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: The Tempest(Jamie Lloyd Company / Theatre Royal Drury Lane)

Apparently when John Gielgud ended his run as Prospero at the Theatre Royal Drury Lane in 1957, he foretold that Shakespeare would never again be performed at the venue, which would become a home for big musicals only. No doubt any suggestion of snobbery was fully intended, but it's also probably fair to say that a vast stage and 2000+ seat auditorium might be easier to fill with a big spectacle than with a production of a play that comes around every couple of years in London alone. But the theatre is now owned by His Exalted Brittanic Excellency, The Rev. Dr Baron Dame Sir Andrew Lloyd Lord Webber BA (Hons) MEng, QC, MD, P.I, FSB, who has enlisted Jamie Lloyd to end the 67-year Shakespeare drought at the venue with a starry mini-season inspired by the noblest of all intentions: Proving that a man who died a quarter of a century ago was wrong about that thing he said that one time.

Theatre review: Farm Hall

When looking at the ethics of science, there's no more fertile ground for writers to explore than the atomic bomb. In her impressive playwrighting debut, Katherine Moar explores the issue through six scientists who've already lost the nuclear arms race - they just don't know it yet. Based on a real event and secretly recorded conversations, Farm Hall takes place during the last days of the Second World War, after Hitler's fall and the revelation of the true horrors Germany had perpetrated. The six German men are under house arrest in an English country pile, filling their time playing chess, mending a broken piano, and staging a reading of Blithe Spirit, whose recent success in the middle of the Blitz baffles them. They are Hitler's surviving nuclear physicists who hadn't already defected by VE Day, and nobody seems sure what to do with them, or even if they'll be allowed to survive their comfortable prison.

Theatre review: The Boy in the Dress

With Cameron Mackintosh recently finding a loophole around having to give them a cut of the Les Misérables profits, it's not surprising if the RSC are on the lookout for another big musical earner to replace it, and join Matilda as a way of bankrolling some of their less commercial work. And it's definitely the latter show they have in mind with this new musical of David Walliams' popular children's novel The Boy in the Dress - just as Walliams' books themselves invite a Roald Dahl comparison by using Quentin Blake illustrations, so Robert Jones' colouring-book design for Gregory Doran's production instantly calls to mind the company's last big musical juggernaut. Mark Ravenhill (book,) Robbie Williams, Guy Chambers and Chris Heath's (music and lyrics) adaptation opens in a nameless English town, the setting for a family to explosively break up as a woman walks out on her husband and two young sons.

Theatre review: Bartholomew Fair

The 1980s Canadian sprinter wasn’t the first Ben Jo(h)nson to very obviously be on drugs, as evidenced by the Jacobean playwright’s Bartholomew Fair. Jonson’s comedies tend to be madcap affairs with a lot of grotesque characters getting themselves tied up into convoluted plots and gulled by con-men. Bartholomew Fair’s slice-of-life look at the characters who populate the titular fair features all of this, but without even the suggestion of a coherent plot holding it all together – as Phill put it, if someone asked what happened in the play, you’d have to answer “everything.” But a couple of plotlines do just about start to make sense: Bartholomew Cokes (Zach Wyatt) is due to get married on the feast day of the saint who bears his name and, laden with cash, is spending the day at the celebratory market (in what is now Spitalfields,) keen to stock up on food and luxuries for the wedding day.

Theatre review: The Merry Wives of Windsor (Shakespeare's Globe)

Despite being a spin-off for one of Shakespeare’s best-loved characters, The Merry Wives of Windsor’s main claim to fame is a highly dubious story about Queen Elizabeth I wanting to see “Falstaff in love” (which if it were true would surely have seen Shakespeare at the very least spend some time in the stocks because love… ain’t really what Falstaff’s in here*.) Not that the play’s one of the harder comedies to get a laugh out of, but it’s rarely one of the big hitters either. Now Elle While’s production for Shakespeare’s Globe comes along to make a solid case for this proto-sex farce as, if far from the subtlest of comedies, one that can deliver reliable laughs all evening. It doesn’t hurt that While has brought back, from last year’s rep company, someone whose name in the casting announcement instantly makes a production a must-see: Pearce Quigley plays Sir John Falstaff, the viciously amoral but strangely likeable knight from the Henry IV plays.

Theatre review: Little Shop of Horrors

Last seen in London in 2007, Howard Ashman and Alan Menken's Little Shop of Horrors is the Open Air Theatre's main musical offering of this summer, and if it hadn't already been a must-see for me the fact that Maria Aberg is directing definitely would have tipped the scale. And although everything that's fun about the show remains, there's certain directorial touches - and one casting choice in particular - that really make the production feel like it's been looked at with fresh eyes. The 1982 musical is based on a 1960 Roger Corman B-movie, a fact nodded at by Tom Scutt's design making the stage a drive-in cinema; but as the story's set on Skid Row and everything's run down, this drive-in is long-since closed and derelict, everything is grey and lifeless, and the scenery is wheeled on and off stage in shopping trolleys.

Theatre review: Summer and Smoke

I’ve only seen one show directed by Rebecca Frecknall before, a production of the obscure Tennessee Williams play Summer and Smoke at Southwark Playhouse in 2012. Well either Frecknall herself or Rupert Goold must have thought she had unfinished business with it, as she now makes her Almeida debut with… a production of the obscure Tennessee Williams play Summer and Smoke. In a small Mississippi town early in the 20th century, Alma Winemiller (Future Dame Patsy Ferran) is the local minister’s daughter, timid, bookish and prone to panic attacks, with a slightly affected accent – which she puts down to her father having spent time in England, but most of the town sees as further evidence that she’s pretentious. She’s been quietly besotted with her neighbour, the doctor’s son John Buchanan (Matthew Needham) since high school and, after some time away studying medicine, John has returned for the summer.

Theatre review: Big Fish

I’m not above enjoying something a bit sentimental at times, and Tim Burton’s film Big Fish was one case that hit the mark for me, so a musical adaptation of Daniel Wallace’s novel seemed worth a look. The film’s writer John August also provides the musical’s book, with songs by Andrew Lippa and, following an unsuccessful Broadway production, Nigel Harman directs a much-reworked, smaller-scale British premiere at The Other Palace. Edward Bloom (Sideshow BobKelsey Grammer) is in hospital, dying, and his recently-married son Will (Matthew Seadon-Young) wants to find out about his father’s life before it’s too late. The trouble is Edward has spent his life spinning tall tales and isn’t planning on telling a more down-to-earth version just yet. The play is based around his hospital room, as Will and his fellow-journalist wife Josephine (Frances McNamee) search for clues to the truth.

Theatre review: Boudica

Closing this year’s Globe summer season is a new play that playwright Tristan Bernays has crafted to fit in very well with the old ones that make up most of the theatre’s repertory. And it’s based around a character who it’s strange to think none of the original Globe’s playwrights tackled, the only reason I can think of being the ban on female actors meaning too big a burden being placed on a young boy; because Boudica has all the elements Jacobethan theatre liked to get stuck into. Set during Nero’s reign, the Roman Empire occupies Britain with the help of some of the former tribal kings. Known as client-kings, they pay taxes and stop their people from rebelling in return for getting to keep their titles and lands. The play begins with the death of a leading client-king, whose widow Boudica (Gina McKee) expects to inherit half his land as per the agreement he made with the Romans.

Theatre review: Terror

Billed as international event theatre and certainly designed as such, Ferdinand von Schirach's Terror has played over 1000 performances in Germany and been seen in numerous countries, with the Lyric Hammersmith now giving it its UK premiere in David Tushingham's translation. It's a courtroom drama with the audience serving as jury on an ever-topical case involving terrorism: A passenger plane carrying 164 civilians was hijacked, with it looking increasingly likely it would crash into a stadium filled to its 70,000 capacity. A hastily drafted and redrafted law allows for the plane to be shot down to save the majority, but as it stands only the Minister for Defence can give the order, and he refuses to do so. Faced with the reality, fighter pilot Lars Koch (Ashley Zhangazha) took it upon himself to sacrifice the plane and save the 70,000. Having gone against orders, he's now charged with mass murder and faces life in prison.

Theatre review: Travesties

Taking a few moments out from writing and directing everything at the National, Patrick Marber pops a bit further down the South Bank to the Menier to direct a revival of one of Tom Stoppard's better-known plays. Travesties is a treatise on the meaning and relevance of art, for its own sake or as a commentary on the state of the world, through the medium of a sometimes silly comedy seen through the muddled memory of a retired civil servant. Henry Carr (Tom Hollander) is a doddering figure reminiscing about his days working at the British Consulate in Zurich during the First World War, neutral Switzerland a strange kind of calm in the middle of Europe's chaos. As a result it's a focal point for artists and political thinkers, and Carr has dealings with James Joyce, the Dadaist Tristan Tzara, and the exiled Lenin.

Theatre review: Doctor Faustus (Jamie Lloyd Company / Duke of York's)

Doctor Faustus' charmed 24 years on earth seem to pass him by in a matter of seconds, a process that Jamie Lloyd's production has cunningly reversed for the audience. Christopher "Kit" Marlowe's anti-hero is an academic, frustrated by the limits of human knowledge and willing to sell his soul to find out the secrets of the universe. He conjures the fallen angel Mephistopheles (Jenna Russell) to do the deal: She will serve Faustus for 24 years, after which he will spend eternity in Hell - a deal he makes flippantly since he doesn't actually believe in Hell (despite having a conversation with an actual demon at the time.) But this isn't quite Marlowe's version of the play: Lloyd uses a text that replaces the middle two acts, in which Faustus travels the world using his magic powers to expose the corrupt and impress the powerful, with a completely new script by Colin Teevan in which Faustus (Kit "Christopher" Harington) becomes a Vegas magician.

Theatre review: Mr Foote's Other Leg

In what must be one of history's cruellest cases of nominative determinism, the 18th century actor Samuel Foote really did lose a leg. Ian Kelly adapts (and appears in) his own historical biography Mr Foote's Other Leg, in which Foote (Simon Russell Beale) meets fellow aspiring actors Peg Woffington (Dervla Kirwan) and David Garrick (Joseph Millson) at an elocution class. When their tutor, and the leading actor of his day, Charles Macklin (Colin Stinton) accidentally kills a co-star on stage he's banned from acting, and his students see an opportunity. With the Lord Chamberlain coming down hard on new plays, the three decide to focus instead on revivals of a respected but neglected playwright - William Shakespeare. For Garrick, the rest is history: He became one of the first superstar actors, and still has a London theatre named after him. And his love of Shakespeare proved infectious, helping create the icon we know today.

Theatre review: The Ruling Class

Jamie Lloyd opened his first Trafalgar Slightly Rearranged season with James McAvoy, and now he ends the second with him as well. Rather than a tried-and-tested Shakespeare though, this time it's for a class satire that's languished in obscurity for decades. It's no surprise on seeing it, though, that Lloyd managed to lure his leading man back, as Peter Barnes' The Ruling Class features the kind of role that most actors only dream of getting to play. When the 13th Earl of Gurney dies in an auto-erotic asphyxiation accident, his title, property and seat in the House of Lords pass to his only surviving son. But Jack (McAvoy) is a paranoid schizophrenic with a god complex, who's spent the last 7 years in a mental hospital. Now he has to be seen in public again, and those fighting for control of his estate have to wonder if his behaviour can be passed off as mere aristocratic eccentricity.

Theatre review: Richard III (Trafalgar Studios)

Jamie Lloyd opens the second season of Trafalgar Underwhelmed Transformed like the first, with a big-name star in a popular Shakespeare play. Martin Freeman is Richard III in a production that takes its visual cue from the other famous Winter of Discontent, and sets the action in the late 1970s. In a drab Government office, Edward VI (Paul McEwan) has won - so far - the War of the Roses, but his health is rapidly failing. He has an heir, but his youngest brother Richard (Freeman) fancies the crown for himself. His plots quickly despatch middle brother Clarence (Mark Meadows) and with Edward's death he gets himself installed as Lord Protector over the underage prince. With a gift for manipulation, no qualms about bumping off half the court, and a number of supporters hoping to get a slice of power if he succeeds, he soon steps over his nephews to claim the throne himself.

Theatre review: Macbeth (Trafalgar Studios)

A slew of big-name productions are on their way to the West End this spring, starting with James McAvoy as Macbeth. Following the example of Michael Grandage, director Jamie Lloyd has launched his own production company with a residency at a London theatre. They're calling the season Trafalgar Transformed as designer Soutra Gilmour has turned Trafalgar Studio 1 into a traverse, with the first few rows of seating moved onto the stage, which has been raised a few feet. From my usual perspective of the (comparatively) cheap seats at the back this reconfiguration is a success - the stadium seating means sightlines have always been good, but coupled with the small stage make the view from the gods feel very disconnected. Bringing the stage a bit closer and surrounding it with audience gives a bit more of a sense of intimacy to a sometimes soulless space.

Theatre review: The Lion, the Witch and the Wardrobe

PREVIEW DISCLAIMER: This is another show enjoying a Broadway-style long preview period.

I didn't grow up reading C.S. Lewis' Narnia books, and my exposure to the stories as an adult hasn't made me a fan - I find the Christian allegory thunderingly unsubtle and the characters unlikeable. But the creative team of director Rupert Goold, Michael Fentiman (then assistant director, now promoted to share director credit with Goold,) designer Tom Scutt (whose 13 set I sort of wanted to marry) and composer Adam Cork (also of London Road fame) somehow made me love one of my least favourite Shakespeares, Romeo and Juliet. So could they perform a similar feat with The Lion, the Witch and the Wardrobe? No. I was at least hoping some of the religious "sub"text might be toned down a bit but from the opening where Lucy (Rebecca Benson) stands alone on stage to ask the audience if they believe in life after death, this was clearly not to be.