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”
The outgoing Evening Standard theatre reviewer Henry Hitchings takes a little time to reflect with 10 easygoing questions
We actually did this Q&A before the Evening Standard made their shocking decision to axe one of the country’s best theatre critics due to cost-cutting measures. So there’s a little poignancy to some of the answers here, as well as a potential business plan for the future… In all seriousness though, Henry was and is a real inspiration as a writer and a huge support in making me – and others – feel part of a critical community that too often felt (feels?) resistant to newcomers. I look forward to his next steps and to continuing to read his words.
Where were you 10 years ago?
Sitting on a park bench waiting for someone enchanting to walk by. One thing theatre taught me long ago is that if you want to have a magical encounter you need to spend as much time as possible sitting on park benches. This was before Tinder, obviously! Continue reading “10 questions for 10 years – Henry Hitchings”
A brilliant cast shine in this striking revival of Arthur Miller’s Death of a Salesman at the Young Vic
“Attention, attention must finally be paid to such a person”
The American dream hasn’t often looked like this. Marianne Elliott and Miranda Cromwell’s re-imagining of Arthur Miller’s Death of a Salesman reaffirms the Young Vic as the place to go to shake up these American classics (qv A View from the Bridge) with a startling revival that seems destined to go far.
Elliott has recent form of course in reinterpretations and Cromwell was the Associate Director on Company too. And if Death… might not go quite as far, it still emerges as a thoughtful reconsideration with a decidedly psychological bent, trapping us as much as Willy in his troubled mind. Continue reading “Review: Death of a Salesman, Young Vic”
Danai Gurira’s The Convert is a Christmas treat of a different order at the Young Vic Theatre
“Gracious to goodness”
There’s all sorts of lovely connections here. Danai Gurira’s play The Convert was first seen in the UK at the Gate last year, a theatre where her earlier drama Eclipsed was produced in 2015. That play starred Letitia Wright in an astonishing performance and Wright now appears in this new version of The Convert at the Young Vic – Wright and Gurira having starred in some little arthouse film called Black Panther in the meantime…
It’s a cracking good play too, worth the attention of this second production. Set in 1896 Rhodesia (modern day Zimbabwe), it looks at the ways in which colonial rulers sought to erase African cultural identities through any means they saw fit. Culturally, religiously, linguistically, their tools of ‘progress’ were wielded with considerable force and Gurira counts up the cost with a slow-building dramatic flair. Continue reading “Review: The Convert, Young Vic”
I have a mixed time with some shaken-up Shakespeares – othellomacbeth at the Lyric Hammersmith; Twelfth Night at the Young Vic; Much Ado About Nothing at the Watford Palace; and Measure for Measure at the Donmar
“Condemn the fault and not the actor of it?”
I’m the first to say that modern adaptations of Shakespeare need to do something different to justify their place in today’s theatre ecology. Lord knows there’s been enough traditional renditions of his work, and still they come, and even if there are always going to be people coming for the first time, there’s also a real need to make his plays speak to contemporary society in a way that is unafraid to challenge his reputation. It is perhaps no surprise that it is female directors and directors of colour who are at the forefront of doing just that and there have been four key examples in London most recently – Jude Christian’s othellomacbeth at the Lyric Hammersmith, Kwame Kwei-Armah and Shaina Taub’s Twelfth Night at the Young Vic, Brigid Larmour’s Much Ado About Nothing at the Watford Palace and Josie Rourke’s Measure for Measure at the Donmar.
And of course, having demanded that this is what directors do, I found myself disappointed at the majority of these, for some of the same reasons and some different ones too. Perhaps the most formally daring is Christian’s othellomacbeth which smashes together the two tragedies to create something which ends up less than the sum of its constituent parts. Its intentions are certainly noble, seeking to highlight the female voices in these plays and give them prominence. But the reality is that in the two substantially reduced treatments here, everything becomes diminished, not least narrative clarity. There’s one cracking idea which connects the two, which you suspect might have inspired the whole production, but ultimately, it is not enough to hang the whole thing on. Continue reading “Blogged: shaking up Shakespeare”
All but one of the original cast of The Inheritance will make the transfer into the West End at the Noël Coward Theatre
The ensemble cast of The Inheritance at the Noël Coward Theatre is now confirmed and will include: Hugo Bolton, Robert Boulter, Andrew Burnap, Hubert Burton, John Benjamin Hickey, Paul Hilton, Samuel H Levine, Syrus Lowe, Michael Marcus, Vanessa Redgrave, Jack Riddiford, Kyle Soller and Michael Walters. The main change is that Jack Riddiford joins the company in place of Luke Thallon who is going to be appearing in Chichester’s revival of Mike Bartlett’s Cock instead.
I absolutely adored The Inheritance when I saw it at the Young Vic and am glad that the brave decision to transfer this major new work into the West End has been made. It certainly deserves a bigger audience and I sincerely hope that they come – and why wouldn’t they, when you look at this lovely set of blossom portraits of the new cast by Johan Persson.
" order_by="sortorder" order_direction="ASC" returns="included" maximum_entity_count="500"]
All photography by Johan Persson
As exciting as musical theatre can get – Fun Home becomes a must-see production at the Young Vic
“Caption—My dad and I were exactly alike
Caption—My dad and I were nothing alike”
It’s fitting that Fun Home should open in Pride month, not least because it is an all-too-rare show that focuses on the L in LGBT+. But as stirring and gratifying and significant as it is to have a lesbian protagonist, this musical works because it is straight-up fantastic – an unabashedly bold queering of the form that reins back any notion of excess to reveal the simple truth that beneath it all, we all hurt the same.
Fun Home is based on Alison Bechdel’s memoir of the same name, a graphic novel musing on her experiences in coming out and later discovering her father is a closet homosexual, yearning for a deeper understanding about how he could have, maybe, possibly, taken his life while she was still a teenager. Lisa Kron’s book adopts a non-linear approach, using an adult Alison as a narrator to recall fragments of memory from her childhood and from her early university days, the bruising experience of her own life facilitating a deeper reflection. Continue reading “Review: Fun Home, Young Vic”