Theatre review: The Circle

A play full of references to the ravages of ageing could be taken as a bit of an on-the-nose way for a new Artistic Director to introduce himself to the Orange Tree's regular audience, but Tom Littler's debut production seems to have gone down well enough this afternoon. During Paul Miller's tenure the theatre helped subsidise its risky new writing scheduling with regular crowd-pleasing revivals, with a particular focus on Shaw and Rattigan. For his opening salvo Littler goes for Somerset Maugham, and the 1921 romantic comedy-drama The Circle. Arnold (Pete Ashmore) never really knew his mother, who left his father Clive (Clive Francis) and ran away with his best friend. But Arnold's wife Elizabeth (Olivia Vinall) has learnt that Lady Kitty (Jane Asher) and Lord Hughie Porteus (Nicholas Le Prevost) have returned to England after thirty years in France.

Theatre review: As You Like It (Open Air Theatre)

Second time lucky at the Open Air Theatre's As You Like It - if you thought London hadn't had a drop of rain for weeks you weren't in NW1 last Friday, when it came down so heavily the performance was abandoned before it could even start. Although this afternoon's grey clouds never resolved themselves into another downpour the fates still seemed against me seeing this production: At least two audience members fainted 20 minutes in, leading to a pause in the performance, and the least said about the pigeon that tried to land on my head in the second act the better. But Max Webster's production made it to the end, and the multiple marriages at the end of one of the more music-heavy Shakespeare plays, made even more so here with some original compositions by Charlie Fink.

Theatre review: Young Chekhov - The Seagull

Last year's big one-day, three-play marathon, The Wars of the Roses, followed Shakespeare's rarely-performed Henry VI plays with the much-loved and frequently revived Richard III. So too this year when it's Anton Chekhov's turn, and after the very obscure Platonov and fairly rare Ivanov, Young Chekhov at the National takes us up to his first big hit, and my personal favourite, The Seagull, in the same theatre where I first saw the play. Tom Pye's set for the whole trilogy has, as far as possible, avoided the usual stuffy drawing rooms and, taking it's cue from Chekhov's love of a disappearing natural world, been dominated by dead trees and shallow waters. This water has colonised even more of the stage for the finale, with all of the upstage area now a lake, through which characters sometimes wade to make a dramatic entrance.

Theatre review: Young Chekhov - Ivanov

This may be Young Chekhov but it's already time for a midlife crisis play in the middle section of Jonathan Kent's productions of David Hare's translations. Ivanov (Geoffrey Streatfeild) is 35 and depressed, feeling trapped in his home with consumptive wife Anna Petrovna (a completely different Anna Petrovna but again played by Nina Sosanya, showing range as she goes from educated woman to completely dependent on her husband's attention,) and his bombastic uncle Count Shabyelski (Peter Egan, from the 1980s.) As with the characters in Platonov, property doesn't always come with the money to maintain it, and Ivanov is hugely in debt to the two women who between them control the town's finances. Ivanov begins an affair with Sasha (Olivia Vinall,) daughter of his main creditor.

Theatre review: Young Chekhov - Platonov

Another theatrical marathon day as a trio of productions originally seen in Chichester come to the Olivier. Jonathan Kent directs David Hare translations of Anton Chekhov's early work, grouped together and played either individually or in one day as Young Chekhov. First up is the playwright's first, unfinished full-length play Platonov, in which a rural community deal with twin obsessions of sex and money - too much of one and not enough of the other. Cash is thin on the ground for the upper-class widow Anna Petrovna (Nina Sosanya,) who's running her late husband's estate entirely on loans from local loan shark Shcherbuk (David Verey,) but she's still a young woman and the wealthy Porfiri (Jonathan Coy) has proposed. But Anna only has eyes for the same man all the other local women do.

Theatre review: The Hard Problem

For Nicholas Hytner's final directing job as Artistic Director of the National, he gets one of the biggest-name writers alive to return to the stage after nine years' absence: Tom Stoppard returns to the ways academic theory interacts with people's real emotional landscapes, this time investigating the difference between the brain and the mind. We follow psychologist Hilary (Olivia Vinall) over a few years during which she keeps being troubled by the question of, if the brain is simply a collection of matter, what is consciousness, and how do we determine what has it? We first meet her as a student, and her tutor and on-off lover Spike (Big Favourite Round These Parts Damien Molony) has no doubt that the sense of self is one of many quirks of evolution, and is impatient at Hilary's more spiritual angle, that even takes in prayer. But when she gets a job with Leo (Jonathan Coy,) he encourages her interest in what is termed The Hard Problem.

Theatre review: King Lear (National Theatre)

The first King Lear I ever saw, 20 years ago, starred Robert Stephens in the title role, and Edgar was played by the then rising star of the RSC, Simon Russell Beale. It maybe says a bit too much about my age that the wheel, which is so often referenced in the play, has come full circle and it's now SRB's turn - admittedly at the comparatively young age of 53 - to play the king who abdicates in all but name. He reunites with his long-time collaborator Sam Mendes on the National's main stage, and although it's a long-awaited event I couldn't help but feel a little bit apprehensive given I didn't love any of Mendes' Bridge Project productions. King Lear, though, sees the director get his Shakespearean mojo back for a truly epic - there's no major text cuts so we're in it for the full three-and-a-half hours - and emotionally devastating production.

Theatre review: Othello (National Theatre)

Here's one that's been a long time coming: It feels as if an Adrian Lester / Rory Kinnear Othello has been promised at the National for even longer than the SRB Lear we'll finally be getting next year. Nicholas Hytner's production takes a very literal approach to the play's setting, with a military installation in a hot country that could easily be Cyprus. Othello (Lester) is a career soldier who's risen through the ranks to become General, and is called upon to lead a force in Cyprus when there's a sudden Turkish threat. He brings along his new young wife Desdemona (Olivia Vinall,) who will also become the crux of a plan by his trusted ensign Iago (Kinnear,) who after being passed over for promotion among other perceived slights, has decided to destroy the General's life - or rather let him destroy it himself.