Opera – ‘The Merchant of Venice’, Royal Opera House, 20th July 2017

I suppose I’d better be upfront from the beginning. I probably shouldn’t be reviewing this one since we left at the interval. Yes, it was THAT bad. I’m never that big of an opera fan anyway, but have lots of friends who love it so often go with them. This one however, was a mistake. Dark oppressive sets were matched by dark oppressive music. Despite knowing the story well having studied it at school, I found the narrative hard to follow.

Overall: Do what we didn’t manage to do… Save your ticket money and spend it on gelato instead!

Play – ‘Ink’, Almeida Theatre, 29th June 2017

It isn’t often there’s a theatre in North London that I’ve never once been to (I rarely do south of the river, or at least no further south than Southbank. No one has convinced me yet that I’m missing out). But I’ve never been to the Almeida. Once again, I ended up here due to a recommendation from a friend. And what a good one it was. ‘Ink’ is a play about Rupert Murdoch and the Sun. Not an obvious premise for an entertaining evening you might think, and before seeing this play I’d have agreed with you. But what this play does is to show you just what a groundbreaker Murdoch was in his time. Until the Sun came along, everything was broadsheets. Murdoch was determined to provide something different, he was sure there was a market out there for it -and he was right. But the lengths he went to in order to make his venture a success are truly eye-opening. I’d like to say more, but I understand this play is due to make a West End transfer so I don’t want to spoil it for you. Go and find out for yourself.

Overall: Who knew Rupert Murdoch could be a good subject for fascinating theatre?! Challenge your preconceptions.

Play – ‘Obsession’, Barbican Theatre, 18th May 2017

Once again my fickleness drew me in- I’ve loved Jude Law for years, so when I realised he was doing a play at the Barbican (with cheap tickets available), there was no question in my mind that I should go. Well that is, until my friend S (who’d already seen it) described it as ‘truly terrible’. Spoiler alert- she was right…
The play is cliched at best- beautiful woman in loveless marriage has affair with handsome stranger. So far, so Mills and Boon. What made it really odd was the strange theatrical devices which were employed – from the tipping of rubbish all over the stage (an apt metaphor if ever I saw one) to the running on a treadmill (presumably something about running to stand still, which is exactly how this play made me feel).
The only redeeming feature was Jude Law with his shirt off, which is a sad indictment of the play.
Overall: spend your money on a poster of Jude topless, not on a ticket to this play.

Play – ‘Consent’, National Theatre, 28th April 2017

Oddly enough, for the second night in a row there was a technical issue that halted the start of the play- in this case the platform that’s supposed to rise out of the centre of the stage as the play starts, simply didn’t rise- leaving the stage manager and a couple of the crew standing on stage looking stressed and speaking veryveryveryfast into their headsets…
Luckily however when the play did actually start it was MORE than worth the wait. The main characters are barristers who discuss their clients in the first person in a slightly derogatory and judging manner – I’m not a lawyer, but it struck a familiar note! The ‘victim’ whose social status contrasts sharply with theirs is tragic and sadly the whole thing is rather believable. Ben Chaplin is simply superb, clearly on a roll following the recent BBC drama ‘Apple Tree Yard’.
Overall: absolutely worth seeing if you like gritty realistic drama. And interesting lampshades

Play – ‘The Philanthropist’, Trafalgar Studios, 25th April 2017

Yet another play that drew me in by virtue of its star-studded cast. Simon Bird, Tom Rosenthal and Charlotte Ritchie, not to mention Lily Cole (yes, I know, I was puzzled too) all directed by Simon Callow?!! How could it go wrong??
Well, in my eyes, mostly, it didn’t. The play is a twist on Moliere’s ‘The Misanthrope’, and while most critics panned it for not even remotely having the depth and breadth of the original, I am happy to put my hands up and say I’m no Moliere expert. So for me, the geeky word jokes were a joy, as were the one-liners (‘I’m a man of no convictions. At least I think I am’). The only thing that wasn’t explained with enough plausibility for my liking is why on earth Lily Cole’s leggy, supermodel beauty would be interested in going after Bird’s bookish, nerdy academic type.
Overall: an entertaining (albeit slightly unbelievable) play pulled off by a talented cast.

Play – ‘Twelfth Night’, National Theatre, 20th March 2017

National Theatre productions are generally always a bit different and interesting. So a modern Twelfth Night was no great surprise. A female Malvolio (Malvolia), though, was an entirely different matter…
Tamsin Greig, always a favourite of mine, played the role, here modernised into a housekeeper rather than the usual manservant of Olivia. There were plenty of other quirky touches too, including fancy suits, sports cars and a set based around a gleaming white staircase.
I don’t always love modernised Shakespeare (I’m a bit of a traditionalist really) but this production did a really great job and Tamsin Greig made the part of Malvolia truly her own.
Overall: very good modern Shakespeare handled masterfully by a superb cast