Ruth Wilson to star in the UK premiere of The Second Woman at the Young Vic, a co-production with LIFT Festival
This is a trick question obviously, since you can never have too much Ruth Wilson. That said, this assumption will be tested by The Second Woman, in which she plays the exact same scene over and over with 100 different men, a production which thus lasts for a full 24 hours.
Taking inspiration from the 1977 John Cassavetes film Opening Night, the show “sits at the intersection of performance, video and film” and it really is a unique opportunity to see the two-time Olivier award-winner, Golden Globe winner, and Tony and BAFTA nominated Wilson. It’ll be quite the feat of endurance to watch it all too, so naturally yours truly will be at the Young Vic fighting the battle to stay awake for the whole damn thing! Continue reading “News: how much Ruth Wilson is too much Ruth Wilson?”
The nominees for the 9th annual Mousetrap Awards are announced
These awards are voted for by young people, anyone aged 15-29 is invited to have their say as to who should pick up the trophies at the ceremony on Sunday 19th April. And while usual suspects Dear Evan Hansen, Waitress and & Juliet are leading the pack, it is nice to see such love for Small Island here too.
Mousetrap Theatre Projects strive to make London’s theatre scene accessible to young people, low-income families, mainstream and SEND state schools, and those with additional needs.
Voting is open until midnight on 23rd March via this link. Continue reading “Nominees for the 9th annual Mousetrap Awards”
Stef Smith takes Ibsen as a fertile starting point for her new version Nora: A Doll’s House at the Young Vic
“Nora, what have you done”
Ibsen wrote A Doll’s House in 1879 but from 1918 to 1968 and then to 2018, stories like Nora’s endure. That’s the thesis of Stef Smith’s Nora: A Doll’s House, a radical new version that splits its narrative voice in three (and everyone knows how good that can be for a play (qv Emilia, Anatomy of a Suicide).
And it’s a smart move in many ways, drawing as much attention to the progression for feminism in the time periods as how little some other things (men?) have changed. Enfranchisement, contraception, gay rights, they all have huge societal impact but when social and class strictures remain in place, what freedom is there really? Continue reading “Review: Nora – A Doll’s House, Young Vic”
The Jack Tinker Award for Most Promising Newcomer
Sam Tutty for Dear Evan Hansen
Noël Coward Theatre
The Trewin Award for Best Shakespearean Performance
Hammed Animashaun for A Midsummer Night’s Dream
Most Promising Playwright
Jasmine Lee-Jones for seven methods of killing kylie jenner
The Peter Hepple Award for Best Musical
Come From Away
Tom Scutt for A Very Expensive Poison
Jamie Lloyd for Evita, Betrayal & Cyrano de Bergerac
Open Air Theatre, Harold Pinter Theatre & Playhouse Theatre
Juliet Stevenson for The Doctor
Sharon D Clarke for Death of a Salesman
Young Vic & Piccadilly Theatre
Andrew Scott for Present Laughter
The Michael Billington Award for Best New Play
A Very Expensive Poison
Paule Constable for services to theatre
I went back to Fairview at the Young Vic
“You have told me every story I’ve ever heard”
I still can’t work out what I want to say about Fairview, a show that by its very nature demands that you don’t give anything away about it (even though saying this itself feels like a heightening of expectation you could do without).
So why not read this piece from Gal-dem instead.
Running time: 90 minutes (without interval)
Photos: Marc Brenner
Fairview is booking at the Young Vic until 23rd January, a returns queue is in operation every night
The Young Vic’s mind-expanding and mind-blowing Fairview makes me shut up, for once. You should book now.
“I don’t have drama.
‘Girl you got drama. I got drama'”
I’m opting out of writing about Fairview, for now, for a number of reasons, most of which will become apparent when you see the show. And you should really see this show, Jackie Sibblies Drury’s drama is a Christmas gift of a different sort, destined to make you really think and really want to debate the issues it raises. I’ll be back, and I’ll be considering the right way to respond, if at all. Until then, get booking.
Running time: 90 minutes (without interval)
Photo: Marc Brenner
Fairview is now booking at the Young Vic until 23rd January, a returns queue is in operation every night
This striking reinterpretation of Death of a Salesman raises the roof at the Piccadilly Theatre, it literally brings the house down…
“I don’t say he’s a great man…but he’s a human being”
Gonna be a bit cheeky with this, as I got to go the West End transfer of Death of a Salesman as a guest. And even though I loved it at the Young Vic, I didn’t particularly feel inclined to write about it again, in this slightly recast version co-directed by Marianne Elliott and Miranda Cromwell. So check back for that previous review and rest assured that it is a corking night at the theatre.
Running time: 3 hours (with interval)
Photos: Brinkhoff Mogenburg
Death of a Salesman is booking at the Piccadilly Theatre until 4th January
Proper award season is starting to kick into gear now with the reveal of the shortlist for the 2019 London Evening Standard Theatre Awards and an uncharacteristically strong set of nominations that will surprise a fair few. I had little love for Sweet Charity so I’d’ve bumped its nod for something else but generally speaking, I’m loving the love for Dorfman shows and the Royal Court and I hate the reminder that there’s a couple of things I mistakenly decided not to see (Out of Water, …kylie jenner)
BEST ACTOR in partnership with Ambassador Theatre Group
K. Todd Freeman Downstate, National Theatre (Dorfman)
Francis Guinan Downstate, National Theatre (Dorfman)
Tom Hiddleston Betrayal, Harold Pinter Theatre
Wendell Pierce Death of a Salesman, Young Vic & Piccadilly
Andrew Scott Present Laughter, Old Vic
NATASHA RICHARDSON AWARD FOR BEST ACTRESS in partnership with Christian Louboutin
Hayley Atwell Rosmersholm, Duke of York’s
Cecilia Noble Downstate, National Theatre (Dorfman) & Faith, Hope and Charity, National Theatre (Dorfman)
Dame Maggie Smith A German Life, Bridge
Juliet Stevenson The Doctor, Almeida
Anjana Vasan A Doll’s House, Lyric Hammersmith Continue reading “The 2019 London Evening Standard Theatre Awards – Shortlist announced”
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 nominations for the 2019 awards, the results of which will be revealed at a ceremony on Sunday 27th October. It’s always interesting to see a different perspective on award season, particularly one that doesn’t focus on London productions, but it does make me wish I’d could have taken in a few more of these UK-wide shows from this year.
Best New Play
LIFE OF PI adapted by Lolita Chakrabarti from the novel by Yann Martel – a Sheffield Theatres production
THE WATSONS by Laura Wade – a Chichester Festival Theatre production
ULSTER AMERICAN by David Ireland – a Traverse Theatre Company production at Lyric Theatre, Belfast
Best Musical Production
THE COLOR PURPLE directed by Tinuke Craig – a Curve and Birmingham Hippodrome co-production
STANDING AT THE SKY’S EDGE directed by Robert Hastie – a Sheffield Theatres production
WEST SIDE STORY directed by Sarah Frankcom – a Royal Exchange Theatre, Manchester production Continue reading “Nominations for the 2019 UK Theatre Awards”
BEST DIRECTOR FOR A PLAY OR MUSICAL
Lynette Linton; Sweat: Gielgud Theatre
Roy Alexander Weise; Nine Night: National Theatre
Nancy Medina; The Half God of Rainfall: Kiln Theatre
Tobi Kyeremateng; Babylon Festival: Bush Theatre
SPONSORED BY HARLEQUIN FLOORS
Rachael Nanayonjo; Sleeping Beauty: Theatre Royal Stratford East
Alesandra Seutin; Boy Breaking Glass: Sadlers Wells
Shelley Maxwell; Equus: Theatre Royal Stratford East Continue reading “Nominations for the 2019 Black British Theatre Awards”