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!”
Fun, laughs and yes, a good time. You’ll sure get a tingle in your feet for this Sweet Charity at the Watermill Theatre, Newbury
“I don’t pop my cork for every guy I see”
You can never have too much charity it would seem, and as Rebecca Trehearn prepares to take on the role of Charity Hope Valentine in Nottingham next month, Gemma Sutton tackles it here at the beautiful Watermill Theatre in Newbury. Sweet Charity, the 1966 musical by Cy Coleman, Dorothy Fields and Neil Simon is a curious choice for the constant revival it receives. Its sexual politics are askew, its dialogue cheesily dated, and these are issues that Paul Hart’s modernised take has to occasionally battle to address.
Setting it in contemporary New York has its pros and cons. Notions of metropolitan isolation and the trials of working in a gig economy are more resonant than ever. But without lyrical updating, ideas of female aspiration remain rooted in the last century – you win some, you lose some. The casting of Sutton (so very good recently in The Rink) is a definite win though, a bright splash of colour in a mostly monochrome world and it is nigh on impossible not to be enchanted by her determination to find love in a cruel world. Continue reading “Review: Sweet Charity, Watermill”
OVO Theatre’s Much Ado About Nothing gets transplanted to a 50s American diner in the ruins of the Roman Theatre of Verulamium in St Albans, and to great effect
“I saw him scurrying away in melancholy like James Dean in Rebel Without A Cause“
A first trip to St Albans for me, and to the atmospheric surroundings of the Roman Theatre of Verulamium, where OVO Theatre have established quite the reputation for open-air Shakespeare alongside their more regular programming at the Maltings Theatre. And the prospect of a Much Ado About Nothing drenched in 1950s Americana was one that piqued my interest, even if the well-realised shiny set design sits a little incongruously among the Roman ruins.
Adam Nichols and Janet Podd’s bold re-envisioning of the play pays dividends in all sorts of unexpected ways – this is Messina but not as we know it. We find ourselves in 1959 at Leonata’s Bar and Grill, a fine music venue somewhere in the Midwest, where the crew of the USS Gull are to rock up after a tour in the Far East. And in a bit of extratextual business at the beginning, we see Leonata’s daughter Hero Beyoncé her way into the role of lead singer in up-and-coming band The Sonnettes. The name of the woman she replaced? Joanna. Continue reading “Review: Much Ado About Nothing, Roman Theatre of Verulamium St Albans”
But though this Restoration writer is proving popular, directors seem unable not to tinker with his work – that production was set in the 1920s and Jonathan Munby here moves it even further to the present day, casting new light but also dimming its intent. Continue reading “Review: The Country Wife, Minerva”
I turn my attention to the latest set of Broadway cast recordings with Frozen, Prince of Broadway and Mean Girls
My cynicism about the quick turnaround of megahit film Frozeninto a would-be megahit musical lasted for about 10 seconds as I popped on their cast recording. I mean, I loved the film and its songs by Robert Lopez and Kristen Anderson-Lopez and so who was I kidding?!
And it fulfils all of my Disney princess dreams. Caissie Levy (Elsa) and Patti Murin (Anna) lead the cast in fine full-voiced form, new songs from the Lopezes fit in well to the score though it does take a hot minute to get used to them. And the orchestral arrangement lends a note of excitement to the songs you know so well already.
Levy’s ‘Let It Go’ naturally takes the spotlight as the Act 1 closer (reprised to close the show as well) but Murin’s rendition of ‘Love Is An Open Door’ with John Riddle’s Hans gets my vote for its sheer warmth and joie de vivre. Of the new songs, Elsa’s ‘Dangerous to Dream’ probably ranks as my favourite. Definitely keen to see this once it hits the West End. Continue reading “Album reviews: Frozen / Prince of Broadway / Mean Girls”
A brilliantly inventive, inclusive and entertaining take on A Midsummer Night’s Dream is a great success at the Watermill Theatre
“Shall we their fond pageant see?”
In a week when Shakespearean-inclined eyes are trained on the opening of Michelle Terry’s tenure at the Globe with a season that promises to be “gender blind, race blind and disability blind”, it is gratifying to see other theatres in the UK already delivering this. And unsurprisingly, this kind of approach is full of rich potential to shake up your Shakespeare anew, making the Watermill’s A Midsummer Night’s Dream an unalloyed pleasure.
Paul Hart’s production is full of innovative touches which work separately like a treat and also combine into something really special. It wears its actor musicianship lightly as music is used brilliantly to delineate the otherworldliness of the woods. If ‘I Put A Spell On You’ might seem overly literal for the dosing of love-in-idleness but lyrically it proves a remarkable fit the love/hate relationship of this Titania and Oberon, so too of Puck’s frustration at that latter father-figure. Continue reading “Review: A Midsummer Night’s Dream, Watermill”
There’s always a new or different way to do things, no matter how ¯\_(ツ)_/¯ London-based commentators get, and so the news of Europe’s first ever pop-up Shakespearean Theatre – SHAKESPEARE’S ROSE THEATRE – feels like a good thing to me. Taking up residence in York this summer, the Rose looks set to replicate something of the Globe experience, groundlings and all, for a whole new audience.
The 10-week season will consist of four plays, performed in repertory by two companies of actors
A tragedy – Macbeth
A comedy – A Midsummer Night’s Dream
A tragic love story – Romeo and Juliet
A history – Richard III
Romeo and Juliet and Richard III will be directed by the award-winning Lindsay Posner, while York Theatre Royal’s Olivier Award-winning Artistic Director Damian Cruden will direct Macbeth, and Associate Director Juliet Forster will be putting her stamp on A Midsummer Night’s Dream.
And particularly pleasing to see is that even in this setting which might be perceived as traditional as it gets, there’s a playfulness to the approach to the plays (from Cruden and Forster at least). Antony Bunsee and Amanda Ryan play Theseus and Hippolyta but in a bit of a switch, will also play Titania and Oberon respectively. There’s a female Puck too, plus Amy Lennox as Hermia which leaves me in no doubt as to which of these will be my priority to see! Continue reading “News: Cast and creative team announced for Shakespeare’s Rose Theatre in York”
This is not a review of The Assassination of Katie Hopkins at Theatr Clwyd because the performance I was booked in for was cancelled. This may or may not be connected to the fact that I’ve inadvertently been referring to it as The Assassination of Katie Holmes for the past couple of weeks.