“We’re not looking for a needle in a haystack but for an alien in a diner”
There’s a scene in the second half of The Twilight Zone which is almost unbearably, poignantly astute on the subject of race relations in the US. Never mind that it was written in the 60s, it says so much about the America of today that it can’t help but chill the bone about the predictability of the baser notes of human nature. It is though, the only moment in this theatrical adaptation of the classic TV show that registered any real impact with me.
Anne Washburn (she of the extraordinary Mr Burns) has fashioned this play out of eight of the stories told by The Twilight Zone and presents them as if shuffling a pack of cards. Some stories broken up and interwoven with each other, some told in toto, all seeking to disrupt and disturb with shocks and scares and no little amount of wry humour too. It makes for a strangely suitable piece of counter-intuitive festive programming but ultimately felt insubstantial to me. Continue reading “Review: The Twilight Zone, Almeida”
“The fantasy that brings the reality into being”
As Mike Bartlett’s profile grows and grows, one can’t help but fear that his TV successes will lead to movie commissions but for the moment, he’s not forgotten where he started and with Albion, there’s a ferocious reminder of how theatrically skilled he is. Additionally, there’s one of the performances of the year from Victoria Hamilton so I’d hotfoot it to the Almeida now, there’s no guarantee this one will transfer.
Successful businesswoman Audrey has her world rocked when her son is killed on duty in the Middle East and so she decides to retreat to the countryside, rural Oxfordshire to be precise, where she buys the neglected home of her uncle, along with its once-impressive garden. But what first seems like a fun restoration project snowballs into chaos as her increasingly ambitious plans threaten to push everyone close to her away. Continue reading “Review: Albion, Almeida”
The Almeida have revealed the cast for their forthcoming Christmas show The Twilight Zone which promises a different take on seasonal fare! Directed by Richard Jones and adapted by Anne Washburn, responsible for the brilliant mindfuck that was Mr Burns, I reckon this will be one to look out for.
Cast includes: Oliver Alvin-Wilson, Franc Ashman, Adrianna Bertola, Lizzy Connolly, Amy Griffiths, Neil Haigh, Cosmo Jarvis, John Marquez, Matthew Needham, and Sam Swainsbury,
- Amanda Hale being excellent in an all-too-rare excursion to the stage
- Ben Whishaw being Ben Whishaw in his Whishawy way, even if it’s not quite enough to enliven the play
- Whishaw briefly in his pants, if you like that sort of thing
- An intelligently sparse design from ULTZ
- Did I mention Amanda Hale? She comes close to making it all worthwhile
- The running time
- The comparative lack of depth to Christopher Shinn’s writing which in no way justifies the above
- The range of issues which touched upon but not interrogated despite the above
- The structure of the play which exacerbates the above
- The inherent misogyny in the writing which only allows men to talk about these issues, however unsatisfactorily
- The cheap potshots at political correctness, seemingly designed for the Cavendishes and Purves of this world
- Did I mention the running time?
Running time: 2 hours 45 minutes (with interval)
Booking until 30th September
“I should warn you that nobody likes me”
Truth be told, I resisted seeing Ink for the longest time, mainly because I had zero desire to see a play about Rupert Murdoch. I feel the same way about Thatcher – I will never see The Iron Lady (sorry Meryl) or any other Maggie-based drama because I just damn well don’t want to. These firmly held convictions can of course be bypassed by sourcing me a free ticket (I stepped in for an otherwise occupied colleague) and so I was able to get the best of both worlds – onto a winner if it was good, and easily able to sneer (cos yes, I am that person) if it was bad.
And as with so much in life, the truth was somewhere inbetween. I could see how good Bertie Carvel’s performance as Murdoch was, naturally far more than a simple caricature, but I still felt uneasy whilst watching him – and the play in general – about what still felt like a tacit endorsement somehow, of an institution that I believe to be thoroughly reprehensible. Ink isn’t straightforwardly about The Sun though, Graham is far too canny a writer for that. His target is journalistic ethics as a whole, using Murdoch’s purchase of that paper in the 1960s as a tipping point for tabloid behaviour. Continue reading “Review: Ink, Almeida”
Ever pioneers in pushing the boundaries of theatrical enterprise (to wit, the durational readings of The Iliad and The Odyssey), the Almeida Theatre has launched Figures of Speech, a major new digital film project interrogating the vitality of speech, rhetoric, and what visionary leadership sounds like. Conceived by Rupert Goold and directed by Anthony Almeida, Figures of Speech will, deep breath, “place history’s greatest speeches centre stage through a series of films read by a network of actors and young leaders released online, building a tapestry of dynamic voices and ideas from across the world as a dramatic response to social crisis”.
The first suite of films, being released on a day-by-day basis from today, features speeches delivered by American politician Harvey Milk spoken by Ian McKellen; Nelson Mandela spoken by Lucian Msamati; Virginia Woolf spoken by Fiona Shaw; AIDS activist Elizabeth Glaser spoken by Nicola Walker; and Labour Party Politician Neil Kinnock spoken by Ashley Walters. And throughout the year, the Almeida will release more of these films, accompanied by additional material exploring the speeches, the context within which they were first delivered and the choice to revive them in 2017. Continue reading “Figures of Speech, a major new digital project by the Almeida”
“Most fair return of greetings and desires”
As follows many a sold out run with a high-profile cast, Almeida Associate Director Robert Icke’s new production of Hamlet transfers to the West End for a strictly limited season this summer (read my review here) from 9th June to 2nd September.
Starring BAFTA and Olivier Award winner Andrew Scott (Sherlock, Birdland, Cock, Pride) as the Danish Prince, Hamlet is brought to the stage by the critically acclaimed and multi-award winning creative team behind 1984 and Oresteia. And in further excellent news, the entire cast is making the trip to the West End (although Juliet Stevenson only until 1st July, no news yet on who might step into Gertrude’s shoes). Continue reading “The Almeida’s Hamlet transfers to the Harold Pinter”
“There is nothing either good or bad, but thinking makes it so”
The enduring image of Robert Icke’s Hamlet is family – the repeated motif of group of three cleaving together haunts the production as much as Hamlet’s father himself. From the instant and intense bond established between Polonius, Ophelia and Laertes, Icke makes striking emotional sense of the respective grief and ferocity of the latter two, powerfully played by Jessica Brown Findlay and Luke Thompson against Peter Wight’s twinkling charm as their father.
And Icke also gives the tragic visual of Andrew Scott’s Hamlet trying to rebuild his original family unit, joining hands with his mother and the ghost of his father in the midst of the closet scene, willing Juliet Stevenson’s Gertrude to see what he sees, to put things back the way they used to be. And in a stunning montage for the final scene, these trios reform, emphasising the innate happiness of one and the deep tragedy of the other. It is deeply, deeply felt. Continue reading “Review: Hamlet, Almeida”
2017 is only just over a week away now and the reviewing diary is already filling up! All sorts of headline-grabbing West End shows have already been announced (The Glass Menagerie, Who’s Afraid Of Virginia Woolf, Don Juan In Soho, The Goat, Or Who Is Sylvia) and the National look to continue a sensational year with another (Twelfth Night, Consent, the heaven-sent Angels in America), so this list is looking a little further afield to the London fringe and some of the UK theatres I hope to get to throughout the year.
After hearing Elizabeth Newman speak passionately on a panel discussion about women’s theatre, I kinda have a big (intellectual) crush on her, so I’m very keen to see her tackle a new adaptation by Deborah McAndrew of the classic Anne Bronte novel in a theatre that is very close to my heart.
Continue reading “20 shows to look forward to in 2017”