Theatre review: Blue/Orange

I've been waiting a long time to see Blue/Orange; I missed the National Theatre's original 2000 production, and subsequently the play has gained a reputation as a modern classic - any time a lacklustre new Joe Penhall play premieres, I hear people say he owes his career to this one big hit. A three-hander taking in mental illness, racial stereotyping and professional backstabbing, it takes place in a generic meeting room in a psychiatric hospital. Chris (Daniel Kaluuya) has been sectioned after a public incident involving an orange, but his 28 days of observation are up and it's time to decide if he's well enough to be released, or if he's a danger to himself and others. The diagnosis is that he has Borderline Personality Disorder, but his doctor, Bruce (Luke Norris,) believes he's actually schizophrenic, and calls in a consultant for a second opinion.

Theatre review: A Midsummer Night's Dream - A Play for the Nation (RSC / Barbican & tour)

This year's official "Shakespeare play I'm going to end up seeing so often I'll be quoting it in my sleep" is clearly A Midsummer Night's Dream, which is packing in the productions over the next couple of months - I've got at least three planned between now and July, and I'm not even seeing all the versions London has to offer. First up is Erica Whyman's touring one for the RSC, subtitled A Play for the Nation for reasons that will become apparent. As a royal wedding approaches in ancient Athens, another potential marriage is in jeopardy: Hermia's (Mercy Ojelade) father won't approve of her marrying her beloved Lysander (Jack Holden) because he sees Demetrius (Chris Nayak) as a more suitable match. The two lovers escape to the forest, but Helena (Laura Riseborough,) in love with Demetrius, inexplicably thinks betraying them to him will help her own chances of getting him back.

Re-review: Radiant Vermin

A quick word about a show that, of course, I had to return to - I saw Philip Ridley's Radiant Vermin twice last year and ended up choosing it as my show of the year, making Ridley the first playwright to get pole position twice (although there's one, possibly two new Tom Wells plays in store this year so he could well have company soon.) You can read my original review of Radiant Vermin here,spoilers and all, and it's about to play off-Broadway so David Mercatali's production has taken the opportunity to warm up back at Soho Theatre - in the smaller Upstairs space this time. Sean Michael Verey returns to the role of Oliver, but Gemma Whelan, who'd originally been due to rejoin him, had to drop out. So Scarlett Alice Johnson now replaces her as Jill, while Debra Baker takes the dual role - or is it? - of Miss Dee and Kay.

Theatre review: Monster Raving Loony

You do tend to get a little something extra when you're in the audience for a James Graham play; The Man had its receipts, Privacy came with airline safety-style instruction cards, while his latest, Monster Raving Loony, comes with a whole goody bag on every seat, containing party hat, bingo card, raffle ticket and a gift - mine had a party blower but I spotted comedy mustaches and plastic Groucho Marx glasses elsewhere*. This being Graham, the sort of party this is is a political party, but not the kind with actual hopes of winning an election - in fact one rule of the Monster Raving Loony Party was that anyone who actually won their seat would be expelled from the party. This is the story of Screaming Lord Sutch, born in 1940 as David Sutch (Samuel James) in Harrow, North London, growing up in a cluttered house with his widowed mother while the nearby public school churned out future ministers.

Theatre review: Lawrence After Arabia

Howard Brenton’s latest trip into history looks at the man best known as Lawrence of Arabia - although as the title Lawrence After Arabia suggests, it doesn't look at T.E. Lawrence's most famous deeds except in flashback. In fact most of the action takes place in the home of George Bernard Shaw, where Lawrence (Jack Laskey) liked to hide away from the press, despite the fact that his friend's own fame meant reporters were rarely far away. Jeff Rawle plays Shaw, or possibly Captain Birdseye, and Geraldine James his wife Charlotte, who takes on the job of editing Lawrence's autobiography Seven Pillars of Wisdom, and discovers more in it than she'd expected. John Dove, who's directed Brenton's work at the Globe before, now moves to the playwright's other regular haunt on Hampstead's main stage, and a story that opens with Lawrence a national hero after his victories in the Middle East during World War I.

Radio Review: The Winter's Tale (Radio 3)

Of the new BBC radio adaptations of Shakespeare for the 400th anniversary of his death, I probably have the least the say about David Hunter's production of The Winter's Tale for Radio 3 - again one of the plays I least enjoy, and I was quite happily going to skip it until spotting the name Eve Best in the credit list. That's not a performance you're going to want to miss, but as always the trouble with a great Hermione is she's not actually in the play that much. Best's infectious laugh is in full force at the start as the Queen of Sicilia, whose husband Leontes (Danny Sapani) is welcoming his old friend and Bohemian king Polixenes (Shaun Dooley) to court when he suddenly gets an insane burst of jealousy that convinces him the two are having an affair, and the baby Hermione is carrying isn't his. His witch-hunt tears his family and kingdom apart, and it's only when his baby daughter Perdita (Faye Castelow) grows up and is found again in Bohemia that things can start to heal.

Stage-to-screen review: Henry VI Part 2 (BBC Hollow Crown)

The cynical side of me thinks that the middle part of the BBC's Wars of the Roses wouldn't have focused quite so squarely on the future Richard III if they hadn't got Banoffee Hydrochloride to play him; but realistically I think Shakespeare's first tetralogy of English Histories is so roundly considered to be unloved that the one character everyone's heard of would probably have been at the center of Ben Power and Dominic Cooke's The Hollow Crown: The Wars of the Roses - Henry VI Part 2, regardless of who they got to strap on the hunchback. In any case, making this mix of Shakespeare's Parts 2 and 3 effectively a prequel to Richard III lends it the closest thing it has to an overall story arc, in an adaptation that doesn't live up to the dramatic impetus Power and Cooke managed last week in Part 1.

Theatre review: Giving

Usually to be found working somewhere like the Olivier, Bijan Sheibani directs in Hampstead's smaller Downstairs space, and brings with him a similarly impressive cast for Hannah Patterson's Giving, which looks at the ethics behind charity. Journalist Laura (Sinéad Matthews) is assigned to interview reclusive billionaire Mary (Sylvestra Le Touzel,) who's just announced the single biggest charitable donation in UK history. In trying to find the person behind the generosity, Laura soon discovers that Mary is taking advice from Michael (Simon Manyonda,) the representative of an American company that matches philanthropists with charities. After a boozy dinner Laura spends the night with Michael, but this indiscretion starts to look a lot more unprofessional as he and the company he works for become the real focus of the article.

Non-review: Pleasure

Obviously, I can't make any kind of claim to actually be able to review an opera: I know nothing about them and have only ever seen a handful - there's far too much theatre to keep up with without adding opera and ballet to the mix regularly. But the Lyric Hammersmith are hosting a couple of touring productions from the Royal Opera, and Mark Simpson's Pleasure stars Lesley Garrett as a toilet attendant in a Northern gay club; and if that sort of thing isn't enough to at least make you curious you're probably in the wrong place. Simpson is apparently the only person ever to have won both BBC Young Musician of the Year and BBC Young Composer of the Year, and his music here mixes somewhat discordant strings with occasional hints of synthesizer, reminiscent of Peter Davison-era Doctor Who when the entire score was done on a Casio keyboard.

Radio review: King Lear (Radio 3)

BBC Radio 4 have been serialising Shakespeare but there's no such messing about over on Radio 3 - Gaynor Macfarlane's production of King Lear was presented as an uninterrupted 150 minutes (although personally I downloaded the iPlayer version onto my kindle and listened to it over a couple of days' worth of train journeys and lunch breaks.) When staging or filming Shakespeare it's easy to impose a high concept; less easy without the visuals, but this production has been given an all-Scottish cast, led by the distinctive voices of Ian McDiarmid as Lear, the king who, as madness sets in, puts his faith in the wrong two daughters while banishing the only loyal one; and Bill Paterson as Gloucester, who makes a similar error of judgement with his two sons. The fact that everyone has a Scottish accent (except for Simon Harrison's King of France who, paradoxically, is given an English one) could have been confusing but there's enough variety in voice and subtle differences in accent never to make it a problem.

Theatre review: The Buskers [sic] Opera

John Gay's 18th-century Beggar's Opera has been called a precursor to the modern musical as well as directly influencing various adaptations - most famously The Threepenny Opera. Brecht and Weill's version is about to get revived at the National, so whether that's good or bad timing for a new rewrite remains to be seen. Dougal Irvine's The Buskers OperaSHOULD THERE BE AN APOSTROPHE IN THERE SOMEWHERE OR ARE YOU TRYING TO USE "OPERA" AS A VERB?* references its predecessors in its opening number, in a self-referential style that will become typical of the rest of the evening: Macheath (George Maguire) is a former X Factor contestant kicked out at Boot Camp because of his temper, and now films himself singing anti-establishment songs and posts them on a fairly successful YouTube channel.

Radio review: Julius Caesar (Radio 4)

As well as TV spectaculars, radio has also been getting in on the BBC's Shakespeare Festival, and after listening to their version of Hamlet a couple of years ago, I gave Radio 4's three-part Julius Caesar a go - with a bit more trepidation this time, as regular readers will both know it's far from my favourite Shakespeare play. But director Marc Beeby had once again assembled a quality cast, and audio-only Shakespeare can throw up some interesting details you don't always notice with everything else going on on stage. The three 45-minute episodes ended up dividing the story up quite neatly - episode one boiled down to the building of the conspiracy, with Cassius (Sam Troughton, who's previously played Brutus on stage,) convincing Brutus (Robert Glenister) that the newly-promoted Julius Caesar (Tim Pigott-Smith) has the potential to be every bit as much of a brutal tyrant as Pompey, the man he's just overthrown; and that assassination is the only way to protect Rome from this.

Stage-to-screen review: Henry VI Part 1 (BBC Hollow Crown)

After  the BBC's 2012 series The Hollow Crown presented the second (in order of writing) tetralogy of Shakespeare's Histories, there was a general assumption that it would be followed up with the rest of the story as told in the Henry VI plays and Richard III. But response to that quartet was mixed, and the Henry VIs, written earlier in Shakespeare's career, aren't particularly well-loved, and I got the distinct impression the BBC weren't too keen on going there. The occasion of the 4th centenary of the playwright's death and the resulting on-screen festival got them to reconsider - although I can't help suspecting it was the fact that the ever-popular Botulism Nanobot agreed to play Richard III, probably guaranteeing big ratings, that finally got this green-lit. Ben Power has stayed on from the first series as adaptor, but Dominic Cooke has been given directing duties on all three films - a good idea, as the first series wasn't always that cohesive from one part to the next.

Theatre review: The Local Stigmatic

The Old Red Lion unearths an obscure slice of 1960s kitchen sink drama in Heathcote Williams’ The Local Stigmatic, given a 50th anniversary production by Michael Toumey. It's an Angry Young Man play, or in the case of Wilson James' Graham a STUCK ON CAPSLOCK YOUNG MAN, given a bad tip about a greyhound race at the start of the play, and screaming in his flatmate's face about it for the rest of the hour. Ray (William Frazer) is seemingly more level-headed and placid, but something between fear and a crush keeps him in thrall to his friend, and he reveals a gift for actually carrying out violence rather than just threatening it. When Graham wants to beat up a blind man in the street Ray stops him, but he's more supportive of his next choice of victim: They spot moderately famous actor David (Tom Sawyer) in a pub, and flatter him with their knowledge of his work.

Theatre review: The Iphigenia Quartet - Agamemnon and Clytemnestra

Two more points of view on the story of Euripides' Iphigenia at Aulis at the Gate as part of The Iphigenia Quartet; you can read my review of Iphigenia and Chorus here, but tonight Caroline Bird gets arguably the toughest job, of trying to see things from the perspective of Agamemnon. Although it's his brother whose wife has been abducted, Agamemnon (Andrew French) is leading the Greek charge to get her back, and is therefore the man in the spotlight. Bird focuses on him not as a bloodthirsty villain but as a rather weak man buffeted by circumstance and unable or unwilling to stand up to it. As the play begins he's consented to the sacrifice of his daughter but changed his mind, sending a letter to his wife telling her to stay away. It's too late, of course, and besides the Messenger (Louise McMenemy) is brutally pragmatic about the Greek cause and makes sure the letter doesn't reach Clytemnestra.

Theatre review: The Iphigenia Quartet - Iphigenia and Chorus

Greek tragedy continues to get reinvented, and after a Medea last year that told the story from a very different point of view than usual, the Gate now turns to the story of Iphigenia, and asks four different writers to each put their own spin on the myth behind Euripides' Iphigenia at Aulis, that also forms the background to the Oresteia: The Greek ships are waiting to sail out to Troy, but the war can't begin if the army never gets there, and the winds stubbornly refuse to blow. It turns out the goddess Artemis is pissed off with General Agamemnon for killing one of her sacred stags while hunting; she'll only let the winds blow if he sacrifices his daughter Iphigenia. What happens next varies depending on the version of the myth, but blood always ends up getting spilt, and Agamemnon gets his war.

Theatre review: The Delights of Dogs and the Problems of People

Although I don't listen to The Archers myself, it's hard to miss the discussion going on at the moment about its current domestic abuse storyline, that has apparently been building up for a couple of years before exploding into violence. So it's a comparison I can't help but make with The Delights of Dogs and the Problems of People, which Rosalind Blessed writes and stars in, and which has a nastiness barely concealed under its smiley surface. James (Duncan Wilkins) introduces himself to the audience as he cooks a surprise anniversary meal for his wife Robin (Blessed,) but it quickly becomes apparent this'll be less of a surprise and more of a shock, as the two have separated and this is Robin's new house, which he's broken into. The rest of the show bounces back and forth in time through their relationship, their best times always seeming to revolve around the various rescue dogs they've adopted over the years, their worst when they're left to deal with each other.

Theatre review: The Toxic Avenger

In what's definitely becoming something of a Southwark Playhouse specialty, it's another kitsch American musical based on an unlikely source - this time the cult 1980s Troma horror movie by Lloyd Kaufman (who was in tonight's audience and got a shout-out from the cast,) The Toxic Avenger. Tromaville, New Jersey is the world's toxic waste capital, thanks to the corrupt Mayor (Lizzii Hills) who secretly owns the company dumping mysterious green sludge everywhere. When nerdy environmental activist Melvin Ferd the Third (Mark Anderson) finds out what she's been up to, the Mayor has her goons drown him in a vat of toxic waste. But instead of killing him it transforms him into a deformed, smelly but super-strong monster, and as The Toxic Avenger - or Toxie to his girlfriend, the blind librarian Sarah (Hannah Grover) - he goes on a violent rampage to clean up Tromaville.

Theatre review: Wendy Hoose

A low-key trend in recent years, but one that's resulted in more than its fair share of interesting theatre, has been the idea of not just making shows accessible to audiences with disabilities, but also integrating these accessibility aids into the structure of the show itself. Deafinitely went from a company that created sign-language shows to one aiming to make theatre that deaf and hearing people could enjoy equally together; while only a few months ago Graeae brought The Solid Life of Sugar Water to London, with audio-description at every performance, and surtitles integrated into the projections. It's the latter show's technique, as well as its wincingly frank sex talk, that comes to mind in Johnny McKnight's Wendy Hoose, in which Jake (James Young) answers a booty call on Tinder and goes to meet Laura (Amy Conachan) in her flat, where she's already in bed waiting for him.

Theatre review: Elegy

Bucking 2016's trend for interminable plays is Nick Payne, whose Elegy tells its story in 75 minutes - and that's with one scene being played out twice in its entirety. The setting is sometime in the near future, and Lorna (Zoë Wanamaker) has an unnamed illness that's causing her brain to rapidly degenerate; but medical science has found a cure. An implant can replace the damaged part of her brain and reverse the progress of her illness, but one thing it can't replicate are her memories: The surgery will remove everything she remembers of the last 25 years, a significant period as it includes the whole time she's known her wife Carrie (Barbara Flynn.) As the disease will very soon leave Lorna unable to make her own decisions, it's left to Carrie to use her power of attorney to see that her wishes are respected.