Cheap Flights - Fascinating Aida

TNT

They’ve said goodbye several times since they were formed in 1983, but Fascinating Aida are back in London and packing in the punters -

thanks not only to the loyal following they’ve built up over the decades but also to their current YouTube sensation which gives the show its name.

With around 8 million hits to date, they’re on to a winner and along with the fans who’ve grown grey over the years, they’re also attracting an appreciative younger audience ready to relish their particular brand of satirical musical cabaret.

Founder member Dillie Keane and Adele Anderson (who joined a year later) will both be 60 next year, but there’s no sign of them mellowing or slowing down. The considerably younger soprano Sarah-Louise Young now completes the anarchic trio and adds a new song of her own praising the benefits of one-night stands.

But Keane and Anderson remain the prime creators and nothing is sacred. From Dignitas to dogging, and from Tesco to surrogate pregnancy (thanks to an obliging orang-utan), their witty lyrics continue to amuse.

Keane still gets into uncomfortable contortions when playing the piano, and the trio go a cappella for the string of short, sharp verses which make up a mock Bulgarian song cycle.

They saved the sparkly gowns for after the interval, but this is intelligent, laugh-out-loud entertainment (with the occasional poignant touch) which is worth seeing no matter what the outfits.

Charing Cross Theatre The Arches Villiers Street WC2N 6NL (020 7907 7075) Until January 7 (£24.50-£29.50) charingcrosstheatre.co.uk

Nutcracker!

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Classical ballet not for you? Then give Matthew Bourne’s inventive reworking of the seasonal favourite a whirl.

Instead of the usual lavish house party he gives us a grim Dickensian orphanage where the meagre Christmas tree is whisked away – along with the hand-me-down presents – as soon as the visiting governors have departed.

All is not doom and gloom however, as, at midnight, orphan Clara’s Nutcracker doll turns into a handsome (if fickle) bare-chested youth who breaks down the walls and sweeps her off to the white winter wonderland of a frozen lake and the heady pink colour burst of Sweetieland.

Here a trio of athletic gobstoppers, a lascivious cherry-topped knickerbocker glory and a quintet of marshmallow girls make dance – and Tchaikovsky’s music – as fun and as accessible as a Busby Berkeley musical, but with added bite.

Sadler’s Wells Rosebery Avenue EC1R 4TN (0844 412 4300) Tube: Angel Until January 22 (£10 - £60) sadlerswells.com

The Ladykillers

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An elderly, law-abiding widow threatens to scupper the getaway plans of a gang of small time crooks in Graham Linehan’s stage reworking of the classic 1955 Ealing comedy film.

Masquerading as a string quintet lead by Peter Capaldi’s incompetent mastermind, Ben Miller’s knife-wielding gangster with a pathological fear of old ladies, Stephen Wight’s pill-popping spiv with a furniture polishing fetish, Clive Rowe’s several sandwiches short of a picnic ex-boxer, and (best of all) James Fleet’s cross-dressing conman plot a robbery whilst pretending to practise.

There are some clever touches (model cars carry out the heist climbing up the walls of the revolving set) and a handful of running gags (involving a swivelling blackboard, a ridiculously long scarf, and the sheer incompetence of the criminals) which make for an enjoyable evening’s entertainment of slapstick and farce, in which you never for one moment believe that Marcia Warren’s fanciful Mrs Wilberforce will come to any harm in her lopsided house overlooking Kings Cross.

Gielgud Shaftesbury Avenue W1D 6AR (0844 482 5130) Tube: Piccadilly Circus Until April 14 (£12.50-£55) TheLadyKillers.co.uk

Richard II

This is London

Artistic director Michael Grandage ends his critically acclaimed reign at the Donmar with Shakespeare’s history play about a king who relinquishes his crown. Both their successors may be worthy, but there the similarity ends. After almost a decade, Grandage leaves with a deservedly enhanced reputation and a string of high profile successes, whilst Richard II is a once powerful monarch who is ultimately left with no choice but to hand over the symbols of his royal office.
Initially seated contemplatively on his throne, framed by the tarnished gilded arches of Richard Kent’s Gothic, incense filled set, Eddie Redmayne’s slight but apparently assured Richard is soon revealed as too twitchy, too fragile and insecure a sovereign to rest easy on the throne. From his position of absolute power, a series of misjudged decision render him vulnerable to the growing strength of his cousin – and future King Henry IV – (Andrew Buchan’s contrastingly solid, misleadingly straightforward Bolingbroke).
Pippa Bennett-Warner is both touching and dignified as his devoted Queen, and, in Grandage’s swift, atmospheric production, there’s strong support from Ron Cook’s Duke of York, putting duty to his country before filial affection, and Michael Hadley’s dying Gaunt delivering the famous ‘sceptred isle’ speech with an intensity which pleads for England.

Donmar

A Christmas Carol

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TNT

At the end of a hectic week of theatregoing, I wasn’t particularly looking forward to seeing yet another adaptation of Charles Dickens’ famous novella, but an evening in the company of Simon Callow proved to be a real pleasure.

With his rich voice, persuasive physical presence and, most of all, his love of Dickens’ work, Callow proves the perfect narrator of this cautionary Christmas tale.

There’s some unnecessarily distracting business with a pile of chairs but, that apart, Tom Cairns’ simple staging (inspired by Dickens’ own performing version) effectively conjures the joyful festivities of the Fezziwigs’ party, the grimy gloom of London streets and the cheerless abode where super stingy Ebenezer Scrooge encounters the ghost of Jacob Marley, his long dead business partner and fellow skinflint.

Callow brings each character to life – not just a curmudgeonly Scrooge begrudgingly granting Bob Cratchit a single day off, but also those who make the briefest of appearances: his kindly sister, the young woman who ditched him in his youth as his love of money grew greater than his affection for her, the little lad sent to buy a massive turkey when, transformed, he grabs his chance for a better future, and cheerful Tiny Tim whose life hangs precariously in the balance until Scrooge sees the error of his penny-pinching ways.

Arts Theatre, Great Newport Street, WC2H 7JB (020 7907 7092) artstheatrewestend.com Tube: Leicester Square Until 14th Jan (£15-£37.50)

Haunted Child

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It’s not a ghost that’s upsetting young Thomas in Joe Penhall’s superbly acted three-hander, but the unannounced reappearance of his father, an engineer who vanished without trace.

Now Douglas is back – but he’s a changed man, wild-haired, dishevelled and seduced by a bizarre esoteric cult which (as well as advocating downing a bucketful of salt water to “align the brain waves”) is after his money.

Sophie Okonedo imbues Julie with a troubled warmth as she tries to protect her little boy and win back her husband, a raw Ben Daniels invests Douglas’s extreme mid-life crisis with an evangelical intensity as he loses touch with reality, and Jack Boulter more than holds his own as their vulnerable son fascinated by his dad’s new ways. 

Royal Court Theatre, Sloane Square, SW1W 8AS Tube: Sloane Square until 14th Jan (£10-£28) royalcourttheatre.com

Dublin Carol

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Although it's set on Christmas Eve, Conor McPherson’s short, emotionally intense three-hander (the second offering in the Donmar’s current season showcasing the work of its Resident Assistant Directors) is far from festive.

Meagre decorations and an advent calendar barely soften the soullessness of the undertakers’ parlour where, in a trio of alcohol-fuelled encounters, middle-aged John is forced to confront the damage that his drinking and irresponsible behaviour have wrought over the years. Even now, between slugs of neat whisky, he refuses to admit that he’s still as drink dependent as he was, many years ago, when he cheated on his wife and abandoned his family.

His long estranged daughter (Pauline Hutton’s saddened but hopeful Mary) turns up, like Dickens’ Ghost of Christmas Past, begging him to visit her terminally ill mother before she dies. In the two framing scenes, John delivers advice and near monologues to his temporary assistant Mark (Rory Keenan), an aimless young man who might just end up going the same way.

In this intimate space, Abbey Wright’s revival captures the gloomy limitations of a life which, but for the kindness of Mark’s mortician uncle, could easily have ended in the gutter and Gary Lydon’s John - rumpled, sweaty and scared of the dying - makes one hope that, for him, the final glimmer of possible redemption proves more than a seasonal illusion.

Trafalgar Studios (2), Whitehall, SW1A 2DY Tube: Charing Cross till 31st Dec (£17.50 - £22)
donmarwarehouse.com

Pippin

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Stephen Schwartz (Wicked) and Roger O Hirson’s 1972 musical portrayal of Pippin (son of the Emperor Charlemagne) and his search for an extraordinary life originally ran for years on Broadway, but just a few weeks over here.

In an attempt to make it appeal to a modern London audience, Mitch Sebastian’s revival yanks it into the 21st century and the world of video gaming where Matt Rawle’s charismatic Leading Player guides Harry Hepple’s attractively-voiced, if somewhat anaemic Pippin through the various levels of his journey.

But although it’s blasted by laser lighting and CGI, punctuated by recreations of Bob Fosse’s original sinuously angular choreography, and dressed in Lycra, the production fails to generate much interest in the fate of its laptop-addicted Pippin. Ironically, the highlight of this high concept reworking turns out to be his happy clappy granny (Louise Gold) dishing out words of wisdom and encouraging the audience to sing along in traditional seasonal style.

Menier Chocolate Factory , 53 Southwark Street, SE1 1RU Tube: London Bridge Until 25th February (£33.50 & Meal Deals available £40.00) menierchocolatefactory.com

The Comedy of Errors

It’s more a case of “Two Men, Two Guvnors” in this busy interpretation of Shakespeare’s comedy of doubly muddled identity.

Lenny Henry may have been a late starter when it comes to the Bard, but he’s on great form as the increasingly irate and perplexed Antipholus of Syracuse who (despite a West African accent) is continually mistaken for his long lost twin brother when he arrives in Ephesus.

Lucian Msamati is equally good value as his beleaguered and superstitious servant Dromio (who also lost his twin in the same shipwreck) whilst Claudie Blakley and Michelle Terry turn the wife and sister-in-law of Antipholus of Ephesus into teetering, miniskirted Essex girls.

Bunny Christie’s impressive design twists and rotates to conjure a multifaceted and often sleazy city as well as an airborne sea rescue, and Dominic Cooke’s lively production rarely blows off course.

Olivier at the National, South Bank, SE1 9PX (020 7452 3000) Tube: Waterloo Until April 1 2012 (£12-£45) nationaltheatre.org.uk

Burlesque

Blacklisted Johnny Reno may have talent but his career isn’t going anywhere unless he names names in Adam Meggido and Roy Smiles’ new musical, set in early 50’s America during the McCarthyite era.

Whether Jon-Paul Hevey’s Johnny will opt to preserve his moral integrity or to clear his name for the sake of his pregnant fiancée and the future of his comic double act (with Chris Hollands' alcoholic Rags Ryan) is potentially the stuff of serious drama, counterpointed here by its burlesque setting in the failing Palace Theatre.

The plot takes a while to find focus, but with pastiche vaudeville numbers, a lecherous theatre owner, and stripping showgirls filling the tiny stage (plus nifty lyrics which combine entertainment with political comment) this enjoyable show – with just a bit of trimming- deserves a longer life.

Jermyn Street Theatre SW1Y 6ST (020 7287 2875)Tube: Piccadilly Circus Until December 18 (£20)ticketweb.co.uk

Yerma

TNT

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Poor innocent Yerma. Newly wed and isolated in a rural community far from home, she’s eager to consummate her marriage to Juan and anticipating the patter of tiny feet a few months down the line.

But days turn into weeks, weeks to seasons and seasons to years and still hubbie spends more time sleeping with his sheep than he does with his wife, hiding the shameful secret of a youthful unspoken passion for the hunky butcher (Ross Anderson).

Played out on Ruth Sutcliffe’s appropriately arid set of rusty sand and corrugated walls, Anthony Weigh’s new version strips down Federico Garcia Lorca’s 1934 tragedy to half a dozen characters, cutting out the chorus and leaving it to Alison O’Donnell’s Maria (an earth mother in the making who pees in a bucket and adds a delightfully natural comic note) to convey the social pressure to reproduce.

And as Ty Glaser’s wide-eyed Yerma – not much more than a child herself – becomes increasingly desperate for the baby that would transform her into a woman, Natalie Abrahami’s atmospheric production demands sympathy for this unfulfilled young wife, baffled by her husband’s behaviour and, tragically, unable to change his callous indifference to her emotional needs.

Gate, Pembridge Road W11 3HQ (020 7229 0706) Tube: Notting Hill Gate Until December 17 (£20, matinees £10) gatetheatre.co.uk

Matilda

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Deliciously adapted from Roald Dahl’s 1988 children’s story, the Royal Shakespeare Company’s irresistible production (directed by Matthew Warchus) is a treat for any time of year.

Cleo Demetriou’s Matilda (one of four youngsters sharing the title role) is a cheeky, book-loving, moral-minded prankster who, aged five, reads Dostoevsky for fun and pits her wits and telekinetic powers against Bertie Carvel’s sadistic headmistress (all puffed up pouter pigeon bosom and hairy legs) and her vulgar family (ballroom fanatic mum and Paul Kaye’s dodgy car salesman dad).

Tim Minchin’s music and witty lyrics, Dennis Kelly’s astute script and Peter Darling’s inventively athletic choreography combine with a touch of magic and a clutch of talented kids to ensure a happy ending and a great night out.

Cambridge Theatre, Earlham Street, London, WC2H 9HU
Tube: Covent Garden
Until October 21 2012
£20-£59.50

matildathemusical.com

Orpheus in the Underworld

Offenbach gets an appropriately disrespectful update from impressionist and recent Strictly Come Dancing competitor Rory Bremner.

He relocates the satirical 1858 operetta from Napoleon III’s Paris to the present day to mock the celebrity life style of the rich, famous and politically powerful. His Eurydice is a brazen WAG, married to a wealthy violinist whose star - and financial fortunes - are on the wane. In an unashamedly ludicrous plot, god of Hades Pluto (in the guise of a personal trainer) tricks her into joining him in hell and reluctant spouse Orpheus (who’s actually very glad to be rid of her) is persuaded by the character of Public Opinion (kitted out in a tabloid newsprint suit) to claim her back and save his reputation.

Simon Holdsworth’s clever set then whisks us to a swanky champagne bar where the gods are hanging out and hung-over and looking for a bit of excitement. Cue a trip to Hades where Brendan Collins’ adulterous Jupiter turns into a fly in fetish gear.

There’s nothing subtle about this co-production between Scottish Opera and Northern Ireland Opera, and some of the dialogue is woefully unfunny. But the lyrics are often witty and, with little more to accompany them than a single piano, an enthusiastic cast certainly makes opera both accessible and fun, with Daire Halpin’s flush-faced, fox-hunting Diana and Ross McInroy’s gross, disgraced banker particularly impressive.

Young Vic, The Cut, SE1 8LZ Tube Southwark / Waterloo Until December 10 (£22.50) youngvic.org

The Kitchen Sink

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Staged in the round, with the sandy shale of the Withernsea beach encroaching on the kitchen, Tom Wells’ touching new play is the first full length production at the Bush’s new home.

This is a gentle domestic comedy of an ordinary, if quirky, family going about everyday life with all the joys and frustrations that involves.

Mum’s a positive-thinking dinnerlady who likes to experiment with her cooking (courgette muffins, anyone?), dad’s a milkman with a milk float that’s falling apart and a business which (thanks to the local supermarket) is rapidly going the same way. Meanwhile daughter Sophie is working towards her black belt in ju-jitsu and their gay son Billy, an avid Dolly Parton fan, is desperate (or at least he thinks he is) to get into a London art school.

Funds may be limited, and dreams can be dashed at any age, yet there’s a lot of love circulating through this Yorkshire household – and gawky trainee plumber Pete (Andy Rush) adds a touch more. Nothing earth-shattering happens, but Tamara Harvey’s affectionate production is well-acted, often very funny and manages to spring an unexpectedly watery surprise.

Bush Theatre, Uxbridge Road, W12 8LJ Tube Shepherds Bush Until December 17 (£15-£20)
bushtheatre.co.uk

Juno and the Paycock

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Fortune smiles, briefly, on the impoverished Boyle household in Sean O’Casey’s 1924 tragicomedy of working class life, set during the Irish Civil War when young men are dying for conflicting causes and principles fail to put food on the table.

Designer Bob Crowley’s capacious, rather too elegant Dublin tenement threatens to dwarf the drunken antics of Ciarán Hinds’ strutting, workshy paterfamilias and his feckless sidekick Joxer as his wife (Sinéad Cusack’s worn down Juno) battles to keep her family together. But, in this solid co-production with Ireland’s Abbey Theatre, it’s impossible not to feel for Ronan Raftery’s Johnny, their twice-injured son who’s lost both a limb and his peace of mind.

Lyttelton at the National, South Bank, SE1 9PX Tube: Waterloo Until February 26 (£12-£45)
nationaltheatre.org.uk

The Riots

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Quick off the mark as ever, the Tricycle continues its tradition of analysing problematic topical issues with a swift two hour investigation into the how and why of the riots which briefly blitzed London and other areas in August.

Triggered by the shooting of Mark Duggan in Tottenham, North London, what started as a peaceful vigil of friends and family exploded into a free-for-all of arson and theft.

Footage of the fires and looting form the backdrop against which one father tells how he and his two young sons managed to escape from his flat above CarpetRight before the building was scorched to an empty shell. Comparisons are drawn between MPs who fiddled their expenses and the rampaging opportunists who walked away with televisions and designer trainers.

From the spoken evidence of politicians and policemen, community leaders and culprits, victims and bystanders, writer Gillian Slovo has put together a forceful, even-handed verbatim account of the events leading up to those four days of rampage and unrest, which also gives voice to the various explanations offered by authority figures and those involved.

Anger, frustration, racial and social injustice, cuts and grievances are all mentioned – as is the failure of the police to contain an escalating situation.

There are no definitive answers, but what comes across loud and clear in Nicolas Kent’s fluent production is that the underlying issues need to be addressed before the simmering disaffection kicks off into violence once again.

Tricycle, Kilburn High Road, NW6 7JR Tube: Kilburn Until December 10 (£13) www.tricycle.co.uk

Hamlet

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You’d think the title role was enough for anyone to tackle, but Michael Sheen, all wild hair and scruffy stubble, steals his father’s greatcoat from the grave and is possessed by his ghost in Ian Rickson’s high-concept production.

Elsinore is a secure psychiatric institution (a prison of buzzers and clanging metal doors, entered via convoluted corridors) where Sally Dexter’s nervy, clingy Gertrude fusses round the man in charge (James Clyde’s sharp-suited Claudius) as he slips her her medication.

Vinette Robinson’s touching Ophelia dispenses pills, not herbs, as she, too, loses track of reality and, although not all the directorial innovations pay off, Sheen’s volatile Hamlet is mesmerizing in his madness.

Young Vic, The Cut, SE1 8LZ (Tube: Southwark / Waterloo) Until January 21 (£10 - £29.50) youngvic.org