Proper award season is starting to kick into gear now with the reveal of the shortlist for the 2019 London Evening Standard Theatre Awards and an uncharacteristically strong set of nominations that will surprise a fair few. I had little love for Sweet Charity so I’d’ve bumped its nod for something else but generally speaking, I’m loving the love for Dorfman shows and the Royal Court and I hate the reminder that there’s a couple of things I mistakenly decided not to see (Out of Water, …kylie jenner)
BEST ACTOR in partnership with Ambassador Theatre Group
K. Todd Freeman Downstate, National Theatre (Dorfman)
Francis Guinan Downstate, National Theatre (Dorfman)
Tom Hiddleston Betrayal, Harold Pinter Theatre
Wendell Pierce Death of a Salesman, Young Vic & Piccadilly
Andrew Scott Present Laughter, Old Vic
NATASHA RICHARDSON AWARD FOR BEST ACTRESS in partnership with Christian Louboutin
Hayley Atwell Rosmersholm, Duke of York’s
Cecilia Noble Downstate, National Theatre (Dorfman) & Faith, Hope and Charity, National Theatre (Dorfman)
Dame Maggie Smith A German Life, Bridge
Juliet Stevenson The Doctor, Almeida
Anjana Vasan A Doll’s House, Lyric Hammersmith Continue reading “The 2019 London Evening Standard Theatre Awards – Shortlist announced”
A pleasure to see Zoë Wanamaker and Zrinka Cvitešić onstage but they deserve a much better play than Two Ladies at the Bridge Theatre
“I could wipe the floor with the whole fucking lot of them”
You might well cross your arms and look as grumpy as Zoë Wanamaker here. Ultimately, Nancy Harris’ new play Two Ladies proves to be symptomatic of the Bridge Theatre as a whole – brimming with quality and superficially appealing but frustrating in the end and one really is left questioning what is being brought to London’s theatre ecology here.
On the one hand,it is great that plays putting women front and centre like this are being produced in such a high profile way. And as this pair of presidential first ladies, Wanamaker and Zrinka Cvitešić (a welcome returnee after Once) both bring a powerful sense of personality to the stage as their unique political perspective is given room to flourish. Continue reading “Review: Two Ladies, Bridge Theatre”
Nicholas Hytner gives us an utterly inspired take on A Midsummer Night’s Dream at the Bridge Theatre, with Gwendoline Christie in stupendous form
“Come now; what masques, what dances shall we have”
You can tell a lot about a production of A Midsummer Night’s Dream from the way it treats its Hippolyta. Possessed of so few words, her presence is nevertheless vital for setting the tone of the play and from the moment you walk into the Bridge Theatre, you just know Nicholas Hytner has got it right. This conquered queen is caged in a glass box, as if an artefact in some grotesque museum and as an impassive Gwendoline Christie fixes us with her stare, it’s a definitive commentary on the gender politics here before we’ve even started.
But even once the play starts, her power is no less unremarkable. As Hermia claims she knows not by what power she is made bold, one look at Hippolyta’s hand against the glass leaves you in no doubt of the source of her new found confidence. Small but powerful changes that set the scene perfectly for Hytner’s most striking innovation which, as it reveals itself in the following act, proved to be one of the most thrilling ways to re-infuse excitement into this oft-performed classic. Continue reading “Review: A Midsummer Night’s Dream, Bridge Theatre”
Been a bit quiet on the show front whilst I’ve celebrating a particular anniversary (I turned 29, for the 11th time if anyone’s counting…) but I was pleased to have been treated to a couple of special evenings out with Helen McCrory and Helena Bonham Carter reading poetry and a return visit to West Side Story
“Time to look, time to care,
Front row tickets to something with Helen McCrory? It’s the stuff birthday dreams are made of, and so I was delighted to get to go to Allie Esiri Presents Women Poets Through the Ages at the Bridge Theatre. And not only was there McCrory action, there was a reunion of evil Harry Potter sisters Narcissa Malfoy and Bellatrix Lestrange as Helena Bonham Carter was also on the bill.
Continue reading “Birthday treats – poetry and post-show talks”
A German Life at the Bridge Theatre marks a titanic return to the London stage for Dame Maggie Smith
“I don’t know whether God exists, probably not, but what certainly does exist is evil. And there’s no justice”
Just a quickie for this, even though Dame Maggie Smith clearly deserves more respect for her return to the London stage after 12 years away. A German Life takes the form of a 100 minute monologue that takes the breath away, not only in the technical skill and stamina for someone over the age of 80 but in the size and sensitivity of the subject matter at hand,
Smith plays Brunhilde Pomsel, a regular German woman whose work as a secretary took her through many employers, one of whom just happened to be the Nazi minister of propaganda, Joseph Goebbels. As she reflects back on her life, there’s an appalling compelling account of everyday life in the midst of the rise of such a virulently extreme ideology as Nazism. Continue reading “Review: A German Life, Bridge Theatre”
Nicholas Hytner finally directs a play by a woman but Lucinda Coxon’s adaptation of novel Alys, Always is a disappointment for me at the Bridge Theatre
“I’m going to bake a cake”
In well over 30 years of being a director, it seems scarcely credible that it is only now that Nicholas Hytner is turning his hand to directing a play written by a woman. For all of his considerable contributions to the British theatre ecology, it is a startling and sobering statistic that demonstrates the scale of the problem faced by those who would (rightfully) change the status quo.
The play in question here is Alys, Always, written by Lucinda Coxon from Harriet Lane’s 2012 novel. And it proves a serviceable psychological thriller of sorts that sits a little too cosily in the middle class-baiting madeleine-scented air of the Bridge Theatre. It is glossy and magazine-spread chic, undoubtedly shinily cast (Joanne Froggatt, Robert Glenister) but rarely essential. Continue reading “Review: Alys, Always, Bridge Theatre”
With Allelujah! at the Bridge Theatre, the return of Alan Bennett leaves me less than enthused
“Still, it was better than this”
In some ways, Allelujah! is perfectly symptomatic of the problem I have with the Bridge Theatre. Does London really need any new theatres, no matter how much people think they want interval madeleines? Does it especially need ones that put on large-scale Alan Bennett premieres? It is nice to see Nicholas Hytner maintaining the long-gestating creative relationship he has with Bennett but at the point where his new venture is now just a carbon-copy of his former home down the South Bank, except with premium seating, it is increasingly hard to make the case for it.
It doesn’t help that this isn’t vintage Bennett. His first play in six years, Allelujah! takes place in the crowded geriatric ward of the Bethlehem, a Yorkshire hospital threatened with closure. A camera crew are filming a documentary, allowing many of the patients to wax lyrical about lives that have passed on by, the England that once was. And in the corridors around the hospital, Bennett similarly lets rip, on the loss of compassion in our society, a social care system on its knees, an NHS in an even worse state, privatisation, gentrification, the downright stupidity of an immigration system that is leaching away the very talent we need to stay. Continue reading “Review: Allelujah!, Bridge Theatre”
A pair of stunning monologues don’t get the public acclaim I think they deserve, as Sea Wall steals headlines from Notes From The Field and My Name Is Lucy Barton
“What are your dreams?”
It bugs me a little that Sea Wall is getting so much attention as God’s gift to the monologue, when there’s two exceptional example of the form selling out major theatres in London right now. No disrespect to Simon Stephens or Andrew Scott but you do wonder whether it is the fact that they’re female-led that means Notes From The Field and My Name Is Lucy Barton haven’t quite broken through in the same way.
It is probably just the enduring Sherlock effect, for we’re talking about artists of the stature of Anna Deavere Smith and Laura Linney who can boast a whole host of Tony and Academy Award nominations between them, plus TV credits from such shows as The West Wing, Frasier and The Big C. And it ain’t as if they haven’t been getting rave reviews either. Continue reading “Review: Notes From The Field / My Name Is Lucy Barton”
The Bridge Theatre proves the wrong fit for the grief-stricken intimacy of Barney Norris’ Nightfall
“You need to take what you can get or you’ll be f**ked”
Barney Norris’ previous plays have been well suited to the places in which they’ve found themselves, the studios of the Arcola and the Bush. And as a brand new space with a flexibility built into its auditorium, the Bridge Theatre has been playing with different styles for each of its opening three productions. But as the theatre moves to end-on to promenade to thrust, it doesn’t find the best match in Nightfall, directed here by Laurie Sansom.
Part of the problem lies in the innate intimacy of Norris’ writing. He has absolutely nailed his oeuvre of excavating the beauty in ordinary lives, often beset by grief, often in rural England, and it is to these themes he returns here again. A family in deepest Hampshire are still coming to terms with the death of its patriarch, what that means for the struggling farm on which they depend and fighting to determine what the future might hold for each of them.
Continue reading “Review: Nightfall, Bridge Theatre”
“He thinks too much – such men are dangerous”
Though it is billed as ‘a promenade staging’ and the website refers to ‘mob tickets’ and ‘immersive ticket holders’, make no mistake that if you’re in the pit for Julius Caesar, you’re standing. For two hours. There’s a bit of movement, as in five paces that way or this when a new bit of the set has to wheeled into place but don’t be distracted into thinking there’s anything more on offer here than can be gotten further along the South Bank at the Globe (apart from a roof of course, which allows them to charge five times the price, or three times if you book your tickets via TodayTix).
And as with being a groundling, there are decided pros and cons to experiencing theatre this way. The first half of Shakespeare’s political thriller works extremely well under this modern-dress treatment from Nicholas Hytner. As you enter the Bridge’s auditorium, reconceived into the round here, the pit is filled with a rock gig, vendors sell beer and baseball caps, a febrile energy fills the space which carries through to the arrival of David Calder’s populist Caesar with his red cap and puerile slogan ‘Do this!’ (Contemporary allusions are clear but later on you may find the mind gets weirdly drawn to Murdoch more than Trump…).
Continue reading “Review: Julius Caesar, Bridge Theatre”