Review: Love Love Love, Royal Exchange Studio

“We love each other but something has gone wrong; we live in Reading, something has gone wrong”

After taking the soon-to-be-renamed-Dorfman Cottesloe at the National Theatre by storm this summer, Mike Bartlett has another new play in theatres, Love Love Love. A co-production between Paines Plough and the Drum Theatre Plymouth, it is currently touring smaller spaces in some of the country’s top regional theatres: I saw it in what marked my first visit to The Studio at Manchester’s Royal Exchange.

Three acts, set in 1967, 1990 and 2011, take us through a relationship born in the heady world of the baby boomers ready to change the world, to their struggle to deal with the mundane responsibilities of middle-aged family life, through to the oblivious contentment of retirement. Bartlett’s sharp eye is focused here on responsibility, both social and personal, ultimately pitting generations against each other as today’s have-nots place the blame for the state of the world today on their predecessors’ shoulders, as an unfulfilled daughter rails about unfairness against her parents. Continue reading “Review: Love Love Love, Royal Exchange Studio”

Review: Hamlet, Crucible

“For some must watch, while some must sleep”

So part two of the Hamlet week saw me making my first ever visit to Sheffield to the Crucible Theatre where director Paul Miller has reunited with frequent collaborator John Simm in tackling Shakespeare’s epic. I have resisted making any comparisons with the two productions in this review and tried my best to approach the writing of this review as if I had not seen the other.

This Hamlet is very much back to basics, very few props and frippery onstage, so that quite often what we are seeing is simply just a group of actors acting. And whilst on the one hand that was nice to see, on the other, it did mean that there was a whole lot of just standing around and the limited emotional palette with which they had to work meant that too often the connections just weren’t there between the characters, Ophelia and Laertes might as well have been strangers for example. Continue reading “Review: Hamlet, Crucible”

64th Tony Award winners

Best Performance by a Leading Actor in a Play 
Denzel Washington – Fences as Troy Maxson
Jude Law – Hamlet as Hamlet
Alfred Molina – Red as Mark Rothko
Liev Schreiber – A View from the Bridge as Eddie Carbone
Christopher Walken – A Behanding in Spokane as Carmichael

Best Performance by a Leading Actress in a Play
Viola Davis – Fences as Rose Maxson
Valerie Harper – Looped as Tallulah Bankhead
Linda Lavin – Collected Stories as Ruth Steiner
Laura Linney – Time Stands Still as Sarah Goodwin
Jan Maxwell – The Royal Family as Julie Cavendish

Best Performance by a Leading Actor in a Musical 
Douglas Hodge – La Cage aux Folles as Albin
Kelsey Grammer – La Cage aux Folles as Georges
Sean Hayes – Promises, Promises as Chuck Baxter
Chad Kimball – Memphis as Huey Calhoun
Sahr Ngaujah – Fela! as Fela Kuti Continue reading “64th Tony Award winners”

Review: Pygmalion, Royal Exchange

“You have no idea how frightfully interesting it is to take a human being and change her into a quite different human being…”

A fortuitous set of circumstances combined to enable me to go see Pygmalion at the Royal Exchange with Aunty Jean and my father, being up near Manchester for the weekend, and how glad am I that I did. I used to visit the Royal Exchange quite often when younger but it is years since I have been and I was also quite intrigued to see the play itself, never having seen it before, only in its adapted musical form as My Fair Lady. (I was on the lookout for the links between the two in particular around the songs, but the only song title I picked up from the dialogue was ‘I’ve Grown Accustomed To Her Face’).

When Henry Higgins makes a bet with Colonel Pickering that he can turn a cockney flower girl into a lady, he sets out to change Eliza Doolittle completely and equip her for life in high society – but he reckons without the spirit and strength of Eliza herself. It is a scathing comment on the class structure of Britain at the turn of the century and a surprisingly modern take on the gender politics of the time, but above all highly entertaining and really rather funny. Continue reading “Review: Pygmalion, Royal Exchange”

64th Tony Award nominations

Best Performance by a Leading Actor in a Play 
Jude Law – Hamlet as Hamlet
Alfred Molina – Red as Mark Rothko
Liev Schreiber – A View from the Bridge as Eddie Carbone
Christopher Walken – A Behanding in Spokane as Carmichael
Denzel Washington – Fences as Troy Maxson

Best Performance by a Leading Actress in a Play
Viola Davis – Fences as Rose Maxson
Valerie Harper – Looped as Tallulah Bankhead
Linda Lavin – Collected Stories as Ruth Steiner
Laura Linney – Time Stands Still as Sarah Goodwin
Jan Maxwell – The Royal Family as Julie Cavendish

Best Performance by a Leading Actor in a Musical 
Kelsey Grammer – La Cage aux Folles as Georges
Douglas Hodge – La Cage aux Folles as Albin
Sean Hayes – Promises, Promises as Chuck Baxter
Chad Kimball – Memphis as Huey Calhoun
Sahr Ngaujah – Fela! as Fela Kuti Continue reading “64th Tony Award nominations”

Review: Romeo and Juliet, Courtyard Theatre Stratford

“…the fearful passage of their death-mark’d love”

 

Rupert Goold’s production of Romeo and Juliet at the Courtyard in Stratford marks his first foray there since 2006, now he’s an Associate Director and directs a well-established ensemble here at the RSC in tale of a Montague and Capulet whose love for each other in a hostile world defies a long-held bloody family feud with the most tragic of consequences.

 

Mariah Gale and Sam Troughton may seem like unconventional casting, but they work perfectly together as Juliet and Romeo. She’s a sulky teenager, rebelling at the marital fait accompli presented to her by her overbearing father (a terrifyingly chilling Richard Katz); he’s a hooded brooding soul, initially almost nerdily obsessed with Rosaline, both alone in their respective tribes but their first meeting awakens something deep inside of both of them and their chemistry together is just electric. He comes to life, dancing jigs of ecstatic joy, and she becomes alive to the possibilities of romantic and indeed sexual fulfilment. We never forget though that their’s is a tragic story, and Gale in particular is painfully strong in displaying the deepening realisation that their situation is not one that is tenable. Continue reading “Review: Romeo and Juliet, Courtyard Theatre Stratford”

Review: Antony and Cleopatra, Courtyard Theatre Stratford

“Give me my robe, put on my crown; I have immortal longings in me”

Never mind ‘the Scottish play’, it appears that it’s the role of Mark Antony that has some kind of a curse attached to it. Last year saw the Dutch Hans Kesting break a leg before The Roman Tragedies arrived at the Barbican (he delivered a barnstorming performance from his wheelchair), and now Darrell D’Silva is having to perform with his left arm in a sling after suffering severe injuries to his hand after a prop firearm malfunctioned during the technical rehearsal. He has now rejoined the cast after surgery, but press night has been postponed to try and make up some rehearsal time. So my first trip to the Courtyard Theatre at the RSC in Stratford which should have been to one of the final previews actually ended up being earlier in the run than planned.

This is a modern-dress Antony and Cleopatra, featuring guns and suits to tell this great tragic love story of two powerful individuals brought together yet unable to escape their circumstances. Rome is ruled by a triumvirate (what a great word!) after Julius Caesar’s assassination, yet all is not well. Mark Antony has had his head and heart captivated by the Egyptian Queen Cleopatra and is spending more of his time there than in Rome. Taking advantage of this is the ambitious Octavius Caesar who turns on the third triumvir Lepidus, setting the scene for an almighty showdown between the two rivals. Continue reading “Review: Antony and Cleopatra, Courtyard Theatre Stratford”

Review: The Pirates of Penzance, Theatre Royal Brighton

“About binomial theorem I’m teeming with a lot o’ news, with many cheerful facts about the square of the hypotenuse”

The Pirates of Penzance is arguably one of Gilbert & Sullivan’s best-known works (and in my house, best-loved) and has been revived here by the Carl Rosa Opera Company as part of a national tour, starting off at the Theatre Royal Brighton. Truth be told, I love this musical: I had a video of the film version with Kevin Kline and Linda Ronstadt as a child which I used to watch endlessly and can sing along to most all the songs! This is therefore a special week for me as I’ll be seeing two different versions of Pirates as the all-male production at Wilton’s starts previews at the end of the week.

Probably best described as a romp, it involves a group of tender-hearted pirates in their quest to conquer the hearts of a bevy of blushing maidens, daughters of the local Major General, the efforts of the bumbling local constabulary to apprehend them, a love triangle between a former pirate’s apprentice, his old nurse-maid and one of the daughters, oh and a most ingenious paradox. Continue reading “Review: The Pirates of Penzance, Theatre Royal Brighton”

63rd Tony Award winners

Best Performance by a Leading Actor in a Play 
Geoffrey Rush – Exit the King as King Berenger
Jeff Daniels – God of Carnage as Alan
Raúl Esparza – Speed-the-Plow as Charlie Fox
James Gandolfini – God of Carnage as Michael
Thomas Sadoski – reasons to be pretty as Greg

Best Performance by a Leading Actress in a Play
Marcia Gay Harden – God of Carnage as Veronica
Hope Davis – God of Carnage as Annette
Jane Fonda – 33 Variations as Katherine Brandt
Janet McTeer – Mary Stuart as Mary Stuart
Harriet Walter – Mary Stuart as Elizabeth I

Best Performance by a Leading Actor in a Musical 
David Alvarez, Trent Kowalik, and Kiril Kulish – Billy Elliot the Musical as Billy Elliot
Gavin Creel – Hair as Claude
Brian d’Arcy James – Shrek the Musical as Shrek
Constantine Maroulis – Rock of Ages as Drew
J. Robert Spencer – Next to Normal as Dan Continue reading “63rd Tony Award winners”

63rd Tony Award nominations

Best Performance by a Leading Actor in a Play 
Jeff Daniels – God of Carnage as Alan
Raúl Esparza – Speed-the-Plow as Charlie Fox
James Gandolfini – God of Carnage as Michael
Geoffrey Rush – Exit the King as King Berenger
Thomas Sadoski – reasons to be pretty as Greg

Best Performance by a Leading Actress in a Play
Hope Davis – God of Carnage as Annette
Jane Fonda – 33 Variations as Katherine Brandt
Marcia Gay Harden – God of Carnage as Veronica
Janet McTeer – Mary Stuart as Mary Stuart
Harriet Walter – Mary Stuart as Elizabeth I

Best Performance by a Leading Actor in a Musical 
David Alvarez, Trent Kowalik, and Kiril Kulish – Billy Elliot the Musical as Billy Elliot
Gavin Creel – Hair as Claude
Brian d’Arcy James – Shrek the Musical as Shrek
Constantine Maroulis – Rock of Ages as Drew
J. Robert Spencer – Next to Normal as Dan Continue reading “63rd Tony Award nominations”