The nominations for the 20th Annual WhatsOnStage Awards have been announced and I have a thought or two #justiceforAnneHathaway
As a publicly nominated affair, the What’s On Stage Awards always throw up an interesting set of nominations, as fanbases engage alongside theatregoers to produce an idiosyncratic reflection on the year. This year though, the nominees for the nine creative categories (Choreography, Costume Design, Direction, Graphic Design, Lighting Design, Musical Direction, Set Design, Sound Design and Video Design) have been decided by an independent panel of industry experts appointed, which has resulted in some pleasing inclusions for the likes of Equus and Small Island.
Acting-wise, the focus does land a little heavily on the more famous names (plus ça change) and that Supporting Actress in a Musical category is super-crowded (the Dear Evan Hansen mothers would have been a shoo-in for me there). My only real point of issue comes with the categorisation for the & Juliet players – are you really going to nominate Oliver Tompsett as a lead and then put Cassidy Janson in the supporting category? Did you not see the show, or get any of its message at all?!
Voting for the winners is open now and closes on 27th January 2020, with the winners being revealed at a ceremony on 1st March 2020.
Best Actor in a Play, sponsored by Edwardian Hotels
Tom Hiddleston – Betrayal – Harold Pinter Theatre
Andrew Scott – Present Laughter – The Old Vic
Matt Smith – Lungs – The Old Vic
Wendell Pierce – Death of a Salesman – Young Vic / Piccadilly Theatre
Laurie Kynaston – The Son – Kiln Theatre / Duke of York’s Theatre
Best Actress in a Play, sponsored by Tonic Theatre
Claire Foy – Lungs – The Old Vic
Zawe Ashton – Betrayal – Harold Pinter Theatre
Hayley Atwell – Rosmersholm – Duke of York’s Theatre
Sharon D Clarke – Death of a Salesman – Young Vic / Piccadilly Theatre
Juliet Stevenson – The Doctor – Almeida Theatre Continue reading “2020 What’s On Stage Award nominations”
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.
Joseph and the Amazing Technicolor Dreamcoat, aka the Sheridan Smith show
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”
One of the best plays, and productions, of last year, An Octoroon makes a hop, skip and a leap from Orange Tree to the National Theatre
“Black playwright? I can’t even wipe my ass without someone trying to accuse me of deconstructing the race problem in America”
An Octoroon transfers to the National Theatre from a hugely successful run at the Orange Tree last year and sells out entirely way in advance. And yet it is Wilde and Pinter who are getting seasons in the West End…time to shake up the orthodoxy I think, even while accepting its a big step from the Dorfman to Shaftesbury Avenue.
Rather than wrestle with Branden Jacobs-Jenkins’ complex writing and Ned Bennett’s layered production once again, I’m just going to point you to the fact that I named Ken Nwosu’s performance as my favourite of the year, and I ranked the show as the sixth best of the year (out of 346). My original review can be found here, I’m looking forward to seeing a hopefully more diverse range of responses this time round.
Running time: 2 hours 40 minutes (with interval)
Photo: Helen Murray
An Octoroon is booking at the National Theatre until 18th July – currently sold out but returns and Friday Rush available
by Brian Friel
Previews from 22 May, Press night 30 May, on sale until 7 July with further performances to be announced
Owen, the prodigal son, returns to rural Donegal from Dublin. With him are two British army officers. Their ambition is to create a map of the area, replacing the Gaelic names with English. It is an administrative act with radical consequences.
Brian Friel’s modern classic is a powerful account of nationhood, which sees the turbulent relationship between England and Ireland play out in one quiet community. Cast includes Dermot Crowley, Aoife Duffin, Adetomiwa Edun, Michelle Fox, Ciarán Hinds,Laurence Kinlan, Colin Morgan, Seamus O’Hara, Judith Roddy and Rufus Wright.
Directed by Ian Rickson, with design by Rae Smith, lighting design by Neil Austin and music by Stephen Warbeck and sound design by Ian Dickinson.
Part of the Travelex Season with hundreds of tickets for every performance available at £15. Continue reading “New casting announced for 2018 National Theatre season”
The Jack Tinker Award for Most Promising Newcomer (a tie)
Sheila Atim for Girl from the North Country, Old Vic and Noël Coward Theatre
John McCrea for Everybody’s Talking About Jamie, Sheffield Crucible and Apollo Theatre
The Trewin Award for Best Shakespearean Performance
Andrew Scott in Hamlet, Almeida and Harold Pinter Theatre
Most Promising Playwright
Brandon Jacob-Jenkins for An Octoroon, Orange Tree Theatre and Gloria, Hampstead Theatre
The Peter Hepple Award for Best Musical
Hamilton, Victoria Palace Theatre
Vicki Mortimer for Follies, National Theatre
Dominic Cooke for Follies, National Theatre
Victoria Hamilton for Albion, Almeida Theatre
Bryan Cranston for Network, National Theatre
Best New Play
The Ferryman by Jez Butterworth, Royal Court and Gielgud Theatre
David Lan for services to theatre
The finalists of the The Offies 2018 have been announced and as ever, there’s much of interest there, in the choices made and the breadth of Off West End theatre celebrated. Play-wise, I’m delighted at the love for The Revlon Girl and An Octoroon here, nice to see the Bunker’s Eyes Closed Ears Covered rewarded too, plus Will Pinchin’s work in Frankenstein.
With the musicals, I’m not down with the love for Promises Promises, an ill-judged revival that added nothing to the conversation (and even less in these #MeToo times) and I’m disappointed that none of the boys of Yank! were recognised. The rest of the Southwark Playhouse’s spectacular year does get the appropriate plaudits though, with Superhero, The Life and Working all getting multiple nominations.
And lastly, at times it can seem like all you have to do is sing in your bathroom and you get an Offie nomination 😉 so it is interesting to see how the numbers break down, albeit somewhat vaguely. These 80 or so finalists have apparently been whittled down from over 350 nominations from over 190 shows – there’s clearly just a lot of Offies love to share. Should you wish to join in said sharing at the IRL award ceremony on Sunday 4th March at The Albany, Deptford, you can buy tickets here.
Continue reading “The finalists of The Offies 2018”
The winners of the 2017 London Evening Standard Theatre Awards have been announced and there’s barely a hint of controversy about them at all! A worthy set of winners and I don’t think many would begrudge The Ferryman its headline-grabbing success, nabbing three of the four it was nominated for.
Full list of winners below the cut. Continue reading “Winners of the 2017 London Evening Standard Theatre Awards”
Headlines from the National’s Autumn press conference:
- not great news if you were hoping for better female writing and directing representation
- amazing news in terms of advances with the D/deaf community, both as actors and audiences
- equally admirable new efforts to reach out into local communities
- and Indira Varma, Cecilia Noble and Katharine Parkinson
Continue reading “National Theatre 2018 and beyond”
“She’s like an emotional terrorist”
Truth be told I hadn’t intended to see Gloria, my own little act of protest at the Hampstead’s continuing gender imbalance – six shows straight on their main stage both written and directed by men. But the delights of An Octoroon introduced me to the writing of Branden Jacobs-Jenkins and he definitely feels like a playwright with a lot to say so I sucked it up and went to Swiss Cottage for a cheeky preview, ironically the location for the Women Centre Stage festival late last year.
Gloria sets out as a dark office comedy, shady and sharp as it navigates the ruthless ambition of a pool of young(ish) editorial assistants in the Manhattan offices of a national magazine. It’s a scathing satire of the journalism industry and the way it has evolved, or not as the case may be – time was that a foot on the bottom of the ladder meant you could reasonably expect to get to the top but times change, cubicle warfare has intensified, and in this uncertain modern world, you’ve gotta do what you’ve gotta do. Continue reading “Review: Gloria, Hampstead”