Spanish writer Miguel de Cervantes tells them the tale of Don Quixote. The story is not particularly engaging, however, and does feel at times a little bizarre. There are a number of conflicting messages within the show, and I left the theatre not entirely sure as to what the purpose of the story had actually been. Whilst Man of La Mancha is by no means dull, its book could certainly do with a little re-working in order to add some new life to it.

Whilst the book is somewhat flawed, the musical score is utterly perfect. In this instance, the composers have made use of traditional Spanish styles such as flamenco and classical guitar. It's exceedingly lively, as well as rather upbeat. The orchestrations were wonderful, and really helped to further the impact of this marvellous music. The highlight of the score is 'The Impossible Dream', which is a true delight; the song is known for its inspiring lyrics, and has even been quoted in multiple political speeches. Kelsey Grammer's rendition of the song was tremendously well performed, and felt rather heartfelt. Other personal favourites of mine from this score include 'I Really Like Him' and the titular song, 'Man of La Mancha'.

In the leading dual roles of Cervantes and Quixote is Kelsey Grammer, who will be known to many as 'Dr. Frasier Crane' from popular sitcoms 'Cheers' and 'Frasier'. Grammer is one of my all-time favourite actors, and I am glad to report that he did not disappoint. He is filled with charisma from head to toe, and is certainly intriguing to watch. In addition to his acting skills, Grammer is also gifted with an outstanding voice, which was rather evident in his rendition of 'The Impossible Dream'. As the show's leading lady Aldonza starred Danielle de Niese, who was equally remarkable. De Niese has an incredible voice, and has a good presence on stage. I found her to be rather convincing in the role, and she was perfectly cast. Nicholas Lyndhurst was also brilliant, portraying the dual roles of The Governor and The Inkeeper. Whilst having limited stage time, Lyndhurst made every moment count and certainly left an impression. A special mention must also be awarded to Peter Polycarpou as Don Quixote's loyal assistant, Sancha Panza, who gave a funny and enchanting performance.

Now for my final verdict of Man of La Mancha. I give Man of La Mancha...

Whilst the book is far from perfect, the show still has a number of redeeming factors. With a delightful score and a stellar cast, Man of La Mancha is still rather enjoyable.

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: Fiddler on the Roof

Hey readers!
It's time for my review of Fiddler on the Roof.
Set in Russia at the turn of the 1905 Revolution, Fiddler on the Roof centres around Tevye, a Jewish man who works hard to ensure that he raises his five daughters with traditional Jewish customs. When the village matchmaker brings news that a wealthy butcher wants to marry their eldest child Tzeitel, it’s clear that pairing people together isn’t what Tzeitel wants. Tzeitel wants to marry her childhood friend, Motel the tailor. The wishes of his daughters force Tevye to make the ultimate choice: his family, or his religious traditions.

I had previously seen Fiddler on the Roof on Broadway in 2016, a production which had been directed by Tony Award Winner Bartlett Sher. I had absolutely loved Sher's production of Fiddler, and was therefore rather eager to see Trevor Nunn's take on the show, which is currently playing at the Playhouse Theatre. Whilst I did prefer Sher's production for a number of different reasons, it was still intriguing to see a new take on the show and compare the differences between the two productions.

The aspect of Fiddler on the Roof that I particularly admire is the fascinating insight that it gives us into religious communities and their long-standing traditions. The way in which religion is explored within the show makes for very interesting viewing. Whilst holding very old-fashioned views, the sense of belonging and affection within the Jewish community presented in this instance is rather heart-warming. I would personally argue that Fiddler on the Roof is a truly timeless piece. Whilst being set in 1905, the themes explored within the show are still likely to resonate with a modern audience.

The musical score, with music by Jerry Bock and lyrics by Sheldon Harnick, is excellent. There are a number of timeless classics to be found in the score; the songs featured in Fiddler have been popular for decades, and will likely continue to be so for upcoming decades as well. A couple of my personal favourites from this score include 'Tradition' and 'To Life'.

In the leading role of Tevye stars Andy Nyman, who gives an exceedingly heartfelt performance. Nyman truly comes into his element towards the end of Act Two, where the tone of the show begins to take a slightly darker turn. He also had an outstanding singing voice, which was evidenced by his rendition of 'Chavelah'. My only slight criticism of Nyman's performance was his accent, which did waver somewhat. Playing the role of Golde was Judy Kuhn, who I had previously seen in Fun Home on Broadway several years ago. Kuhn is perfect for the role, and was good at finding the humour in the role. It should also be noted that Kuhn is an excellent singer. All three main daughters, portrayed by Molly Osborne, Harriet Bunton and Nicola Brown, were marvellous and gave stand-out performances in their own right. All three actresses had great chemistry with one another, which was evident in 'Matchmaker, Matchmaker'. A special mention must also be given to Joshua Gannon, in the role of Motel, who gave a flawless performance. Gannon was a talented actor, singer and dancer, and had good comedic timing.

The set, designed by Robert Jones, was excellent and  perfectly captured the essence of a small town located in the country. The set was not particularly colourful, but this helped to set the tone for this particular production very well. The lighting, designed by Tim Lutkin, was also rather impressive and was used effectively in conveying the tone and mood of the production.

Now for my final verdict on Fiddler on the Roof. I give Fiddler on the Roof...

Whilst not quite on a par with the Broadway production, it still made for interesting viewing and I was glad to have had the chance to see it.

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: Downstate

Hey readers!
It's time for my review of Downstate.
In downstate Illinois, four men convicted of sex crimes against minors share a group home where they live out their lives in the shadow of the offences they committed. A man shows up to confront his childhood abuser — but does he want closure or retribution?

The quality of writing in Downstate, by Bruce Norris, is utterly superlative. The play deals with an exceedingly difficult subject matter, and one which would likely make a lot of people feel rather uncomfortable. Despite this, Norris tackles the issue head-on and deals with it masterfully. The play goes into great depths, analysing the thoughts and feelings of those that have committed sex crimes against minors. What I found particularly interesting was the presentation of the leading characters. Instead of playing into the stereotype of a convict, Norris portrays the four sex offenders as being somewhat ordinary men. This is an exceedingly interesting concept, as it plays into the idea that even those who appear innocent can still be responsible for atrocities. The play explores the minds of the sex offenders, with all four characters presenting differing viewpoints on the crimes that they have committed. Each character within the play is well-developed, and they all have fascinating personalities. Some of the themes explored by Norris include human empathy, guilt, punishment and revenge. The exploration of these topics is intriguing, and certainly causes the audience to pause for thought. Another aspect of writing that Norris excels at is the way in which he toys with the emotions of his audience. At times, we will feel disgusted by the actions of the characters, and yet at other times we will feel sympathy. Downstate wreaks havoc on our emotions, and the way it does so is ingenious.

The cast of Downstate are truly outstanding; I was in awe of their talent. It is one of the strongest casts I have seen for quite some time, and there was not a single weak link. They each bring something different to the play, and by working together they all created an excellent dynamic. Every actor provided a well-layered characterisation, resulting in performances that can only be described as flawless. The quality of acting within Downstate cannot be overstressed; it is not possible to praise this cast enough. As an audience member, I felt hooked on their every word.

Now for my final verdict on Downstate. I give Downstate...

Downstate expertly deals with an extremely difficult subject matter, with Norris exploring a range of very interesting themes. Additionally, the cast are first-rate, with outstanding performances from all. Sadly, Downstate has now closed, but hopefully we will see it return to London's West End at some point within the future.

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: All About Eve

Hey readers!
It's time for my review of All About Eve.
Backstage story revolving around aspiring actress Eve Harrington. Tattered and forlorn, Eve shows up in the dressing room of Broadway mega-star Margo Channing, telling a melancholy life story to Margo and her friends. Margo takes Eve under her wing, and it appears that Eve is a conniver that uses Margo.

I personally found All About Eve's storyline to be utterly fascinating. Unlike many others viewers of the play, I had not watched the original film, and as a result I was experiencing the story and all of these characters for the very first time, which was a truly wonderful experience. All About Eve is two hours with no interval, but despite this the play managed to hold my attention from beginning to end. Throughout these two hours, we gain a glimpse of life behind the theatre curtain, and I found it to be thrilling. I remained engrossed and on the edge of my seat throughout, eager to find out which characters would triumph and which would fall. In Van Hove's adapted script, tension was well built and it was enjoyable to see how the characters developed as the piece went on.

In the leading role of Margo Channing, Gillian Anderson gives a spellbinding performance. She nails every aspect of the character, clearly portraying both the character's more confident side, as well as her insecurities. Margo's drunken tirade is a particular highlight of her performance, which was truly hilarious to watch. Anderson's co-star Lily James, as Eve Harrington, excels in the role. Eve's rising ambition is acted superbly by James, and she was particularly outstanding during the character's more volatile moments. It was interesting to see how the character developed and changed as the play went on, something which Lily James conveys well. Monica Dolan, as Karen Richards, is also excellent. Dolan is very engaging to watch, and is highly believable. Additionally, her comic timing is truly impeccable. It is very clear as to why she recently received an Olivier Award for her portrayal of Karen. Special mentions must also be given to Julian Ovenden, as Bill Sampson, and Stanley Townsend, as Addison DeWitt, who were both remarkable.

The direction and staging of all All About Eve, by Ivo van Hove, is extremely ambitious. Similar to some of his previous works, Hove seeks to combine film and theatre in one, using live recordings throughout the play. This approach has not appealed to everyone, and has been somewhat divisive. I, however, rather admired it. It was creative, innovative and unlike anything I had seen before. I would not want for every play to use similar methods, but it was great for a one-off.

All About Eve features instrumental music, composed by P.J. Harvey, which is used both in-between and during several scenes. I found the music to be a good addition, due to the fact that it helped to add to the atmosphere. In addition to the instrumental songs, there are also two musical numbers: 'The Sandman', which is sung by Gillian Anderson, and 'The Moth', which is sung by Lily James. I enjoyed both songs and they were performed flawlessly by the two leading actresses.

Now for my final verdict on All About Eve. I give All About Eve...

I found All About Eve to be well and truly phenomenal. It had a gripping story, outstanding performances, interesting direction and, to top it all off, great music. 

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: Glengarry Glen Ross

Hey readers!
It's time for my review of Glengarry Glen Ross.
Glengarry Glen Ross is a play set across two days in the lives of a group of American real estate agents who are battling it out to sell undesirable land by any means necessary. The play gets its title from said property, the Glengarry Highlands, and Glen Ross Farms, which was sold as part of a lucrative deal in the past. The play is set between a Chinese restaurant and a sales office in Chicago.

I have struggled with Mamet's work in the past, having previously seen the West End revivals of Speed-the-Plow and American Buffalo. I was not particularly fond of either play, but despite this I entered Richmond Theatre to view Glengarry Glen Ross with an open mind. I am pleased to say that I did prefer Glengarry Glen Ross to my previous experiences with Mamet, which is largely due to the play's second act. The first act, on the other hand, was a little slow for my liking. Whilst act one has a short running time of only half an hour, it still failed to fully hold my attention and did feel somewhat drawn out. Having said that, luckily act two really picks up the pace and becomes far more interesting. In act two, the story at last begins to unfold and take some really interesting turns. The dialogue that takes place in act two is utterly gripping, and parts of it are truly fascinating. Whilst act one drags on at moments, act two does arguably redeem it, with a more interesting story and much faster pacing.

Mark Benton, in the role of Shelley Levene, gave a riveting performance through a layered characterisation. Benton perfectly balances both the comedic and tragic elements of his character, leading to a flawless performance. He was very engaging, and throughout his monologues I was engrossed in what he was saying. Nigel Harman, as Ricky Roma, is also excellent and channels both the confidence and smug nature of the character perfectly. In his characterisation, he clearly demonstrates the character's ruthlessness, as well as his softer side that only Shelley sees. Denis Conway, in the role of Dave Moss, and Wil Johnson, as George Aaronow, are also outstanding and give remarkable performances.

The set design, by Chiara Stephenson, is a real highlight of this production. The precision and detail put into it was really something quite special. It added a lot to the production, and was incredible to look at.

Now for my final verdict on Glengarry Glen Ross. I give Glengarry Glen Ross...

Whilst act one was a little slow, act two makes for very interesting viewing and picks up the pace. In addition to that, there are some outstanding performances and an exceptional set design.

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: Tina - The Tina Turner Musical

Hey readers!
It's time for my review of Tina - The Tina Turner Musical.
Tina Turner was born Anna Mae Bullock on 26 November 1939 in Nutbush, Tennessee. She obtained Swiss citizenship in 2013 and currently lives in Küsnacht, Switzerland. She shot to fame in the mid-1950s singing with Ike Turner's Kings of Rhythm, originally under the name "Little Ann." She became Tina Turner in 1960 and began the Ike & Tina Turner Revue with hits such as "River Deep – Mountain High", "Proud Mary" and "Nutbush City Limits", selling-out tickets to shows in stadiums and arenas across the world. She has since spoken openly about being a victim of domestic abuse and split from Ike in 1976.

Tina Turner has obviously has a very compelling life-story; she has overcome multiple hardships, and only become stronger because of it. There is no doubt that Tina Turner has led a very eventful and interesting life. Having said that, I did feel the book of 'Tina - The Tina Turner Musical' did not portray this story as well as it could have. Some elements of the story left me a little confused, and I felt that there were some questions that the book did not fully answer. An example of this is the events surrounding Tina's marriage to Ike Turner presented in Act One. It is never truly made clear as to why Tina chose to leave her boyfriend, who came across as kind and charming, for Ike Turner, a man who came across as neither kind or charming. It is clear that this relationship is toxic from the get-go, and yet it remains unclear as to why they are together. I would have liked to have seen this particular storyline explored in a slightly greater depth. Despite this, I definitely feel that Act Two is a lot stronger, with a far superior story. In Act Two, we see Tina overcoming her past and fighting tirelessly to launch a solo career. It was great to see this unfold, and I am delighted that Mrs. Turner was successful in her quest.

Adrienne Warren, in the role of Tina Turner, carries the show from beginning to end. She perfectly embodies the role, and gives a beyond outstanding performance. Warren is a true triple threat; she is a phenomenal actress, an amazing singer and an astonishing dancer. It would be an understatement to call her perfect in this role. Since I viewed Tina, Adrienne Warren has left the production, however she will be reprising her role in the upcoming Broadway transfer this autumn! In regards to the cast, a special mention must also be given to Oscar Batterham, who portrays Roger Davies. Batterham gives a real stand-out performance, and I was left rather impressed by his portrayal.

The costumes, by Mark Thompson, are a highlight of the production. They are excellently designed and suit the time period well. Additionally, Tina's costumes were very true to life and filled with much detail.

Now for my final verdict on Tina - The Tina Turner Musical. I give Tina - The Tina Turner Musical...

Despite certain reservations about Tina's book, there are many redeeming factors. Tina's life-story is mostly very interesting, Adrienne Warren is phenomenal and the costume designs are excellent. 

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