I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in August.
Queen of the Mist, aka the surprisingly affecting one
Appropriate, aka all hail Monica Dolan
Waitress, aka ZZZZZZZOMGGGGG STUNT CASTING oh wait, Joe Suggs hasn’t started yet
The Doctor, aka all hail Juliet Stevenson
A Very Expensive Poison, aka it was a preview so I shouldn’t say anything
Blues in the Night, aka all hail Broadway-bound Sharon D Clarke (and Debbie Kurup, and Clive Rowe too)
The Night of the Iguana, aka justice for Skyler Continue reading “August theatre round-up”
I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in July.
On Your Feet, aka the rhythm will get you, sometimes
the end of history…, aka how can you get cheese on toast so wrong
Equus, aka hell yes for Jessica Hung Han Yun’s lighting design
Games for Lovers, aka straight people be crazy
Captain Corelli’s Mandolin, aka the one that got my goat
The Girl on the Train, aka Philip McGinley in shorts
Uncle Vanya, aka I really need to stop booking for plays like this with casts like that
Jellyfish, aka justice for the second best play of last year
Sweat, aka Clare Perkins should always be on in the West End
Sue Townsend’s The Secret Diary of Adrian Mole Aged 13 3/4 The Musical, aka yay for lovely new musicals in the West End
The Light in the Piazza, aka Molly Lynch fricking nails it
Jesus Christ Superstar, aka was third time the charm?
Continue reading “July theatre round-up”
All winners will be announced at the awards ceremony at The Brewery, London on September 15, 2019 which will be streamed live on The Stage’s Facebook page.
Best Actress in a Play – sponsored by Audible
- Liv Hill for Top Girls at the National Theatre, London
- Urielle Klein-Mekongo for Yvette at the Bush Theatre, London
- Lauren O’Leary for The Awkward Years at The Other Room, Cardiff
- Bea Webster for Mother Courage at the Albion Electric Warehouse, Leeds
Best Actor in a Play – sponsored by Audible
- Jamal Ajala for ear for eye at the Royal Court, London
- Stuart Campbell for The Hunt at the Almeida Theatre, London
- Patrick Gibson for Sweat at the Donmar Warehouse and the Gielgud Theatre, London
- Ivan Oyik for Blue/Orange at the Birmingham Repertory Theatre, Birmingham
Continue reading “Nominees for The Stage Debut Awards 2019”
I might have taken a break from reviewing in June, but I didn’t stop going to the theatre – I had too many things already booked in. Here’s some brief thoughts on what I saw.
Betrayal, Harold Pinter
Shit-Faced Shakespeare – Hamlet, Barbican
The Knight of the Burning Pestle, Cheek By Jowl at the Barbican
Somnium, Sadler’s Wells
Les Damnés, Comédie-Française at the Barbican
Vanya and Sonia and Masha and Spike, Theatre Royal Bath
Blithe Spirit, Theatre Royal Bath
The Hunt, Almeida
Present Laughter, Old Vic
Europe, Donmar Warehouse
The Deep Blue Sea, Minerva
Plenty, Chichester Festival Theatre
Pictures of Dorian Gray, Jermyn Street
The Light in the Piazza, Royal Festival Hall
Hair of the Dog, Tristan Bates Continue reading “June theatre round-up”
I remain unconvinced we should be rewarding classical roles over the breadth of the theatre out there but hey ho, it’s not my award! A good selection of performances nominated here nonetheless – and Gill feels a worthy winner.
Bally Gill for Romeo in Romeo and Juliet at the RSC
Hannah Morrish for Octavia in Antony and Cleopatra at the National Theatre
Luke Newberry for Malcolm in Macbeth at the RSC
Daniel Burke for Diomed in Troilus and Cressida at RSC
Heledd Gwynn for Katharine and Dauphin in Henry V by Shakespeare at the Tobacco Factory
Tyrone Huntley for Lysander in A Midsummer Night’s Dream at the Watermill, Newbury
Martins Imhangbe for Bagot and Aumerle in Richard II at the Almeida
Toheeb Jimoh for Demetrius in A Midsummer Night’s Dream at the Crucible
Aaron Pierre for Cassio in Othello at Shakespeare’s Globe
Ellora Torchia for Emilia in Two Noble Kinsmen at Shakespeare’s Globe
Helena Wilson for Mariana in Measure for Measure at the Donmar Warehouse
Nowhere near enough charm in this Sweet Charity for my liking. Josie Rourke’s farewell to the Donmar Warehouse is grey rather than silver
“I’m always looking for an emotional experience”
When the light lands just right on Robert Jones’ set for Sweet Charity at the Donmar Warehouse, it sparkles like silver; the rest of the time, it is rather grey. Sadly, that’s pretty much rather true as a whole for Josie Rourke’s production here, her farewell as Artistic Director here.
Those bright spots are dazzling. Debbie Kurup and Lizzie Connolly are superb as Charity’s pals and co-workers Helene and Nickie, dreaming their dreams with real circumspection. Martin Marquez’s velvety smoothness is charm personified as movie star Vittorio Vidal. Continue reading “Review: Sweet Charity, Donmar Warehouse”
The ferocious Sweat may not feel festive at the Donmar Warehouse but its message is ultimately one perfect for the season
“You could wake up tomorrow and all your jobs are in Mexico”
Lynn Nottage’s Sweat won the 2017 Pulitzer Prize for Drama and on the evidence of Lynette Linton’s production for the Donmar Warehouse, deservedly so. Based on interviews with the residents of Reading, Pennsylvania – one of the poorest towns of its size in the USA – it proves an utterly compelling examination of the all-too-personal impact of deindustrialisation.
Written in 2015, hindsight encourages us to find remarkable prescience in Nottage exploring the kind of economic dissatisfaction that propelled Trump to power but the truth is more layered than that. Set in 2000, with brief forays into 2008, the desperation that poverty inculcates in people is stripped of partisanship as we’re just left to bear witness to those who just believe they have no other choice. Continue reading “Review: Sweat, Donmar Warehouse”
I have a mixed time with some shaken-up Shakespeares – othellomacbeth at the Lyric Hammersmith; Twelfth Night at the Young Vic; Much Ado About Nothing at the Watford Palace; and Measure for Measure at the Donmar
“Condemn the fault and not the actor of it?”
I’m the first to say that modern adaptations of Shakespeare need to do something different to justify their place in today’s theatre ecology. Lord knows there’s been enough traditional renditions of his work, and still they come, and even if there are always going to be people coming for the first time, there’s also a real need to make his plays speak to contemporary society in a way that is unafraid to challenge his reputation. It is perhaps no surprise that it is female directors and directors of colour who are at the forefront of doing just that and there have been four key examples in London most recently – Jude Christian’s othellomacbeth at the Lyric Hammersmith, Kwame Kwei-Armah and Shaina Taub’s Twelfth Night at the Young Vic, Brigid Larmour’s Much Ado About Nothing at the Watford Palace and Josie Rourke’s Measure for Measure at the Donmar.
And of course, having demanded that this is what directors do, I found myself disappointed at the majority of these, for some of the same reasons and some different ones too. Perhaps the most formally daring is Christian’s othellomacbeth which smashes together the two tragedies to create something which ends up less than the sum of its constituent parts. Its intentions are certainly noble, seeking to highlight the female voices in these plays and give them prominence. But the reality is that in the two substantially reduced treatments here, everything becomes diminished, not least narrative clarity. There’s one cracking idea which connects the two, which you suspect might have inspired the whole production, but ultimately, it is not enough to hang the whole thing on. Continue reading “Blogged: shaking up Shakespeare”
I round up some of the recent casting news, including Queen Margaret at the Royal Exchange, Wasted at the Southwark Playhouse, Measure for Measure at the Donmar and The Woods at the Royal Court.
Shakespeare wrote more lines for Queen Margaret than he did for King Lear yet we know very little of her. Jeanie O’Hare re-acquaints us with one of Shakespeare’s major but rarely performed characters in her new play Queen Margaret. In a production that draws on original language from Shakespeare, director Elizabeth Freestone and Jade Anouka as Margaret, retell an iconic moment in British History through the eyes of the extraordinary Margaret of Anjou. This captivating exploration of The Wars of the Roses seen through the eyes of this astonishing, dangerous and thrilling woman opens the Royal Exchange’s Autumn Winter 2018/19 Season.
Anouka is joined by Islam Bouakkaz (Prince Edward/Rutland), Lorraine Bruce (York), Samuel Edward-Cook (Suffolk/Clifford), Dexter Flanders (Edward IV), Helena Lymbery (Hume), Lucy Mangan (Joan of Arc), Roger Morlidge (Gloucester), Kwami Odoom (Somerset/Richard), Bridgitta Roy (Warwick) and Max Runham (Henry VI). Continue reading “Casting news aplenty!”
Featuring the prime of the most excellent Lia Williams, The Prime of Miss Jean Brodie is an undoubted success for the Donmar Warehouse
“Miss Mackay thinks to intimidate me with quarter-hours”
Everyone has that teacher that they never forget. Sometimes it’s because they were brilliant, sometimes it’s because they bent the rules, sometimes it’s because they were so bloody-minded that they remain so unforgettable. For the selected few pupils of Edinburgh’s Marcia Blaine School for Girls who found themselves in the orbit of the entirely charismatic Miss Jean Brodie, it’s all three reasons at the same time that are destined to make her such an iconic figure in their schooling.
Based on the novel by Muriel Sparks, David Harrower’s new stage adaptation of The Prime of Miss Jean Brodie not only marks the 100th anniversary year of Spark’s birth but provides a scorchingly fantastic opportunity for Lia Williams to inhabit the title role so fully as to sit proudly aside Maggie Smith’s Oscar-winning performance in the 1969 film. It’s a stunning piece of acting – elevated by stunning wig and costume work – that captures so much of that beguiling power that a teacher can possess. Continue reading “Review: The Prime of Miss Jean Brodie, Donmar”