Theatre review: Clueless

If there's a musical theatre assembly line more relentless than the one that produces Strallens, it's the one that adapts classic teen movies for the stage, and the latest is Amy Heckerling (book,) KT Tunstall (music) and Glenn Slater's Clueless, based on Heckerling's 1995 film, itself based loosely on Jane Austen's Emma. Set among the obscenely wealthy and spectacularly un-self-aware teens of Beverly Hills, Cher (Emma Flynn) sees herself as the school's problem-solver and matchmaker, although she's regularly challenged on her supposedly altruistic motives by her ex-stepbrother Josh (Keelan McAuley,) acquired during one of her father's brief marriages. When grungy New Yorker Tai (Romona Lewis-Malley) transfers to the school, Cher and best friend Dionne (Chyna-Rose Frederick) take her on as a project.

Theatre review: Punch

James Graham's widest audience has arguably come from Sherwood, the TV crime drama not only located in the Nottinghamshire area where he grew up, but also with a story built entirely on the very specific historic tensions that have a ripple effect there to this day. He stays in Nottingham for his latest return to the stage with a production that originated there, and a play based on a true story: Jacob Dunne (David Shields) was 19 when he joined some of his friends in a drunken fight, and punched a stranger, James Hodgkinson, who fell to the street and hit his head. Jacob ran away from the scene and more or less forgot about the assault, but nine days later James died of his injuries and Jacob was suddenly facing a murder charge. Punch follows his life leading up to that point, as well as the surprising turns it took after he served a 30-month prison sentence for manslaughter.

Theatre review: Alterations

When Indhu Rubasingham took over what was then the Tricycle, her first step was to ask audiences what they did and didn't like about the theatre, and responded with the practical changes people asked for. She'll be officially taking over at the National soon, so if she wants any early suggestions for the new gig might I recommend some new padding for the seats in the two main houses? Or if they can't afford that just yet, maybe no more 2hr+ shows without interval until they can? I genuinely don't know to what extent I felt lukewarm about Alterations, and to what extent I just spent half of it in pain from a seat that doesn't seem to have been reupholstered since Michael Abbensetts' play was brand-new. That would be 1978, and the story plays out over 48 hours in a Carnaby Street tailor's shop in September of the previous year (going by the prop newpaper announcing the death of Marc Bolan.)

Theatre review: Dracula, a Comedy of Terrors

PREVIEW DISCLAIMER: This review is of the final preview performance.

Whatever the clichés might say, US and UK humour do generally travel fairly well between sides of the Atlantic, although I personally find that the sillier brand of comedy can be more hit and miss in its travels. We've already had one demented New York spoof hit the right mark in London this year with Titaníque, so could a second work the same trick? Well, maybe not quite as successfully, but Gordon Greenberg (also directing) and Steve Rosen's camp take on Bram Stoker definitely has its moments. Dracula, a Comedy of Terrors takes the basic elements of the classic vampire story, changes them and swaps a couple of characters' names around for no discernible reason, and after a shaky start has a lot of fun to offer. Charlie Stemp plays a particularly timid and gormless Jonathan Harker, the English estate agent on a journey to sell London property to a Transylvanian noble.

Theatre review: Macbeth (ETT / Lyric Hammersmith)

Déjà vu at the Lyric Hammersmith, which hasn't seen such a burst of European Director's Theatre-style expressionism since the Sean Holmes years, but makes up for it with English Touring Theatre's take on Macbeth: Richard Twyman throws everything except the nudity and the food-fighting (I'd say the kitchen sink but there is one of those) at the story of Scotland emerging from war only for the king to be assassinated and his successor to throw the country into tyranny and chaos. In a production the projections tell us is divided into three parts, Home, Kingdom and Nation, we begin with a very domestic Macbeth in which Lady Macbeth (Lois Chimimba) opens the show in a luxurious but clinical modern apartment, listening to a voice note from her husband.

Theatre review: Lavender, Hyacinth, Violet, Yew

If there was a touch of damning with faint praise to me calling Otherland "nice" a couple of days ago, the term feels as appropriate, but without the backhanded element, for Coral Wylie's gentle family drama Lavender, Hyacinth, Violet, Yew. As families go it's an eccentric quartet, in that the member with perhaps the biggest influence over the others has been dead for decades. In Debbie Hannan's production Wylie also plays Pip, who came out as bisexual to their parents a little while ago to little drama, but whose more recent coming out as non-binary still has Lorin (Pooky Quesnel) and especially Craig (Wil Johnson) struggling to get used to. To Pip this all blends in with their general feelings about their parents being rather distant and uncommunicative; Craig tends to disappear to his allotment, which they're vaguely aware has some connection to his dead best friend Duncan.

Theatre review: Otherland

Chris Bush's Otherland opens with an otherwise happy couple divorcing over one insurmountable issue; the rest of the two and a half hours follows each of them through the huge physical and emotional changes that come next. Jo (Jade Anouka) has always known her husband identified as a woman but had no intention of transitioning, and it never caused any problems. But after ten years together Harry (Fizz Sinclair) has decided it's time to be her real self, and while bisexual Jo is primarily attracted to women, it turns out the woman Harry has become isn't one of them. They separate and largely lose contact, and while Jo meets a new partner in Gabby (Amanda Wilkin,) Harry has to navigate both the legal obstacles to having her gender recognised, and the personal milestones with her family: Her initially supportive-seeming mother Elaine (Retired Lesbian Jackie Clune) is actually constantly deadnaming her and dismissing her transition.

Theatre review: Edward II

After half the RSC Artistic Director made her debut in the role last summer, the other half also opts to do so in the Swan - although after mostly directing for the last couple of decades, Daniel Evans returns to acting in the company where he first launched his career. Christopher Marlowe's Edward II begins with the funeral of Edward I, and Daniel Raggett's production has the Stalls audience file respectfully past the old king's coffin lying in state before the new King Edward II (Evans) is crowned. But even before the funeral is over Edward is busy reversing one of his father's decrees: The banishment of Gaveston (Eloka Ivo,) his closest friend and lover. Not only does he immediately bring Gaveston back, he showers him with honours and positions of power (to such a ridiculous extent there's even a Mitchell & Webb sketch making fun of it,) and the assembled barons aren't happy about it.

Theatre review: Backstroke

Future Dames Celia Imrie and Tamsin Greig play mother and daughter in Anna Mackmin's Backstroke at the Donald and Margot Warehouse. Beth (Imrie) has had a stroke, and is in hospital unable to move or communicate. When her daughter Bo (Greig) arrives, she bombards the medical staff with demands to know how long her mother has left to live, and for them to take out her drip and stop feeding her. What initially seems like a callous hope that she can get rid of her mother as soon as possible turns out to be genuinely heartfelt concern: Beth spent her entire life insisting that if she ended up in this situation she should be nil by mouth, and there should be no attempts to prolong her life; if anything she asks to be put out of her misery. But as with so much in her life she never actually put her wishes down on paper, and now Bo fears she'll get the prolonged death she always dreaded.

Theatre review: The Habits

PREVIEW DISCLAIMER: Hampstead invites the official critics in next week.

I imagine Stranger Things has caused something of a Dungeons & Dragons resurgence in recent years; apparently lockdown saw games spring up as well, which is where Jack Bradfield got the idea for The Habits, set in a failing board game-themed café in Bromley. Owner Dennis (Paul Thornley) had been hoping to mostly host the role-playing games he fondly remembers from his teen years, but has ended up surrounded by Monopoly players if anyone turns up at all; so he's excited to see a young group set up a weekly D&D game. But there's a sad reason behind these meetings: 16-year-old Jess' (Ruby Stokes) brother died a few months ago, and his best friend Milo (Jamie Bisping) and ex-girlfriend Maryn (Sara Hazemi) have agreed to meet her every week, to help her move on by playing the game her brother loved.

Theatre review: KENREX

My online Show of the Year 2021 and even better live in 2022, nobody could accuse Cruise of lacking in ambition, but that's how its creator Jack Holden's follow-up makes it feel. Less obviously personal but with much more of an epic scope, KENREX takes Holden's monologue-with-songs format and applies it to a true crime documentary, one of those violent stories of isolated and twisted Americana. The isolated place in question is Skidmore, a Missouri town so small and remote it doesn't have a sheriff - if anyone makes a 911 call it'll take an hour for the police to turn up. This is something that local bully Ken Rex McElroy has taken advantage of throughout the 1970s, and his reign of terror has included violence, physical and sexual assault, arson, killing pets, theft of livestock, and general menace and intimidation of the town's population.

Theatre review: Churchill in Moscow

Howard Brenton's history plays have an eclectic scope that's previously seen him tackle everything from Ancient Greek philosophers to the Partition of India. He's also dealt with the life of Harold Macmillan, but for his latest play he goes for the British Prime Minister who must have been interpreted on stage and screen more than any other, as Roger Allam plays the title role in Churchill in Moscow (he plays Churchill, not Moscow.) Set in 1942, things look particularly dark for the Allies as the Nazis are making inroads into Russia and approaching Stalingrad. Meanwhile British forces have been depleted to the point that they'd be wiped out instantly if they attempted to invade Europe via the Channel - US troops will eventually supplement them, but they're not really feeling it just yet. Winston Churchill is on a secret diplomatic mission to Moscow to inform Joseph Stalin (Peter Forbes) of the bad news that D-day won't come until at least the next year.

Theatre review: Richard II (Bridge Theatre)

Never mind his global fanbase post-Bridgerton and Wicked, those of us who frequent London theatre have wanted to see Jonathan Bailey's Dick for years. Bailey returns to Shakespeare and to director Nicholas Hytner for the Bridge's in-the-round Richard II, in which a capricious king who has never doubted his divine right to rule has tanked England's finances, raising money for wars that never happen, then spending it on himself while the country's military reputation becomes an embarrassment. The Lords might put up with this to avoid upending centuries of tradition, but Richard makes the mistake of making things personal: Intervening in a dispute between Henry Bullingbrook (Royce Pierreson) and Thomas Mowbray (Phoenix Di Sebastiani,) he banishes both - essentially for disrespecting him. He later adds injury to insult when Henry's father John of Gaunt (Nick Sampson) dies, and Richard commandeers his inheritance to finance one of his doomed expeditions.

Theatre review: Much Ado About Nothing(Jamie Lloyd Company / Theatre Royal Drury Lane)

I went on quite a bit in my review of Jamie Lloyd's Tempest about the fact that the entire production seemed to exist only to satisfy an obscure beef that His Exalted Brittanic Excellency, The Right Rev. Dr Baron Dame Sir Andrew Lloyd Lord Webber BA (Hons) MEng, QC, MD, P.I, FSB had with a dead man, and the way that was reflected in a production the director's heart didn't seem to be in. At least, whatever other reservations I might have with the second half of this Shakespeare season at Drury Lane, Lloyd's Much Ado About Nothing has the feel of a show he actually had an idea for. Another heavily edited text doesn't only lose a whole swathe of characters but also the play's military context: Soutra Gilmour's design leaves the huge stage mostly bare except for constantly-falling pink confetti, turning it into the dance floor of an 80's/90's- themed disco (although the amount of plot that's dependant on texts and people checking each other's Instagrams suggest we're in the present day.)

Theatre review: More Life

Billed as a sci-fi gothic horror, Lauren Mooney and James Yeatman's More Life is a riff on Frankenstein (something it acknowledges several times) set in 2075, when medical advances have allowed those who can afford them to slow down the ageing process by a couple of deacdes, but haven't quite eliminated human mortality altogether yet. But the next step towards that might just have been taken: Alison Halstead plays a synthetic human that doesn't need to eat, sleep or breathe. Vic (Marc Elliott) and his assistant Mike (Lewis Mackinnon) now need to find the right consciousness to animate it, out of many brains donated to their shadowy organisation over the years. Many can't handle the realisation that they've died and been brought back in a new body, but eventually the scientists find Bridget, a young woman who died in a car crash in 2026 (caused by one of the company's own prototype driverless cars.) A few adjustments to the code that stores her consciousness, and she's ready for a new life.

Theatre review: Hamlet (RSC / RST)

It's 14 years since Rupert Goold last worked at the RSC, and almost a decade since he last directed a Shakespeare play. Now he returns to close off the new leadership's first year in the main house, and in his time away the director who brought us horror movie Macbeth, emo Romeo & Juliet and The Merchant of Vegas hasn't forgotten how to come up with a high concept. Although whether he can still pull the concept off might be a matter of opinion. Goold brings with him one of his big discoveries from his time at the Almeida, throwing Luke Thallon into the deep end for his first professional Shakespeare role as Hamlet. The titular character is Prince of Denmark, having recently lost his father but not succeeded him as king. That title has gone to his uncle Claudius (Jared Harris,) who as well as his brother's crown has also claimed his widow: Weeks after the old king's funeral Claudius has married Hamlet's mother Gertrude (Nancy Carroll.)

Theatre review: Three Sisters

Last winter season saw the Swanamaker take a successful first crack at Ibsen; this year, and in the annual onstage appearance by the Artistic Director, Shakespeare's Globe adds Chekhov to the repertory. In a remote part of Russia the titular Three Sisters live in the house their father bought when he was appointed commander of the resident military garrison. A year after his death, his children are still there, talking about moving back to Moscow but tied to the area by a few circumstances. Over the next five years, instead of freeing themselves from them, they'll end up with ever more reasons they can't escape the depressing small town they only ever thought was a stopgap. Olga is the eldest, the schoolteacher who has little love for the job and certainly doesn't see it as a career she'll progress in.

Theatre review: Scissorhandz

Another day, another jukebox musical movie parody transfers from the US to London. And where I thought New York hit Titaníque's confidence in going straight for the West End was warranted, LA export Scissorhandz landing at the more modest Southwark Playhouse was probably also wise: Its underlying theme could not be more relevant to the current darkest timeline, but it's just a shame the creatives who came up with the idea couldn't follow through on its promise. Based, of course, on Tim Burton's 1990 suburban fairytale satire Edward Scissorhands - which has already inspired a Matthew Bourne ballet - Bradley Bredeweg's version ditches the "Edward" part to make Scissorhandz (understudy Lauren Jones) a non-binary humanoid creature, built by The Inventor (Dionne Gipson) out of various spare parts. But their mother dies before replacing the scissors with real hands, and Scissorhandz is left alone in her mansion/lab.

Theatre review: Elektra

My second star-led Sophocles in the space of a week provides some interesting points to compare and contrast with Oedipus: Both revivals use translations that stick pretty closely to the rules, format and structure of the original conventions. But where that show was dominated by its visuals, this one is all about the sounds. And while anyone unfamiliar with Greek mythology will get a pretty clear telling of the story South of the river, they'll probably find themselves in somewhat muddier waters in the West End. Celebrity Dairy Product Brie Larson leads Daniel Fish's production of Elektra as the daughter of Agamemnon who's in mourning for her father, murdered by her mother Clytemnestra (Stockard Channing) and her lover Aegisthus (Greg Hicks.) This is the part of the myth that's covered in the middle play of the Oresteia, but here it's entirely told from Elektra's point of view, and she's leaving out some fairly important details.

Theatre review: East is South

PREVIEW DISCLAIMER: Hampstead Theatre invites the critics in next week.

After The Invention of Love saw Hampstead Theatre's main stage get caught up in classical analysis for a couple of hours, Beau Willimon's East is South threatens to do the same thing but with theology. In a secretive facility somewhere under an American desert, international teams of computer coders have been developing "Aggie," an AI more powerful than any seen yet - one that may not only end up passing for real human intelligence, but supercede it. Developers work in pairs and no new code can be approved without checks by multiple teams, but for all the security checks there's been a breach that might see Aggie escape onto the Internet. Lena (Kaya Scoledario) and Sasha (Luke Treadaway) are one of the teams working on the kill switch, the code that can shut down the programme if it gets too powerful and out of control.