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West Side Story (Sadler’s Wells, London and touring)

West Side Story Overall 3
Performance 3

Even a person, who has never seen any musical before, has heard of West Side Story and its tunes. This well-known musical is a so-called modern revival of Shakespeare’s Romeo and Juliet. With beautiful music composed by Leonard Bernstein, along with energetic lyrics by Stephen Soudheim, it first opened in Broadway in 1957. And sooner, as to follow its success, a film based on the musical was premiered in 1961. The story opens up with the escalation of the conflict between two gang groups; New York-born-youngsters and Spanish-speaking immigrants from Puerto Rico. In order to conciliate those two groups, a prom-like dance party is organised. While they refuse to get along with each other in the party, Tony from the New York born gang and Maria from the other meet and instantly fall in love each other as if Romeo and Juliet do. As the story progresses, they gradually find difficulties to continue their relationship and the gang conflict inevitably brings a tragedy in their young and pure love.

The most remarkable point of the musical is that Arthur Laurents successfully transformed the Shakespearean tragedy into 1950 New York, without a magical sleeping pill or an unreliable messenger. In other words, it seems to me that the storyline is more sensible and understandable than the Shakespeare’s play and Laurents’s cleverly written plot almost stands up from its original. The only problem that this musical has is that is very difficult to display a perfect performance, which means that it requires pretty much every actor to have very high dancing and singing skills, and yet this international production does not seem to fully overcome the problem. The director and also choreographer of this production, Jerome Robbins, who has the background of ballet, seems to put more emphasis on a dance performance by faithfully following the film and original Broadway version. This may cause its audience to feel that they see the less perfect version of the film on the stage, because the film is so well known and perfect, even though it is a fairly decent performance. In terms of signing, the gorgeous voice of Elena Sancho-Pereg (as Maria) dominates all the way through to the end. However, it is unfortunate that her performance almost overshadows other actors and underlines the inconsistency of singing performances by each actor. Having said that, this is a well-organised and thoroughly enjoyable production.

Sadler’s Wells, London
Until 22 September 2013
and Touring in the U.K.
ticket information

Strange Interlude (Lyttelton National Theatre, London)

Extra Strange Interlude Overall 5
English 3
Strange Interlude, written by one of the most distinguished American playwrights Eugene O’Neill is first performed in New York in 1928. This play was commercially very successful in his time and also brought O’Neill his third Pulitzer Prize but it was surprisingly more than 30 years ago when this iconic piece was performed last in London. The one of reasons is possibly that it takes more than five hours to run. As a result, in this time the National have decided to reduce its running time to three hours and twenty minutes with one interval. Before seeing the play, I was in fact disappointed by the National’s decision, however I found it seems to be rather appropriate to cut some repeated dialogues which O’ Neill though it is necessary to have some catch-up for his audience after an one hour (alcohol involved) dinner break. In addition, while a rehearsal, some actors intentionally omitted some dialogues which they believed are unnecessary, but O’Neill apparently never realised this naughty deed. As well as its length, this classical American play has another feature; that is, the protagonists speak out their thoughts towards audience, like characters in Shakespeare’s plays. However, in contrast to Shakespearean characters -his protagonists usually reveal their minds to audience while their unseen from other characters on the stage; for instance one does while hiding in the bush- O’Neill has very freely put mind-speaking-lines between ordinal conversations. It seems as if time is held, while they are expressing their feelings towards the audience. but I have found that this unique affect works really well in this particular play and in doing so the audience are seemingly led to be sympathised with each character; that is, one can feel a similar experience like reading a book while seeing this O’Neill’s experiential play.

In terms of the story, this play tells life-time relationship of one woman, Nina and three men surrounded by her; Charles, Edmund and Sam. These three suitors visit Nina, being grieved at the death of her fiancé, Gordon, one after another. Charles a modest writer always acts like her father and never expresses her about his real thought about her. Edmund a macho doctor, who has kissed her before, does not see true love in her. And finally Sam who does not certainly look her first choice guy to be able to replace Gordon eventually marries Nina, because of Sam’s straight forwarding love of her and Edmund’s advice that she should have a baby with Sam so that she can start to love Sam and her child -it alternatively brings her happiness. However, after their marriage, Nina’s strange and eternal-like relationship with other 2 men continues until her late age. Nina, who is sly and desperate for her better life, is outstandingly played by Anna-Maria Duff who looks mid twenties when the beginning but also does sixties in the end of the play. I would also like to praise Charles Edwards who depicts the difficult character of Charles the novelist. I believe that, as well as Anna-Maria Duff and other actors, his excellent performance did bring this production to the top level. This unique play is very rare to be performed and I certainly recommend to see the play by one of the best American playwright.

Lyttelton National Theatre, London
1 September 2013
ticket information

Chimerica (Almeida Theatre and Harold Pinter Theatre, London)


Overall 5
English 3

While waiting for the show to begin in the foyer of Almeida, I was not convinced at all that this new play written by Lucy Kirkwood was going to be as good as its reviews written by professional theatre critics. The reason of my doubt is that I was thoroughly disappointed by The Arrest of Ai Weiwei at Hampstead Theatre – its theme is similarly to alert the danger of the political policy of Chinese government – although this play won 4 stars in almost all national newspaper reviews. I found that the plot was slightly thin as it only tells the story which we have already known from news. I moreover felt that Ai Weiwei play lacks creativity and enough criticism depicted.
To go back to Chimerica, it is equally based on the actual political event, which is the massacre at Tiananmen Square in 1989. An American photo-journalist, Joe Schofield witnesses that one Chinese man stands in front of a tank and prevents its advance in the Square in Beijing. Then, the time comes back to the present. Joe visits Beijing in the first time since 1989 and meets his Chinese friend, Zhang Lin. Joe still cannot forget the accident in Tiananmen Square and persuade Lin to find the man who stood up to the tank….

Sorry, I feel that it is sin to tell more details of the plot – otherwise you lose the thrilling parts of it. In terms of its accessibility, although the story often overlaps time and spaces, this well written play is quiet easy to follow and I can recommend it to non-theatregoers.

As well as the plot, the stage design is also excellent. A large rotating cube with projections dazzlingly illustrates both past and present of Beijing and New York in the small stage of Almeida. It is still in the middle of June, it is too early to judge that Chimerica is the best new play of the year as I would like to hope there will be more great new plays coming out in this year but it is obviously the one so far!

Almeida Theatre London
Until 3 July 2013
ticket information

Herald Pinter Theatre, West Eed
Until 19 October 2013
ticket information

The Hot house (Trafalgar Studios, London)


Overall 4
English 3.5

 The current trend in West End seems that a prominent theatre director creates his own company, and its company produces several plays while occupying a playhouse; for example Michael Grandage Company at Noel Coward Theatre. As James Lloyd follows on the trend, he has directed Shakespeare’s Macbeth starring James McAvoy at Trafalgar Studios, which was overwhelmingly successful. And then, his second show The Hot House by Harold Pinter, who is one of the most admirable modern British playwrights and famously won the Nobel Prize in literature in 2005, has just been opened. The play begins with a peculiar and comical conversation between Roote (Simon Russell Beale) and Gibbs (John Simm) in Roote’s office on Christmas Day. Roote discovers his one of patients, whom he thought he saw yesterday, already died few days ago. This confusion is caused by calling the patients by numbers such as 6459 and 6457. In addition to this, after Gibbs having revealed another problem that one of the patients is pregnant, Roote becomes furious and instantly order him to find who the father of the baby is…
 The acting of the all casts is brilliant; especially Simon Russell Beale. As his impatient character Roote speaks very fast with his nerves, it seems almost impossible to follow, but every word he speaks is very clear and understandable because of his excellent acting technique., And John Simm also perfectly depicted Roote’s stuff Gibbs, who is clam and cynical in contrast to Roote and is clearly seeking an opportunity to take over Roote’s position. However, Roote’s actual position, in other words the role of this organisation, never becomes clear in the play. It could be a psychiatric hospital, some sort of quarantine or prison. All we can know is that government officials seem to get involved in to run this institution. It was written in 1958 but it still attracts us, which seems to be able by Pinter’s technique that he let each audience openly interpret the play. After seeing the play, I rather found horror in it although it is still a very funny play.

Trafalgar Studios, London
Until 3 August 2013
ticket information

Othello (Olivier, National Theatre, London)


Overall 5
English 4.5

It is almost unbelievable that Nicolas Hytner the artistic director of the national theatre is leaving his current post in 2015 as his latest work, the modern adaptation of Othello, is simply the best one among recent other modern adaptation of Shakespean plays. I thoroughly enjoyed this time-fly-theatre-experience although the play actually lasts 3 hours and 20 minutes with one interval. The settings of the original play are, in the 17th century, Venice and Cyclops, but, in this Hytner’s version, Venice seemingly becomes present London and Cyclops does a modern military compound in Iraq or maybe Afghanistan, which Hytney has left for the imagination of his audience. (However he has not changed the original lines so that the story goes along with original setting.) It sounds slightly complicated, but even though there is also the difficulties of Shakespean English, I felt that it is very easy to follow its storyline. Again, it is the result of Hytner’s excellent directing has made the story clearer. As well as the direction, every actor’s performances are also brilliant. Especially Adrian Lester’s energetic black Othello thrilled me from the beginning to the end and also cunning and clam Iago, perfectly played by Rory Kinnear, is ironically contrasted with Othello by not only their races but also their personalities. In addition to these two characteristic protagonists, young and innocent Desdemona (Olivia Vinall), and, the loyal wife of Iago, Emilia (Lyndsey Marshal) appearing to be another contrast in a macho army base becomes the centre of the conflict between Othello and Iago…
Finally I would strongly advice to read through at least the summary of play if you have not challenged any Shakespeare’s play before. Having said that, as I mentioned, I found that this Shakespeare’s play is the most easy to understand in contrast to other Shakspean plays I have seen. I strongly recommend to see it, especially anyone who has feared to try Shakespeare!

Olivier, National Theatre, London
extended until 5 October  2013
ticket information

Mies Julie (Riverside Studios, London)

Extra Mies Julie

Overall 4
English 3

This powerful and brutal play was based on a classic Swedish play (1888) by August Strindberg. However, I in fact almost forgot to mention it here as Yael Farber has far too brilliantly transformed its original setting from an elegant Swedish manor house into a rural-farmhouse in South Africa. In doing so, the secret affair between Julie and Jean does not only concern the difference of their social classes but also their races. John (Bongile Mantsai), a black and very muscular peasantry, is seemingly quite loyal to his master but he has also certain doubt about the social dominant of while people in his mind.
On the other hand, Julie (Hilda Cronje) is the daughter of John’s white master. With her strong determination, she constantly provokes him by standing her superior social position in order to persuade him to be true to his love to her. Then, his strong desire of her eventually goes off and he becomes as if only led by his passion towards her. This forbidden love leads their sorrowful consequence… Yael Farber’s direction was so brilliant that I never felt bored by this only one simple country-house-kitchen setting. In addition, it seems that Hilda Cronje’s energetic performance of let her Julie almost conquer John’s physical strength and dramatically raises the audiences’ emotions. It is certainly worth seeing this non-stop 80 minute play.

Riverside Studios, London
Until 19/May/2013
ticket information

Merrily We Roll Along (Harold Pinter Theatre, London)

Overall 5
English 3

Please forget The Book of Mormon and Wicked! The finest Broadway musical has finally arrived herein West End. Merrily We Roll Along was first opened in New York in 1981, but the musical was forced to be shut after only 16 performances as a result of its poor attendance. Over 30 years later, this forgotten musical was reborn in a less-than-200-seat-theatre, Menier Chocolate Factory, by a brave and talented director, Maria Friedman. (It is surprisingly her first musical as a director!) After seeing this emotional musical with wonderfully composed songs. you would certainly wonder why the musical was unsuccessful. Having said that, if I have to name the reason of its failure, it would be the slight difficulty for audience to understand its storyline which goes backwards as it progresses. Franklin, who used to produce musicals with his friend Charley in New York, comes to Hollywood to become a film producer. Franklin’s another old friend Mary, who has also become a successful writer, tries to persuade him that the most important thing in a life is not money but friendship in an extravagant party in his house. Then, the story gradually goes back to the time when they first met in the roof of their apartments coincidentally. The uniqueness of the musical is that audience feel more and more melancholy as the story reveals their unsuccessful but happy past time. To be honest, I did not recognise its excellence before thinking over it again on the tube on my way home because of the way of its narrating style. That is, I believe a very much good sign to show you that this musical was a great production and strongly remains in your mind. Overall, it can certainly guarantee you to have a wonderful theatre-experience and also attempts you to go and see it again and again as time goes by.

Harold Pinter Theatre, London
Until 27 July 2013
ticket information

Children of the Sun (Lyttelton, National Theatre, London)


Extra Children of the SunOverall           star_fullstar_fullstar_fullstar_fullstar_empty
English           star_fullstar_fullstar_fullstar_emptystar_empty

I personally believe that a play should have at least one interval although I also admit that a play without any interval can arguably increase its intenseness. One of the reasons for creating a 20-minute-break during a play is that, I believe, an interval can be a turning point of a play without indicating it; in other wards audience are likely to summarise the first half of the play unconsciously and in doing so they can perceive the second half while contrasting to the incidents in the first half. In my opinion, Children of the Sun written by a Russian dramatist Maxim Gorky seems to be one of the best examples, which seemingly require to have a bleak not only for allowing its audience to have some additional drinks in an interval but also for its dramatic construction. Gorkey was contemporary with Chekov the great playwright of the 20th century and there can be seen the similarity to Chekov’s narrative style in the first half of the play but after a break Gorkey appears to abandon Chekov’s style and the play starts to tell its political message…
Just a day before Bolshevik Revolution in St. Petersburg, Protasov the son of Russian bourgeois family , as usual, conducts scientific experiments in a laboratory in his house where his wife, sister and their old nanny live In order to achieve some sort of scientific success which no one has ever done, he could not care less what is happening among his family; for instance, the suspicion of his wife’s adultery with her friend artist and the aggravation of his sister’s mental health condition, as well as the current social situation of Russia. He is eventually forced to be aware of the crisis among his family. In adding this, his scientific experiments bring the situation worse and he finally opened his eyes towards the outside world when everything is too late to be fixed. Finally my advice in order to enjoy the dramatic second half is that you will never fall asleep in the first half. An interval is not only for topping up your drink!

Lyttelton, National Theatre, London
Until 14 July 2013
ticket information