Theatre review: Allelujah!

A couple of things worth getting out of the way straight away: Alan Bennett's latest play is his best since The History Boys. Not necessarily the biggest compliment considering the reception to The Habit of Art and especially People, but if Allelujah! isn't the 84-year-old's best-ever work* it certainly doesn't disappoint. The second thing that needs saying is that underneath a hugely entertaining surface this is an unapologetically angry, political play. For all that AB has a reputation as a cosy, cuddly National Treasure who doesn't like being called a National Treasure, his work has always had this sharpness - the quintessential Englishness† of his work always tempered with anger and frustration at what he sees eroding his idea of what makes the country worth celebrating. In Allelujah! that anger is never not tangibly bubbling under the comedy and tragedy of his epic hospital story.

Theatre review: A Pacifist’s Guide to the War on Cancer

A musical about cancer sounds a dubious proposition at the best of times, let alone when there's the terrible precedent of Happy Ending. At least A Pacifist’s Guide to the War on Cancer is a musical with actual songs in it; performance artist Bryony Kimmings directs, co-writes the book with Brian Lobel, provides the lyrics to songs by Tom Parkinson, and appears as a pre-recorded voiceover narrating and occasionally interacting with the cast. Parts of the play are verbatim, with the majority of the patients we see based on specific people, but the central figure is more loosely based on Kimmings herself and a prolonged health scare her son had: Emma (Amanda Hadingue) takes her baby son to an oncology ward for tests she assumes will take a couple of hours; as it becomes increasingly clear the results are bad, this turns into 24 hours in a purgatorial grey hospital ward with people at various stages of their illness.

Theatre review: Our Country's Good

Whenever I review a Shakespeare play, I make a note in the subject line of the company or venue, as there's so many productions of his plays I think it's best to be clear which one I'm talking about. I almost feel like I should do the same for Our Country's Good, because despite only first seeing it in 2012, this is now my third production. Timberlake Wertenbaker's play is an undisputed modern classic (though not one of the 101 best play ever according to Michael Billington but it's fine - he asked an imaginary woman what she thought and she agreed with him.) Based on true events, it follows one of the first shipments of convicts to be transported to Australia in 1788, to the area that would become Sydney. For the duration of their sentences they will remain prisoners, watched over by the army, but when their time is done they'll be sent out to colonise the new land.

Theatre review: The Infidel

As he documented in Fame earlier this year, David Baddiel missed out on his chance at becoming a millionaire writer of musicals when Andrew Lloyd Webber couldn't tell the difference between him and Ben Elton. He's making up for it now with the book and lyrics to the musical adaptation of his own film The Infidel, with music by Erran Baron Cohen. Another very silly comedy about religion, this one has a definite feel that nothing is out of bounds. Mahmud (Kev Orkian) is a minicab driver and self-styled fun guy to be around, whose son Rashid (Gary Wood) feels like he's the one having to parent his father. He's well-liked and though hardly the most devout Muslim, is quietly a believer. He has a major crisis of identity though when his mother dies and he discovers adoption papers proving he was actually born to Jewish parents. Hoping to be allowed to meet his dying biological father, he tries to learn enough about Judaism to impress the rabbi, while keeping this development from his family.