Some titanic acting performances from Sally Field, Bill Pullman and Colin Morgan in this superb All My Sons at the Old Vic Theatre
“We all got hit by the same lightning”
You do wonder how new playwrights are ever going to get a look-in when Arthur Miller can dominate London theatres without it even being a significant anniversary year for him. That said, the Old Vic’s second Miller in a row sees a Headlong co-production of All My Sons (with Death of a Salesman imminent at the Young Vic, he’ll have the run of The Cut) that gives an enviable target to aim for.
I’ve seen a handful of All My Sons since starting the blog, from the sublime and superb to the somewhat less impressive, and it is remarkable how it stands as a play that really needs little doing to it for its quality to shine through. And so it is with Jeremy Herrin’s production here, a relatively straightforward one for Headlong all told, but all the more effective for it. Continue reading “Review: All My Sons, Old Vic”
The UK Theatre Awards are the only nationwide Awards to honour and celebrate outstanding achievements in regional theatre throughout England, Scotland, Wales and Northern Ireland and they have just announced the winners for the 2018 awards, which include a well-deserved Award for Outstanding Contribution to British Theatre for Maxine Peake – take a look at her acceptance speech here.
Continue reading “Full list of 2018 UK Theatre Awards winners”
I’m opting not to review Sylvia but rather to haul the Old Vic over the coals for a bit of a shambolic handling of the situation
“Time’s up, there’ll be no more waiting”
Hindsight is a great thing but the team at the Old Vic will have to look back at how they handled the difficult genesis of Sylvia and take some severe lessons. Some things were unquestionably out of their control, like the disruption of cast illness, but others were not. The apparent development of the show from a dance-led piece to a full-blown musical did not happen overnight and so to cite that as an excuse for the piece not being ready, to reclassify the production as a work-in-progress midway through the run is disingenuous to say the least, especially when people are still being charged £45 to see it.
It is a piece that is bounding with potential, clicking into a theatre landscape in London which feels unusually switched on at the moment (Misty and Emilia to name but two kicks up its backside), but we do still feel like we’re in rough draft territory here, hence my decision not to review. (It has provoked some strange reactions in the press though – four stars from Billers? Time Out showing their ass about colour-blind casting?) The music by Josh Cohen and DJ Walde and the book by Kate Prince and Priya Parmar both need substantial refinement from its baggy three hours plus, but you can see the work being put in, and which will continue to be put in until Sylvia re-emerges (next year apparently) better equipped to smash that patriarchy.
Paying tribute to the NHS in its 70th year, the specially-commissioned monologues of The Greatest Wealth made for a great night at the Old Vic
“It’s a wonderful idea
It’s a marvellous idea
It’s such a very good idea”
It’s no exaggeration to say that I wouldn’t be here but for the NHS – it changed my life as a young boy, it saved my life as a teenager who didn’t look both ways. A story I imagine which finds resonance with so very many of us in the UK but as this venerable institution marks its 70th birthday, it finds itself under siege more than ever. So what better time to reflect on what has been, what is and what yet might be for our National Health Service.
Curated by Lolita Chakrabarti and directed by Adrian Lester, The Greatest Wealth took the form of a series of specially-commissioned world-premiere monologues, each responding to a particular decade of the NHS’s existence. Exploring the myriad ways in which it has become an integral part of the social and economic fabric of the nation, it proved a varied and thoughtful evening.
Continue reading “Review: The Greatest Wealth, Old Vic”
Andrew Scott and Simon Stephens combine to blistering effect in Sea Wall, but make sure you find some of the cheaper seats at the Old Vic if you can
“I was the polar opposite of Daniel Craig”
As is only right with any significant birthday, the Old Vic has been seriously milking their 200th and their latest gift is a two week revival of Sea Wall. The Simon Stephens monologue, written for Andrew Scott, has popped its head up a few times over the last few years, and this is being touted as possibly its final appearance.
Since I’d missed it previously in London and given that its 30 minute running time meant it slotted in quite nicely to a two-show day, I picked up one of the cheaper tickets available (incredibly, prices go up to £80 for this). It was almost worth the money for the pre-show ‘entertainment’ as the audience fell silent a good couple of minutes before the show actually started. Continue reading “Review: Sea Wall, Old Vic”
My mood on seeing this show…
Fancy three and a half hours of Ingmar Bergman? At least the Old Vic’s seats are comfortable for Fanny and Alexander with a marvellous Penelope Wilton
“I’d really like to know what anyone else thinks”
I can’t think of Fanny and Alexander without thinking of the phrase sweet Fanny Adams (which, sidebar, has quite the horrific origin). But more to the point, I have to say the idea of another adaptation of an Ingmar Bergman film didn’t quite fill me with enough joy to be rushing to the Old Vic (the extraordinary Scenes From A Marriage aside, I’ve not had the best of times with him).
So with Stephen Beresford (he of The Last of the Haussmans) adapting and Max Webster (he of The Lorax) directing, it was with a little reluctance that I devoted a swathe of my Easter Saturday to this drama. And while I’d love to say that it was totally worth it, as a way to wait for the Resurrection it left me feeling a little like Pontius Pilate must have done way back when. Continue reading “Review: Fanny and Alexander, Old Vic”
A stirring and compelling evening of monologues exploring women’s rights – Maxine Peake curates One Hand Tied Behind Us at the Old Vic Theatre in London
“No cause can be won between dinner and tea, and most of us who were married had to work with one hand tied behind us”
That quote comes from English suffragette Hannah Mitchell, from The Hard Way Up: The Autobiography of a Suffragette, and provided the titular inspiration for One Hand Tied Behind Us, an evening of monologues at the Old Vic curated by Maxine Peake and conceived by Matthew Warchus.
Using the centenary of the 1918 Representation of the People Act as a springboard – and acknowledging that while it granted the first women in Britain the right to vote, many more remained disenfranchised – five writers were commissioned to respond to the anniversary, to take stock of the journey so far, where we are now, how much further there still is to go. Continue reading “Review: One Hand Tied Behind Us, Old Vic”
How do you mark a significant birthday? My parents are currently (jointly) turning 140 and are celebrating the occasion with a six month program of events, peaking with an all-day party happening very soon. But if you’re the Old Vic and you’re turning 200, you open your contacts and see who is free.
Turns out a fair few people are, and so their list currently includes Nikki Amuka-Bird, Sheila Atim, John Boyega, Cate Blanchett, Bertie Carvel, Kim Cattrall, Lily Cole, Alan Cumming, Judi Dench, Michelle Dockery, Rupert Everett, Martin Freeman, Tamsin Greig, David Harewood, Derek Jacobi, Toby Jones, Cush Jumbo, Ben Kingsley, Pearl Mackie, Helen McCrory, Ian McKellen, Bill Nighy, Anika Noni Rose, Maxine Peake, Mark Rylance, Andrew Scott, Tom Stoppard, Stanley Tucci and Julie Walters.
Continue reading “News: Old Vic bicentenary ambassadors announced”
Two winters ago if you went to the Old Vic,
Your life would have been filled with something fantastic.
A musical treat fit for all of the fam’ly,
The Lorax is as good as such a show could be.
Returning for half-term with some new cast members,
The musical’s just as good as I remember.
It’s heartfelt and funny and really quite moving,
A powerful message but not too reproving. Continue reading “Re-review: The Lorax, Old Vic”