Mike Bartlett’s Cock receives a stirring revival from director Kate Hewitt at Chichester’s Minerva Theatre
“I suppose I like both, but that’s okay isn’t it, that’s okay?”
Sometimes you look back at a cast you’ve seen and think wow, I’m glad I booked for that. The original Royal Court production of Mike Bartlett’s Cock – revived here at Chichester’s Minerva – had a cast that included no less than Katherine Parkinson, Andrew Scott and Ben Whishaw enclosed in the claustrophobic intimacy of Miriam Buether’s brilliant design. So no pressure for director Kate Hewitt to live up to, honest…
And it is pressure that she lives up to, mainly because Bartlett’s play remains as fresh as a daisy (chain) nearly 10 years after it was written. Its exploration of fluid sexuality feels ripped out of the frothing mouth of clickbait-muffin Piers Morgan, its rejection of conventional sexual identity labels still a key issue for many, the complication of the dating world in the 21st century as sharply pertinent as ever.
Continue reading “Review: Cock, Minerva”
This ‘new’ Mike Bartlett’ play is well-acted at the Arcola Theatre but Not Talking can’t quite hide its origins in radio
“If I don’t want to tell anyone, it’s up to me, right?”
A treat here in the premiere of Mike Bartlett’s first-ever play, never seen before in a theatre. But something of a qualified treat, because 2005’s Not Talking was written as a radio play and as sumptuously cast as James Hiller’s production for the Arcola and Defibrillator is (with Kika Markham and David Horovitch), it’s a drama that never really escapes these origins.
The play is constructed as two pairs of two intertwining but distinct monologues – separated by time on the one side, kept apart by emotional distance on the other. Reflecting back on their lives, James and Lucy have the benefit, such as it is, of experience; at the beginning of their potential story, Mark and Amanda find their lives no less blighted by momentous events. Continue reading “Review: Not Talking, Arcola”
“We have a duty of care to all our employees”
I may not be a Deaf Critic but I am a critic who is partially deaf, a state of affairs positions me rather uniquely when it comes to appreciating Deafinitely Theatre’s latest production – a bilingual version of Mike Bartlett’s 2008 two-hander Contractions. Bilingual as a matter of course, as all of Deafinitely’s productions are in using British Sign Language and English but bilingual too as a provocation, in that director Paula Garfield uses neither language continuously.
So as we sit through a series of business meetings between a brutally officious manager (who signs) and corporate wannabe Emma (who both speaks and signs), there’s an ingenious sense of dislocation, of delayed and incomplete comprehension, which is as incisive a theatrical representation of what it is like to be deaf in a hearing world as I could ever imagine. And it is a fascinating way to portray the brutal acuity that typifies much of Bartlett’s small-scale plays and their sharp dialogue. Continue reading “Review: Contractions, ND2”
“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”
“How does this end Simon?”
In some ways, you can’t blame ’em for trying to replicate the extraordinary success of the first series of Doctor Foster, quality drama that fast became a rare appointment-to-view fixture with a rare return to weekly instalments. And given that writer Mike Bartlett is known for his prolific nature, that a second series quickly came into the offing was no great surprise.
But it can be hard to recapture the magic and though all of the key players have returned – most notably warring ex-couple Suranne Jones’ Gemma and Bertie Carvel’s Simon – this set of five episodes has really suffered from a lack of raison d’être. Waves of vicious revenge percolate throughout but with no discernible driving narrative beyond that, it proved far less engaging. Continue reading “TV Review: Doctor Foster Series 2”
An ensemble cast of some of Britain’s hottest talent will portray the determined and passionate characters behind the daily news at two fictional, competing newspapers in Mike Bartlett’s
, King Charles III
) drama series, Press
, on BBC One.
(King Charles III
, Jonathan Strange & Mr Norrell
) will play the News Editor of fictional broadsheet, The Herald and Ben Chaplin
(Apple Tree Yard, The Thin Red Line
) will play the Editor of fictional tabloid newspaper, The Post, while Priyanga Burford
, King Charles III
) will play The Herald’s Editor. Paapa Essiedu
(A Midsummer Night’s Dream
, RSC’s Hamlet
) will play The Post’s newest reporter and Shane Zaza
(Happy Valley, The Da Vinci Code
) its News Editor; while Ellie Kendrick
(Game Of Thrones, The Diary Of Anne Frank
) will be a junior reporter; Al Weaver
(Grantchester, The Hollow Crown
) an investigative journalist and Brendan Cowell
(Young Vic’s Yerma, Game Of Thrones
) the Deputy Editor at The Herald.
They will be joined by David Suchet (Poirot) who will play the Chairman & CEO of Worldwide News, owner of The Post.
Press will be directed by Tom Vaughan
(Victoria, Doctor Foster
) and produced by Paul Gilbert
Set in the fast-paced and challenging environment of the British newspaper industry, Press immerse viewers in the personal lives and the constant professional dilemmas facing its characters. The series follow their lives as they attempt to balance work and play, ambition and integrity, amid the never-ending pressure of the 24-hour global news cycle and an industry in turmoil.
Press is a Lookout Point, BBC Studios, Deep Indigo production, co-produced with Masterpiece, for BBC One. Executive Producers are Faith Penhale and Mike Bartlett for Lookout Point, Bethan Jones for BBC Studios, Nigel Stafford-Clark for Deep Indigo, Mona Qureshi for BBC One and Rebecca Eaton for Masterpiece. International Distribution will be handled by BBC Worldwide.
Press begins filming in London in October and will broadcast on BBC One in 2018.
Episodes, in order of preference
World Enough and Time
The Doctor Falls
The Eaters of Light
Empress of Mars
The Pyramid at the End of the World
The Lie of the Land
Top 5 guest spots
1 David Suchet’s Landlord was as perfectly written a character as befits one of our more superior actors
2 Regular readers will know I’m a big fan of Kieran Bew and his astronaut in Oxygen was no exception
3 Nicholas Burns‘ malevolent Sutcliffe was a delightfully Dickensian villain
4 Another theatrical delight of mine is Anthony Calf, impressive as the pseudo-Victorian Godsacre
5 Rebecca Benson’s young Pict impressively led The Eaters of Light from the front, a perfect vessel for Rona Munro’s vision
Michelle Gomez’s Missy has been a brilliant breath of fresh air and whilst her decision to follow Moffat and Capaldi out the door is understandable, it isn’t any less disappointing. And perhaps the timey-wimeyness of the circumstances around her passing mean that maybe this isn’t the last we see of her…
Most wasted guest actor
I don’t what I expected from the reliably excellent Samantha Spiro in Doctor Who but I didn’t get it from her part in The Doctor Falls.
Gay agenda rating
With Bill onboard, A+!
“I ask no less than power to achieve my will in fair exchange for total service to the state”
Uneasy lies the head that waits for the crown. Mike Barlett’s King Charles III was a deserved award-winning success when it took the Almeida by storm in 2014, transferring into the West End and then Broadway, later touring the UK and Australia too. Its success lay in the conception of a Shakespearean future history play, written in verse but set in a world recognisably our own, where Prince George is nonchalantly eating croissants, Queen Elizabeth II has just passed and before he has even been crowned, Charles finds himself in a constitutional crisis of his own making. A bold but welcome move from the BBC to commission a version then.
Directed as it was onstage by Rupert Goold and adapted by Bartlett (the narrative has been telescoped down by over an hour), it re-emerges as a powerful, pacy drama, a fascinating look into how the relationship between monarchy and government could so easily shift at a time of transition, anchored by an achingly nuanced performance from Tim Pigott-Smith in the title role. The ache is of course deepened by the actor’s death last month but that sadness shouldn’t overshadow the quality of his work here, masterful in his command of the verse, mesmerising as a man trapped by history. Continue reading “TV Review: King Charles III, BBC2”
“Things are going to get, now and for the rest of your life, extremely difficult”
Well actually, things are getting easier to watch theatre in different ways and as I leave on holiday for a wee while, I thought I’d round up a few of the current offerings.
Mike Bartlett’s smash hit Wild
at Hampstead Theatre was livestreamed yesterday and is available until midnight on Tuesday.
Talawa’s touring production of King Lear is available on the iPlayer (I was a tiny bit disappointed with this to be honest)
And Phoebe Waller-Bridge’s Fleabag
has been developed into a TV series – not got round to watching it yet but could well be good
“You have no freedom, no choice, at the moment you don’t even have a passport”
It’s a truth universally acknowledged that Mike Bartlett is one of our finest contemporary writers and so it is pleasing to see that his new play Wild sees his reunite with creatives with whom he has had great success. Director James Macdonald was at the helm of the intense inter-relationships of Cock and designer Miriam Buether has reveled in transforming spaces such as the then-Cottesloe for Earthquakes in London and the Almeida for Game and both are on top form once again here.
At first glance, it might not look like Buether has done much to the Hampstead’s main stage but you can rest assured that she’ll have tipped the world on its axis by the end of the play, and what a fierce play it is. Bartlett has turned his gaze to the realm of information security as he imagines the experience of an Edward Snowden-like figure called Andrew who stuck two fingers up to the state by releasing sensitive data online. Sequestered in a Moscow hotel room on the run, he’s left awaiting his fate. Continue reading “Review: Wild, Hampstead”