I should have been going to Salisbury this weekend to see Who’s Afraid of Virginia Woolf? at Wiltshire Creative so what to do instead? Read about it and the ways to help the theatres involved
“Dashed hopes and good intentions…”
I’ve long been a fan of David Mercatali’s directing (find an interview with him here) so I was determined to fit in a visit to his production of Who’s Afraid of Virginia Woolf?, a co-production between Bristol’s Tobacco Factory and Wiltshire Creative (the Salisbury Playhouse as was).
That didn’t happen as my trip was scheduled towards the end of the second half of the run but in some small mercy, the production did get most of the way through its Bristol leg which means there’s all sorts to read about it, which the Tobacco Factory has kindly collated here.
By comparison, the Brit-heavy Broadway revival, starring Laurie Metcalf, Rupert Everett, Russell Tovey and Patsy Ferran barely managed a week of previews before having to close.
I look ahead to some of the 2020 shows exciting me most with an emphasis away from the West End, looking mostly instead at the London fringe and across the UK
Sure, there’s all sorts of big ticket shows coming to London in 2020 (with big ticket prices too to go with their big names), like Sunday in the Park with George with Jake Gyllenhaal, Sister Act with Whoopi Goldberg, A Doll’s House with Jessica Chastain. But there’s so much more to discover if you venture away from Shaftesbury Avenue…
1 The Glass Menagerie, Odéon–Théâtre de l’Europe at the Barbican
Not that I want to be predictable at all but Isabelle Huppert! Acting in French! Right in front of you! I understand that van Hove-fatigue might be setting in for people but only a FOOL would pass up the chance to see one of our greatest living actors. A FOOL!
2 The Glass Menagerie, Royal Exchange
And if you wanted to do a direct compare and contrast, Atri Banerjee’s revival for the Royal Exchange will be worth checking out too for an alternative perspective.
3 The Wicker Husband, Watermill Even before Benjamin Button tore my heart apart, I was excited for the arrival of this new musical by Rhys Jennings and Darren Clark but now, the bar has been raised even higher. And the gorgeous intimacy of the Watermill feels like a perfect fit.
4 Children of Nora, Internationaal Theater Amsterdam
Me: “I don’t need any more Ibsen in my life”
Also me: Robert Icke revisiting the world of A Doll’s House through the eyes of the next generation? Yes please.
“Dashed hopes and good intentions. Good, better, best, bested”
“It’s an honour just to be nominated…” Come award season, these words are often heard but you do have to wonder what it feels like to be the only member of a four person ensemble that isn’t up for an Olivier Award. Such is the fate for Michael Esper in The Glass Menagerie just now, as Cherry Jones, Kate O’Flynn and Brian J Smith all find themselves deservedly up for acting prizes on Sunday while he’s had to put his game face on. Continue reading “Re-review: The Glass Menagerie / Who’s Afraid Of Virginia Woolf”
Rehearsal images for Edward Albee’sThe Goat, or Who Is Sylvia?have been released , ahead of the production’s first preview next week. Albee’s darkly comic play about a family in crisis will run for a strictly limited 12 week season at the Theatre Royal Haymarket from 24 March to 24 June 2017.
In Ian Rickson’s production, a husband and successful New York architect with everything to lose must confess to his wife and son that he is having an affair and face the dizzying, explosive consequences. Damian Lewis and Sophie Okonedo play husband and wife Martin and Stevie, joined by Jason Hughes as Martin’s oldest friend Ross and newcomer Archie Madekwe as their son Billy. Continue reading “Rehearsal images for Edward Albee’s The Goat, Or Who Is Sylvia”
“Do you want me to say it’s funny, so you can contradict me and say it’s sad? Or do you want me to say it’s sad so you can turn around and say no, it’s funny”
The irony of the not unreasonable (don’t @ me) ‘no eating during the performance’ request blowing up around Who’s Afraid of Virginia Woolf?, is that a far more egregious act is being waged in the bars of the Harold Pinter Theatre where no ice is served in drinks purchased after 7.20pm. Imagine paying theatre prices for a G&T with no ice…the tears of George and Martha just wouldn’t stand for it.
Not that there’s much they don’t stand for in Edward Albee’s excoriating play, receiving an exemplary production here from James Macdonald. Over late night drinks with an unsuspecting younger couple, George and Martha release themselves from the fustiness of East Coast academic life by drinking hard and playing harder, twisted games making the black comedy darken into abject despair as the state of the marriages here are laid bare, warts and all. Continue reading “Review: Who’s Afraid Of Virginia Woolf, Harold Pinter”
One of the main reasons for finally booking a trip to Broadway was the chance to see Glenn Close make a rare foray back onto the stage in a revival of Edward Albee’s A Delicate Balance. I saw the play at the Almeida back in 2011 with an exceptional cast and didn’t imagine it could be bettered but something about it clearly attracts the crème de la crème as the ensemble around her in Pam McKinnon’s production is just as thrill-makingly irresistible.
Brits Clare Higgins and Lindsay Duncan join John Lithgow, Bob Balaban, and the delectable Martha Plimpton to form the kind of company to dream of, and deliver this modern classic exquisitely if agonisingly as its WASP certainties are thoroughly dismantled. Albee’s prose has an unwieldy verbosity on the page but in the hands of such consummate professionals, it flows beautifully off the tongue as even the most convoluted of clauses gain conversational clarity. Continue reading “Review: A Delicate Balance, John Golden Theatre”
“The one thing sharper than a serpent’s tooth is a sister’s ingratitude”
A Delicate Balance won Edward Albee the first of his three Pulitzer Prizes and director James Macdonald has brought it to the Almeida Theatre as the fourth of his plays to be performed there. Albee is perhaps best known for Who’s Afraid of Virginia Woolf? and this play shares similarities with that work in its focus on the travails of rich urban socialites, their relationships and what nastiness lurks beneath their genteel facades but A Delicate Balance pulls the focus a little wider to look at an entire dysfunctional household.
Tobias and Agnes are a couple whose very well-appointed life of cocktails and social clubs suggests a world of comfortable privilege. But from the off, it is evident all is not quite rosy as we discover they sleep in different bedrooms, Agnes’ alcoholic sister Claire is living with them and their daughter Julia is experiencing marital discord, for the fourth time though still in her 30s. Further complicating matters is the arrival of their best friends, Harry and Edna, who arrive unexpectedly, utterly traumatised by an unknown fear at their house, and having decided to move in with them. When Julia arrives back at the family home the next morning, having indeed split up from her fourth husband, to find strangers in her childhood bedroom, the battlelines are drawn as family are pitched against friends and loyalties stretched to their limits. Continue reading “Review: A Delicate Balance, Almeida”
When Edward Albee’s 1980 play The Lady From Dubuque opened on Broadway, it lasted for just 12 performances. So I imagine they are hoping for a little more success with this production at the Theatre Royal Haymarket featuring a largely American cast, augmented by our very own Dame Maggie Smith. It is a much more challenging work than say Who’s Afraid of Virginia Woolf, but director Anhony Page is clearly up for the challenge.
The play starts at a strained party in Connecticut at which three couples have been playing 20 Questions with increasing rancour. It ends when Jo, the hostess who we find out is dying of cancer, can no longer bear her pain. Afterwards, a mysterious woman, the “lady from Dubuque”, who insists she is the mother of the hostess, arrives with a companion and raises more difficult questions. Continue reading “Review: The Lady From Dubuque, Theatre Royal Haymarket”
At three hours long with two intervals and some of the most vicious interplay on the stage, Who’s Afraid of Virginia Woolfis perhaps not for the faint-hearted. With an all-American cast headed by Kathleen Turner and Bill Irwin, there is probably no more bruising experience currently in the West End, but it is well worth the effort.
Edward Albee’s 1962 play centres around George and Martha, an unhappily married couple for 23 years, who after an evening out invite a newly married couple who work in the same university department as George back to theirs for drinks. But when they start to fight in front of their guests, the poisonous atmosphere envelops all of them and really lays bare how much of a battle marriage can become. She drinks too much and enjoys the fighting, but George is equally complicit as this is the only kind of interaction that gets their juices flowing these days. Continue reading “Review: Who’s Afraid of Virginia Woolf, Apollo”