The Beauty Queen of Leenane - Young Vic

Life is bleak in the desolate farm house in rural Ireland, its cold, its damp and for Maureen and her mother Mag, any glimpse of happiness is one to be grabbed. The only problem is both are too busy fighting the other to notice.

Martin McDonagh’s Beauty Queen of Leenane is receiving a much overdue first major London revival at the Young Vic and this 1996 play still has the power to shock.
Maureen is a 40year old virgin, stuck in the decrepit house with her overbearing elderly mother Mag. Maureen dreams of a new life with local man Pato Dooley but Mag isn’t about to let her live in skivvy escape that easily.

This is a house of secrets and recrimination, Mag is not the sweet granny she may appear and Maureen has her own demons barely contained.

McDonagh’s script drips pure venom but is tempered with some much needed and perfectly crafted comedy. By the time of the harrowing climax the audience are truly gripped and from the audible gasps truly shocked. Director Joe Hill-Gibbins drives the action forward at a pace while allowing the tensions in the house to bubble like the ever present brewing cup of Complan.

You can almost smell the damp in designer Ultz’s ramshackle house, this being one of those houses you wipe your feet when leaving. Plaster is barely hanging to the wall and the ever present rain seems to permeate everything,

The power of the script and direction are undeniably strong however, the joy, if that is the correct word in this world of misery, is the two central performances from Susan Lynch and Rosaleen Linehan. Lynch’s downtrodden Maureen visibly deteriorates in front of our eyes while the Linehan’s deliciously malevolent Mag drips hate with every roll of the eye. You would be lucky to catch two finer performances in London at the moment.

It may be uncomfortable viewing at times but should be essential viewing and this production will take a lot of beating.

Welcome To Thebes - National Theatre

At once both classical and immediate, Moira Buffini’s new play, Welcome To Thebes, is a shining example of what the National Theatre does best. The fact that this epic play, with a large cast and impressive staging features as part of the £10 Travelex season, also show what can be done with an imaginative take on arts funding.


Taking classic Greek drama and transposing them into a modern, unnamed African country, Buffini cleverly intertwines both ancient and modern into a potent reflection on current world troubles.

President of Thebes Eurydice is desperate for an alliance with the mighty state of Athens to shore up her infant government. Athens’ First Citizen Theseus is aware of the kudos and opportunities an alliance, although unequal, will provide. Add in some civil unrest, power games and political infighting and the resultant drama could easily feature in an episode of the West Wing.

Director Richard Eyre returns triumphantly to the Oliver stage, showing a masterly use of its vast space. Aided by Tim Hately’s glorious war damaged set, Eyre builds up the tension of a country teetering on the edge of social breakdown. Although knowledge of Greek Tragedy helps pick up some of the numerous references and in jokes this is by no means a pre-requisite. The script combines enough references to the classical texts to keep those familiar with the historical plays on their toes while also injecting enough humor into the ever growing angst to make this utterly watchable for a wide audience.

As the posturing leaders Eurydice and Theseus Nikki Amuka-Bird and David Harewood give strong lead to a uniformly impressive ensemble who bring to life this vivid world.

Welcome To Thebes works on many levels; as an introduction to the Greek classical texts but perhaps more importantly a reflection on today’s world political posturing. Brown, Blair, Cameron and Obama should book their tickets now.

Henry V - Eye Castle

There’s something ‘State of The Nation’ like about Henry V, the rousing speeches, the overtly patriotic call to arms, and the distillation of what actually it is to be British. It makes it one of Shakespeare’s most adaptable and accessible plays. Perhaps it also says much about the British psyche, with audiences willing to brave a blustery evening to sit outdoors and watch The Bard.


Mouth To Mouth Theatre Company have taken a fairly traditional route, keeping it in period and playing it against the atmospheric backdrop of Eye Castle. Outdoor Shakespeare is an ambitious ask for any company and Mouth To Mouth’s large cast throw themselves into the challenge with gusto. It is a bold effort, though sadly unlike the impressive archers in the show, one that, at times, misses the mark.

Henry V contains some of Shakespeare’s most evocative and visually rich language but at times the dialogue seemed strangely stilted. Such famous lines as ‘oh for a muse of fire’, ‘Once more unto the breach’ and ‘Cry 'God for Harry, England, and Saint George!’ are often thrown away as casual lines and as such is hard to envisage the young King inspiring a nation to follow him.

There are some nice touches and some strong performances however, Tom Holloway’s Henry is vocally strong, if never a charismatic leader and the large ensemble on the whole, cope admirably with the difficult acoustics of the outdoor setting.

Some technical issues with a wayward smoke machine and some errant sound effects did cause some unintentional comedic moments This perhaps showed that in an outdoor setting less is more technology wise.Director James Holloway would  also perhaps benefit at revisiting some of the blocking and look at tightening some exits and entrances but has done well to marshal such a large cast.

This is certainly a production that shows that Shakespeare doesn’t have to be a dry text book reading and that Henry V has much to resonate today.

Aspects Of Love - Menier Chocolate Factory

Bigger is not always better. Back in the 1980s Andrew Lloyd Webber’s Aspects Of Love grew into a major, technology packed, mega musical at the Prince of Wales. Perhaps it was a symptom of the time when helicopters, falling chandeliers and trains were the in fashion of musical theatre. Although having a successful run and since toured and performed regionally in smaller scale productions there was always a feeling that inside the beast was a small scale production begging to be heard. Following the abomination that was Paradise Found, the Menier Chocolate Factory have returned to form and released Aspects Of Love from it’s overblown past production to evolve into a perfectly formed chamber musical.


Trevor Nunn returns to direct the work he first premiered back in 1989 .Rather than a major reworking like previous Menier hits La Cage Aux Folles or Sweet Charity, Sir Trevor has gone back to the source material and despite some minor tweaks has concentrated on clarifying the story.

Some may be disappointed that this is not radical enough reimagining, but what Nunn has managed to do is release the show from the shadow of its famous chart topping number Love Changes Everything and allowed the rest of the lush, romantic score to shine. Yes the song is still there, and you will hear it reprised several times throughout the show, but instead of the opening number blunderbuss it was, it is now a softer, more reflective theme. Nunn has also turned much of the through sung recitative into a more conversational realistic style, although some lines do struggle to sound convincing.

As an intimate, if complex, love story this small scale production focuses as it should on the characters and as love struck English man abroad Alex, Michael Arden is faultless. Moving away from the original belting performance of Michael Ball, this Alex is more reflective, more vulnerable and, while never likeable, is a much more understandable character.

Arden sings beautifully and is the perfect foil for the worldlier, more seductive, French actress Rose, played with great emotional intensity by Katherine Kingsley. Kingsley’s haunting emotional breakdown in Anything But Lonely is the perfect counterpoint to the omnipresent Love Changes Everything. Dave Willets and Rosalie Craig as the other parties in this revolving love quartet also give strong performances as do the whole, on form, ensemble.

David Farley's simple, multipurpose set and Paul Pyant’s evocative lighting aid the cinematic flow of the piece and allow for attention to be focused on the characters.

For those looking for glitz and glamour in their musicals this may not be the show for them, but for those looking for a grown up, intelligent, romantic reclaiming of one of Lloyd Webbers most lavish scores. Although this bears all the hallmarks of following the now established route for Menier shows, lets hope any future West End transfer finds an intimate enough venue to suit this chamber musical. This is an Aspects to certainly fall in love with.

Danton's Death - National Theatre Olivier

Danton’s Death has a reputation for being long, wordy, and not easily accessible unless you are up-to-speed on the political backdrop of the French Revolution. Yet it seems to be a perennial favourite with the National Theatre, now staging their third production of Georg Büchner epic.


With the Donmar’s Michael Grandage making his NT directorial debut and an abridged script by Howard Brenton, it seems that all the stops have been pulled out to make this are more accessible production.

On some levels it does work, played without an interval at 1 hour 45 minutes, the piece has more pace than the full production. Despite valiant attempts though, Danton’s Death, at its core, still remains a series of long speeches with little dramatic variety. A stream of characters pontificate about the revolution, only to be followed by further characters doing the same.

The only moments of relief come in the romantic interludes by Danton but these never really provide enough dramatic variety.

Making his National Theatre debut, Toby Stephens gives a strong performance but Danton is a character you never really warm to. By the time we get to the entrance of Madame Guillotine for his death (yes the play’s title is one of the biggest plot spoilers) we don’t really care for the fate of Danton and his compatriots. The entrance of the Guillotine is one of the dramatic highpoints of the evening but comes too late to inject any real tension into the piece.

Other strong performances from Elliot Levey as Robespierre and Kirstie Bushell as Lucy are worth catching. Grandage directs with pace and utilises Christopher Oram’s giant window clad set effectively, while Paule Constable’s lighting creates a suitably shadowy world for the revolutionaries. Overall though this is a strangely sterile revolutionary world, passions are never full raised and the wretched poor all look a bit to clean and well dressed to upraise. In a way this is a very British revolution, all a bit to well behaved and mannered and in need of some Gallic passion.

The Guillotine may have been used on Büchner’s script but this still seems deathly wordy and in need of further slicing.

Sprung - National Theatre, Watch This Space Festival

Unplanned trips to free performances can be a hit and miss affair but in this case proves worth taking a chance.


As part of the National Theatre’s Watch This Space Festival, acrobatic dance company Mimbre have taken up a week’s residence in the outdoor Theatre Square.

Sprung is one of a number of pieces the trio are performing. Fingers, hands, faces and then whole performers appear through an elastic mesh. It’s fast, furious and curiously engaging, aided by an evocative score. Timed to perfection it is strangely voyeuristic and addictive. Slowly three performers emerge from the webbing and play. Again its split second timed acrobatics that demonstrate the trio’s skill, power and agility. The company are obviously enjoying the piece and it’s a perfect show for this outdoor space, fun, accessible and inspiring.

Like many performance pieces it is up to the audience to put the show in context, and therefore trying to describe a plot is irrelevant as everyone will have their own interpretation. A thoroughly unexpected but enjoyable show. Sometimes taking the risk pays off.

The Experiment - Soho Theatre

One man, a bare stage and 20 minutes. A challenge for any author to manage to convey a coherent story under this extremes but even more challenging when you are also the actor. So one has to admire Mark Ravenhill for attempting just this with his monologue The Experiment.


This is one of those performances that defies any easy summary and provides many challenges for the audience. Ravenhill never provides any resolution or context to the piece so it is very much down to each member of the audience to add their own interpretation.

The narrator describes the unthinkable, the use of children as guinea pigs for medical experiments. His children, a neighbours, some one else’s? The swift narration changes course throughout the 20 minutes so we are never sure what is real and what is some form of defence. There is a sense of the Nazi’s Angel of Death Josef Mengele pervading the air and its uncomfortable viewing.

There is an attempt to justify the horror for the greater medical good but again its left to the audience to decide if any of the multiple angles presented justifies the horror.

In true Ravenhill style this is a script peppered with strong imagery and equally strong language and on many levels is not comfortable viewing. Nor should it be.

Does it work as a monologue? Perhaps- as a piece to make you think for several hours beyond the brief 20 min running time it certainly hits the mark. As a stand alone piece without a background context is somehow fails. A thought provoking but somehow unfulfilled experience.

Wolfboy - Trafalgar Studio 2

In their first full scale musical, Traflagar Studios are giving Wolfboy, a hit from last years’ Edinburgh fringe its West End debut. Though given the backing track is pre recorded you do wonder if the Musicians Union would agree this is a full scale musical.


It’s a dark, disturbing piece, but then again any show that features attempted suicide, lycanthropy, incest and child abuse is never going to be musical comedy.

17 year old Bernie has been committed to a psychiatric hospital after attempting suicide. In the next room is another 17 year old, David, who thinks he has the powers of a wolf. Over the course of 85, interval free, minutes the show examines the burgeoning relationship between the two patients and the reasons why both are here.

Adapted from a play by Brad Fraser, Russell Labey and Leon Parris Wolfboy seems somewhat a work in progress and never fully satisfies. There are moments that work but many more elements need some attention.

Some of the problem lies with Parris’ score, although it has moments where melodies sore, overall the piece lacks variety or any real musical tension. Many of the musical themes recur throughout the piece and while this can work to establish mood, more variety is needed for this trick to work.

A second problem lies in the casting. First the good. As Bernie, Gregg Lowe delivers a performance that holds the attention throughout. We genuinely care and want to discover the inner demons that drove Bernie to such drastic action. Vocally Lowe shines, especially in duets with his brother, played (in the other strong piece of casting) by Daniel Boys. Boys is, as expected, vocally the strongest of the quartet but is underused in this production.

Sadly the other two roles are woefully miscast. Paul Holowaty as the lupine David struggles to reach many of the notes in the score and seems to lack the emotional torment needed for the character. Fellow Hollyoaks actress Emma Rigby as the non singing nurse, to be fair has little to do in the piece, but even in the intimate Studio 2 struggles to project and be heard.

There is potential here and Wolfboy is by no means a failure. With some more work on characters, score and the weak ending there is potential for a really dark and disturbing piece of work here but in its current form it is slightly disappointing.

Ghost Stories - Duke Of Yorks

There is always a danger when a show’s publicity machine has ramped up the hype to such a level that expectations will not be met. Ghost Stories advertising material boldly carries a health warning about the show’s extreme terror and advises those of a nervous disposition to stay away. This pre-show tension is further enhanced on arrival at the theatre with walls covered in plastic, house lights replaced by flickering inspection lamps and an eerie soundtrack playing.


A lot of expectation to live up to then and sadly the show turns out to be a bit of a damp squib.

It would be a shame to reveal too much plot wise less it spoils it for any future audience members and indeed the audience are asked not to reveal the shows secrets. In truth it would be hard to reveal any secrets as any real shock moments are so few and far between. Suffice to say the show is structured around a lecture on the paranormal with a Professor recounting three case studies of the unexplained.

It’s a clever way of drawing the audience in and building up tension waiting for the promised horror to start. Andy Nyman gives an engaging performance and builds a rapport with the audience but the stories themselves tend to come as an anticlimax.

There are some jolts that make the audience jump but these are too isolated to sustain any real menace. There is the obligatory twist at the end that while clever, somehow leaves one feeling cheated.

There is a good concept buried here, and as a method of getting a younger audience into theatre perhaps one that should be encouraged, but as a piece of horror theatre it ultimately fails. To be truly effective the show needs to be more subtle with images and sounds barely registering to play on the audience’s subconscious.

An overheard comment from a fellow audience member on the way out perhaps sums it up best “I've been more scared and seen better effects on a cheap fairground Ghost Train ride”. Deeply disappointing.

The Pyjama Game - New Wolsey Theatre

There’s a marked contrast between last week’s offering as part of the new Wolsey Theatre’s Open season and this. Last week Gallery Players offered a moving contemporary musical Rent, while this week Appeal Theatre company head back to the 1950s for the classic The Pyjama Game.


Famously filmed with Dorris Day and recently revived on Broadway with crooner Harry Connick jnr; The Pyjama Game has become a staple of amateur companies and the packed first night audience suggests that it is still as popular as ever.

Plot wise it’s as flimsy as the Pyjama’s that the workers of the Sleep Tite factory make. It’s basically a boy meets girl romance played out against some minor workplace politics.

This weak plot is part of the problem with the show, spread over nearly 3 hours it now seems overlong, and at times fails to hold the attention. There are some nice comedic moments but the sum of the parts never fully come together.
As the central love interests, Carl Edwards and Cath Steel  do give strong vocal performances and Rob Maplestone’s knife throwing supervisor was a nice example of comic timing. Director John Welton however needs to work with his cast to resolve some projection issues and to overcome first night nerves. This will also hopefully help resolve some of the lack of pace shown on opening night.

The company would also benefit by looking to tighten up the cumbersome scene transitions and lighting queues. For this show to really work it needs slick staging and split second timing, both sadly missing in this production.


This is  an enthusiastic cast who do throw themselves into the show and the show raises considerable funds for local charities but sadly this isn’t the best vehicle to showcase their talents. It’s an amusing evening but one that never really sets the heart racing nor has the audience rolling in the aisles.

The Late Middle Classes - Donmar Warehouse

Much has been made of the fact that The Late Middle Classes is indeed late coming into the West End, having been bumped first time around in favour of Boyband The Musical (anyone actually admit to remembering that show?). Does it deserve a West End run – well possibly although this production does make a meal of it. Two year’s after Simon Gray’s death, London audiences now get to make their own mind up.


Although bookended by two modern day scenes, this is a nostalgic look at 1950s life, except that it isn’t nostalgic. Beneath the outwardly respectable middle class post-war life secrets remain unspoken and tension and unease is simmering barely below the surface.

Holly, a 12 year old boy, is taking piano lessons from an Austrian tutor. The pupil/teacher relationship is confused, with the tutor seeing holly as part playmate, part muse and potential musical maestro. There is even a hint of darker goings on but these are left ambiguous by Gray for the audience to reflect on.At least the piano lessons distract the boy from his dysfunctional parents, a demanding mother and a tormented father.

Director David Leaveaux’s piece has a gentle pace and at times seems in need of an injection of pace, yes these were more sedate times but the ever building tension needs a bit more drive.

It is a beautifully observed piece however with some excellent performances. Robert Glenister as the Viennese piano tutor excels as does Eleanor Bron as his mother, still terrified of post war repercussions. Helen McCrory also excels as Celia, the frustrated wife and mother but it is a shame that Peter Sullivan’s father Charles never matches her level. Many of Sullivan’s lines were inaudible in the circle of the tiny Donmar.

The Late Middle Classes leaves much unsaid but does give the audience plenty to think about. Perhaps it is one of these plays where more is said in the silences than in the words.

A Midsummer Night's Dream - Theatre Royal Bury St Edmunds

A good measure of the success of any Shakespeare production is a glance around the auditorium to watch the faces of any children in the audience. This A Midsummer Night’s Dream had the rapt attention from all ages from small children to more senior members of the audience.

Shakespeare’s Globe Theatre touring version of The Dream is a slimmed-down production in terms of cast but should no way be considered Shakespeare ‘Lite’. This versatile company wring ever drop of comic potential out of the Bard’s most accessible play.

In many ways this production returns to Shakespeare’s roots, touring with a tent, some simple props and a few musical instruments. It’s a concept that obviously works well in an open air production, but works equally well here in the Georgian Theatre Royal with the cast making use of every nook and cranny. Don’t be surprised if an actor suddenly drapes themselves over you or appears in the seat next to you.

This is a jazz-fuelled, 1920s flannel inspired Dream, sexy, sassy and above all fun. Puck is played as Cabaret’s Sally Bowles, suspenders,  micro shorts and a bowler hat. Bethan Walkers gives this puck a cheeky feline quality, slinking across the stage, seducing many an audience member and not taking any flak from Simon Merrell’s slick Oberon.

Given the small scale cast the central quartet of young lovers (Louise Ford, Mark Quartley, Leon Williams and Hara Yannas) also double as the comic Mechanicals and revel in some of Shakespeare’s finest comic creations. It is perhaps though William Mannering’s Bottom who steals the show, a whirlwind of a performance using every inch of the theatre and full of comic inflection.

This is Shakespeare performed as it should be, reveling in the wonderful text but not afraid to make it fun, relevant and sexy. As those rapt faces in the audience will attest, this isn’t some dated stuffy text book but a vibrant example of the genius of Shakespeare and how his work can still thrill 400 years after it was written. If you’ve ever been scared of seeing a Shakespeare play go see this enchanting dream.

Rent - New Wolsey Theatre

Over the years Gallery Players have never been afraid of tackling challenging pieces but even then tackling Jonathan Larson’s rock musical Rent was an ambitious leap. Thankfully it’s a leap worth taking and turns out to be a highlight of the theatrical year.

Larson’s update on La Boheme follows a year in the life of eight friends in downtown New York as they cope with life, love and the spectre of HIV. While not sounding like a particularly cheery night at the theatre, this production is so full of life and energy that it never fails to inspire.

One of the many joys of this particular production is that it showcases the immense talent in the area, this complex score is not easy to perform but this top-notch cast deliver with attack, vocal power and conviction. It is difficult to single out individual performances as this ensemble works well as a whole but a couple of particular moments stand out. Phil Kinsella’s portrayal of drag queen Angel and Dean Wales’ emotional response to Angel’s death especially strong. This is however a first rate cast and all deliver performances to be proud of. The cast are obviously enjoying performing this material and it shows in their exuberant performance.

Steve Wooldridge’s direction hits the ground running and makes full use of the multi level set while Musical Director Richard Healey and his band revel in belting out this rich rock score.

There were some technical issues on opening night, but once these are ironed out for the remainder of the run this will be a production hard to fault.

Rent has become a modern American musical classic, and given the untimely death of its composer you can’t help but wonder what else Larson would have gone on to write. As it stands Rent remains as his legacy to musical theatre history and this Gallery Players production showcases this masterpiece to its very best. The full house on opening night demonstrates that local companies can move away from a diet of Rodgers and Hammerstein and take more risks with their choice of programming. Once again Gallery Players have set the bar high and other companies will need to up their game to reach their high standards.

Bentwater Roads - Eastern Angles, Hush House Bentwaters Airbase

A sense of belonging is a powerful driving force and is at the heart of Eastern Angles latest site specific production Bentwater Roads. The company the ‘Hush House’ on the former cold war Bentwaters air base, a building that was used to test engines on A10 tank buster planes. It proves to be a wonderful atmospheric theatrical venue, its architecture proving a visual backdrop to the piece.

Charlie returns to Suffolk in her bright yellow camper van to sort out her mother’s estate. She thinks she has no links to the area and so is keen to sell her mothers cottage as soon as possible and return to a life on the road but ghosts from her past soon take her on a different road.

As well as a personal sense of belonging, Bentwater Roads is also a community’s sense of belonging, exploring the many communities that have called the airbase home. Ancient Brittons, the US Air Force, Medieval Christians and the modern day community have all called the place where a small river turns home.

Tony Ramsay’s play is a complex one, with interwoven timelines and overlapping eras resulting in many story arcs to be resolved during the play. With so much happening it is easy to get lost and it is really only at the end of the production that these seemingly disparate strands are tied together. Although on an epic scale at the end of the day it all boils down to a father and daughter’s love.

Director Ivan Cutting uses the space to full advantage, focusing in on the intimate when needed before pulling out to use the full cavernous space. With such a time-span to cover this is truly an ensemble cast, with professional actors supplemented by a large chorus from the local community.

Easter Angles work best when their productions link back to the local community and Bentwater Roads sees them back on  top form. Bentwater Roads shows that you don’t need a traditional venue to make theatre work and this turns out to be an epic play in an epic building.

Elektra - Young Vic

With no previews, no press night, and no charge for tickets, the Young Vic and Headlong’s co production of Elektra was intriguing. As this was free would it be a cheap and cheerful production? No, in fact it turns out to be a fully realised, visually impressive and beautifully acted production worthy of a long commercial run.

Elektra is haunted by the death of her father Agamemnon, murdered by her own mother Clytemnestra, so it’s never going to be a case of happy families in the royal household. This is an Elektra tormented by her ghosts and her dreams and much of the production resembles a dream, or more accurately a nightmare. Haunting chants, dance, mime and underscoring from the outset set the piece perfectly.

In the title role, Lydia Leonard is onstage from the moment the audience enter to the blood-soaked end and delivers a performance of amazing power. Her Elektra is an emotional wreck, yet at the same time still a powerful force to be reckoned with. Her mother Clytemnestra is played with icy steel by Nadia Cameron-Blakey while Amanda Hale tries to be the sane voice of reason in the family.

Despite the tickets being free, there’s been no skimping on the staging, Holly Waddington’s marbled tiled floor is smashed and ripped up during the action and Guy Hoare’s impressively moody lighting combines with Tom Mills’ evocative soundscape to create an ever present aura of grief.

Anne Carson adaptation of Sophocles text flows with poetic pace although some modern intrusions do slightly jar – “howling bitch” for example. Director Carrie Cracknell ensures the tension builds until the inevitable bloody climax and directs with pace and precission.

This Elektra is a production that cries out for a life beyond this run; a gripping, accessible, visual and acting treat of a classic text. Once again Headlong and the Young Vic have shown they are leading the field in presenting quality, innovative theatre.

The best...and worst of Quarter 2 2010

Well another 3 months have passed so time to round up the second quarter of 2010 and the best and worst shows I’ve seen during those months. It was 43 shows seen over the three months, a total boosted by a couple of festivals; the outstanding High Tide Festival and the eclectic Pulse Fringe.

As is often the case, when things worked they were often stunning but when they fail they can be truly awful.

In the interests of comparison I am excluding work in progress shows seen during the festivals – some of these could have been contenders for both the best and worst categories but it is perhaps unfair to judge them against fully developed pieces.

So let’s start with the best shows April – June 2010

A lot of strong contenders here; Wolf, Reykjavik and Kursk all offering a totally immersive theatre experience in unique settings. True Love Waits, Moscow Live and Ditch all showing the power of new writing and Enron, Sus and Through A Glass Darkly all showing human greed, hope and despair.

In the end though it’s a trio of plays that take the top spots

1. Beyond The Horizon – O’Neill’s early masterpiece acted to perfection
2. Spring Storm – On the same double bill, this time showing Williams’ early skill
3. Catcher – Pilot Theatre’s powerful two hander about John Lennon’s assassin

For every winner there has to be a loser and there have been some prize turkeys over the last few months.

Some of the pieces in the festivals didn’t work, but that’s part of the risk of festivals and the value as a development ground. Failures however aren’t restricted to new productions or small scale shows. Some major companies have suffered flops this year.

At the bottom of the list this time round

1. Sex Idiot – a misconceived, indulgent and offensive piece of performance ‘art’
2. Paradise Found – never have such a large number of showbiz royalty produced something so bad
3. Love Never Dies – forever tainted with the ‘paint never dries’ tag, this just goes to show that a big budget can’t compensate for basic lack of story

So half the year has gone, let’s hope the second half will offer more highs and few lows.