Created by playwright Ella Hickson (The Writer) and sound designers Ben and Max Ringham, ANNA is directed by Natalie Abrahami with real ingenuity, as individual audio headsets are used to give us a unique perspective on a play, directly from the viewpoint of Phoebe Fox’s Anna. It didn’t work for me.
The clocks have gone back and so it’s time to start reflecting on the year gone by. And first out of the gate in terms of the major theatre awards, the London Evening Standard Theatre Awards have released their shortlist. Winners to be announced on Sunday 18th November at the Theatre Royal, Drury Lane, London.
The expansion to five nominees feels like a good thing, making the lists feel a little less random, but I remain piqued at the differentiation between best actor/actress in a play and best musical performance, not least since it means no-one from Hamilton or Everybody’s Talking About Jamie is up for an individual nod, and Patti LuPone and Jonny Bailey end up robbed!
But that’s the joy of these things, they’re entirely subjective even when your panel consists of Henry Hitchings, Baz Bamigboye, Mark Lawson, Sarah Crompton and Matt Wolf. And I’m liking the love for Nine Night and The Prime of Miss Jean Brodie, wondering whether I should have made the effort to see Translations, and pondering whether I should be re-booking for Caroline or Change.
EVENING STANDARD THEATRE AWARDS 2018 – SHORTLIST
BEST ACTOR in partnership with Ambassador Theatre Group
Bryan Cranston Network, National Theatre (Lyttelton)
Ralph Fiennes Antony and Cleopatra, National Theatre (Olivier)
Ian McKellen King Lear, Minerva Chichester & Duke of York’s
Colin Morgan Translations, National Theatre (Olivier)
Kyle Soller The Inheritance, Young Vic & Noël Coward Theatre
NATASHA RICHARDSON AWARD FOR BEST ACTRESS in partnership with Christian Louboutin
Laura Linney My Name Is Lucy Barton, Bridge Theatre
Carey Mulligan Girls and Boys, Royal Court
Cecilia Noble Nine Night, National Theatre (Dorfman)
Sophie Okonedo Antony and Cleopatra, National Theatre (Olivier)
Lia Williams The Prime of Miss Jean Brodie, Donmar Warehouse Continue reading “The 2018 London Evening Standard Theatre Awards – Shortlist announced”
All sorts of goodies were announced today for the upcoming slate of productions at the National Theatre, including Small Island, Peter Gynt, and Top Girls
Small Island, a new play adapted by Helen Edmundson from Andrea Levy’s Orange Prize-winning bestselling novel, will open in the Olivier Theatre in May. Directed by Rufus Norris, the play journeys from Jamaica to Britain through the Second World War to 1948, the year the HMT Empire Windrush docked at Tilbury. Small Island follows the intricately connected stories of Hortense, newly arrived in London, landlady Queenie and servicemen Gilbert and Bernard. Hope and humanity meet stubborn reality as, with epic sweep, the play uncovers the tangled history of Jamaica and the UK. Hundreds of tickets for every performance available at £15. Small Island will be broadcast live to cinemas worldwide as part of NT Live. Continue reading “News from the National Theatre Autumn 2018 Press Conference”
Playing with form, Ella Hickson’s The Writer is a bold new production from Blanche McIntyre at the Almeida. This review also plays with form…
“I want awe. I feel like I need blood. All the time. And anything less than that makes me feel desperate. It makes me feel like I want to die.”
Running time: 2 hours (without interval)
The Writer is booking at the Almeida Theatre until 26th May
PS: I did really enjoy, I’m just going to let other people do the heavy lifting in probing it apart!
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”
“I left a man I loved so much, I thought I was going to die. I didn’t die. It makes you strong”
I wasn’t 100% sure I’d make it along to Oil – my original date being derailed by travel chaos and a busy Autumn schedule meaning I could barely find space. But space I found eventually and whilst I’m glad that I got to see Ella Hickson’s new play, for me it didn’t quite live up to the (admittedly high) expectations that had been built up over its run at the Almeida. It’s still good, and often very good, especially in its lead performances from Anne-Marie Duff and Yolanda Kettle, but I just didn’t connect with the play at large.
There’s no doubting the scale of the ambition here, the epic form tackled with gusto as the play’s timeline stretches over 150 years with mother and daughter May and Amy playing out their five scenes ranging from the late nineteenth century to the near future. And whilst society’s connection to and reliance upon oil is under the microscope, so too is the evolving role of women in that society, its changes explored by the time-travelling nature of the writing and the visionary production by Carrie Cracknell. Continue reading “Review: Oil, Almeida,”
Somewhat appropriately in the week following International Men’s Day with its theme this year of male suicide, two shows tackling the subject open in London. Ella Hickson’s Boys gets a short revival at the LOST Theatre (read my review of the 2012 Soho Theatre production) and new musical Catch Me, written by Arnoud Breitbarth and Christian Czornyj, slots into the Above the Arts Theatre – I’ll be ‘catching’ it later in the week so watch this space for a review.
“I do enjoy a skimpy short”
Originally commissioned in 2012 when it played festivals like Latitude, nabokov’s Symphony is a great fit for the ethos of the Vault Festival taking place underneath Waterloo and this sparky revival proves to be one of the highlights of the programme so far. Three short plays by three of the UK’s most exciting playwrights which mix together spoken word and live music, the show treads a blurred line between theatre and gig and pulses with an exciting spirit.
The way that the three writers utilise Ed Gaughan’s music in their stories is quite different but always interesting. Jonesy by Tom Wells is a riff on sporting underdog movies, with an asthmatic student determined to prove himself in his GCSE PC class but ending up in the netball team when rugby turns out to be too rough. Iddon Jones makes a lovable lead and Wells’ quirky sense of humour shines through, not least when Jonesy’s personal theme song finally plays. Continue reading “Review: Symphony, The Vaults”
“You want to believe someone will catch you whatever happens, but they won’t”
In a hot Edinburgh summer with the binmen on strike and riot police on a knife edge, four young men approach a major milestone. For two of them, it is graduation from university; for the others, it is the end of being able to piggyback on their flatmates’ hedonistic student lifestyle; for all of them, it is the unavoidable realisation that they have to face up to the future, however unfriendly it may seem. This is the central premise behind Ella Hickson’s newest play Boys, a HighTide/Nuffield/Headlong co-production now playing at the Soho Theatre, which I suppose will strike fear into the hearts of many about to graduate from university themselves.
In the somewhat blinkered world of Benny, Mack, Timp and Cam, the focus remains squarely on partying until the last possible moment with alcohol, drugs and sex and stories of the same to be found in great abundance. But beneath the bravado lies fear, different kinds of fear for each boy and these slowly play out as the reality of the situation finally begins to hit them and the import of the big questions facing them, as the entry into adulthood lies straight ahead, weighs heavily in the air. Continue reading “Review: Boys, Soho Theatre”
“I get that it was…well, it is…a big deal for some people”
The tenth anniversary of the attack on the World Trade Centre has and will receive a vast range of coverage through all sorts of media, but perhaps one of the most anticipated is Headlong’s new piece of site-specific theatre, Decade. 19 writers, playwrights mostly and Simon Schama, have all contributed their own responses to the events of the 11th September, their brief purely to be a scene set in the last 10 years, and they have been woven together by director Rupert Goold and housed in a warehouse on St Katharine Docks. I hadn’t intended to see this show so soon, wanting to let the experimental stuff settle before making my visit, but I was forced to reshuffle my diary and in order to fit it in before October and still get one of the cheaper tickets, this was my only opportunity.
After passing through a security checkpoint where you are questioned and ticketed (I was mildly disappointed there was no full body search from my guard, Tobias Menzies), we’re then guided through to take our seats in a replica of the dining room of the Windows On The World restaurant, formerly on the top floors of the North Tower. It’s a quirky entrance that sets the anticipation levels high even if the whole process did take a little time to fully accomplish. Seating is around dinner tables with a large raised stage in the middle of the room and is unallocated though ‘waiters’ do take you a table once summoned by the Maître D’. (My top tip would be to try and get on the long bank of seats on the side opposite the bar as close to the middle as you can. Just before the lights went down, I was advised by our Maître D’, in this case it was the delectable Charlotte Randle, that I might want to move from my original seat to this new place as there’s a certain amount which happens on a balcony level but all on one side, and it would have been rather difficult to see from there. So thank you Charlotte!) Continue reading “Review: Decade, Headlong at St Katharine Dock”