So pleased to have one of my favourite actresses take on the 10 questions for 10 years challenge – all hail Noma Dumezweni!
Although she was already an Olivier award-winning actor by the time I started blogging, there has been a particular thrill in seeing Noma Dumezweni’s star rise the way it has over the last decade. A thrilling Paulina and Nurse wherein I first fell in love, absolutely bossing the Royal Court, even taking the time to make her mark in Doctor Who. Oh and the small matter of her mind-expanding Hermione, a triumph onstage naturally but also showing off a grace on social media that we would all do well to emulate.
It is the intimacy of A Human Being Died That Night that sticks most in my mind and Noma kindly shared some thoughts around that production:
“Apart from sharing the stage with ’The Marsh’ – that show put me contact – via a confluence of timings and moments – with my father in SA, after over 30 years… so, it’ll always be special, let alone getting to meet the real life people Matthew and I portrayed in that piece. It was a pretty awesome time.”
She’s been acting less time than I’ve been blogging but I can’t hold that against Rosie Wyatt, an actress whose name you should know
I’m not saying that Rosie Wyatt in the sole reason I like monologues now but her captivating performance in Bunny went a long way to convincing of the merits to the form that up until that point, I had mostly resisted. So much so she was nominated for a prestigious fosterIAN award for Best Actress.
So it was great to hear it was a positive time for her too:
“I have loads of nice memories of Bunny. Rehearsals with Joe Murphy remain one of my happiest, creative periods to date. Waiting to go in to the Fringe Awards to collect our Fringe First and being totally overwhelmed and Jack Thorne teasing me. And my Dad coming out to New York, his first and only solo trip abroad, to see me perform.”
Continue reading “10 questions for 10 years – Rosie Wyatt”
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
In the spirit of the season, I’m not commenting too much on the RSC’s The Merry Wives of Windsor at the Barbican
“I hope we shall drink down all unkindness”
Fiona Laird’s production of The Merry Wives of Windsor is the third of the RSC’s show to open at the Barbican this winter and whilst it is certainly an eye-catching revival with its Only Way is Essex tendencies, it really wasn’t the one for me.
Running time: 2 hours 45 minutes ((with interval)
Photo: Manuel Harlan
The Merry Wives of Windsor is booking at the Barbican until 5th January
A modern and moving take on Romeo and Juliet from the RSC at the Barbican
“I am too young. I pray you, pardon me”
It’s sometimes a little difficult to take seriously how old everyone is meant to be in Romeo and Juliet but Erica Whyman’s modern-day production for the RSC, playing in rep now at the Barbican, never lets you forget. She fills the stage with kids for a cacophonous prologue, Karen Fishwick’s Juliet rightfully feels like a child and in turn, Mariam Haque’s Lady Capulet (“I was your mother much upon these years that you are now a maid”) is a convincing 26, closer to her daughter in age than her husband, but emotionally distant from both.
It’s a pattern Juliet seizes the first chance to break when she meets Bally Gill’s charismatic Romeo, a young man very much still coming into his own. And you feel that it is the running away that appeals to her just as much as the running away together. For she’s all too aware that there are cycles of violence that the young’uns of this Verona can’t hope to escape – indeed what chance do they have when even all the adults around them carry and use knives to resolve even the smallest slight. Continue reading “Review: Romeo and Juliet, RSC at the Barbican”
Despite a cast including Christopher Eccleston and Niamh Cusack, this proves another disappointment of a Macbeth as the RSC start their Autumn residency at the Barbican
“Better health attend his majesty”
Its enduring popularity on school curricula means we will probably never be free of it but in a year when both the National Theatre and the RSC have swung and missed with modern takes on Macbeth, surely it is time to give it a rest. Rufus Norris’s post-apocalyptic production felt unmoored and lacklustre in the unforgiving Olivier and now taking up residency at the Barbican, Polly Findlay’s interpretation for the RSC similarly lacks clarity and intent.
There’s plenty of ambition here and it is tempting to see the influence of a certain Dutch auteur (barefeet actors, clocks counting down to deaths…). But the over-riding aspect of Findlay’s direction is its headlong speed as it hurtles through a cut-down version of the text. Too much has been sacrificed here in the name of accessibility with precious little time given to allow emotional beats to play out, for motivations to be understood, the hurly-burly rules. Continue reading “Review: Macbeth, RSC at the Barbican”
A hugely fascinating new musical from the RSC, Miss Littlewood impresses at the Swan Theatre – might we see it London before too long?
“I’ve come about the theatre”
The last musical to come out of the RSC is a little know thing that is still kicking around somewhere, Matilda I think it’s called… So Miss Littlewood might have a little expectation carrying on its shoulders, although it is clearly a completely different kettle of fish.
In the Swan Theatre, Sam Kenyon (book, music and lyrics) tells us the story of Joan Littlewood. Or rather, given the format of the show, hands the reins over to Joan to tell her story. Clare Burt stars as an older Littlewood who acts as a narrator, a maestro, as she directs six other performers, all of whom take turns in donning the blue cap to embody this most totemic figure of British theatre. Continue reading “Review: Miss Littlewood, Swan Theatre”
In which Imperium II: Dictator continues a compelling look at (Roman) politics at the Gielgud Theatre but in which I also feel obliged to point out just how male-heavy Imperium skews
“We are at the mercy of the people of Rome”
Previously on Imperium:
- we enjoyed ourselves
- we struggled to differentiate between the many names beginning with C
- we puzzled at why people wore their togas with one bit draped impractically over a forearm
- we marvelled at how shiny everyone’s leather sandals seemed to be
- and we grieved at how woefully the wonderful Siobhán Redmond was underused, at how indeed the whole production treats women
The second part of this summer’s Roman epic – Imperium II: Dictator – continues much in the same vein as the first. Mike Poulton’s adaptation capturing much of the sweeping vistas of Robert Harris’ Cicero novels, and Richard McCabe excelling as that noble Cicero who increasingly reveals himself as all-too–hubristically-human.
But as we reach the seventh hour of drama in this testosterone-heavy world, you can’t help but feel that the women, both of the time and of this company, are relatively hard done by. Between the male gaze of Harris to Poulton to Doran to McCabe, the relentless focus on the political over the personal doesn’t give us much sense of Cicero the man versus Cicero the politician. Continue reading “Review: Imperium II – Dictator, Gielgud”
Imperium I: Conspirator is the entertaining first part of the seven hours of a proper Roman epic from the RSC (thankfully with air-con in the Gielgud Theatre)
“Stupid people tend to vote for stupid people”
With the weather as it is, there are worse ways to spend a day in London than in the blissfully air-conditioned Gielgud Theatre. There, you can partake in the near seven hours of the two-part theatrical extravaganza that is Imperium. First seen at the RSC last winter, Mike Poulton’s adaptation of Robert Harris’ Cicero novels have a suitably epic feel to them and, anchored by an excellent lead performance from Richard McCabe, also have a real thrill factor.
The first part – Imperium I: Conspirator – follows Roman consul Cicero’s valiant efforts to defend the republic and the rule of law against rebellion and rivalries. And in the hands of McCabe, his silky rhetoric is a joy to behold as he secures his primacy, relying on political manipulation where necessary. Whether defeating Joe Dixon’s Catiline, trying to outmanoeuvre Nicholas Armfield’s slippery Clodius or pin down the wildly ambitious young buck named Julius Caesar (a superb Peter de Jersey), his actions are gripping. Continue reading “Review: Imperium I – Conspirator, Gielgud”