Arrows & Traps Theatre announce The White Rose: The Story of Sophie Scholl as their new production, along with full casting
Seven-time Off West End Award Nominated Arrows & Traps Theatre have announced their return to the Brockley Jack Theatre after their sold-out run of Chekhov’s Three Sisters earlier this year. There, they will present The White Rose: The Story of Sophie Scholl, written & directed by Ross McGregor.
Based on a true story, The White Rose recounts the final days of Sophie Scholl, a 21-year-old student, who led the only major act of German civil disobedience during the Second World War. Sophie, along with her brother Hans, published underground anti-Nazi leaflets calling for the peaceful overthrow of Hitler. Continue reading “Casting for Arrows & Traps’ The White Rose announced”
Detailing living with dementia, Louise Coulthard’s Cockamamy at the Hope Theatre proves delicately heartbreaking
“You do remember, don’t you?”
Alice is your cool kinda gran – she likes a swig or two of rum, and she can quote Beyoncé. But she’s also keeping her valuables in the pan drawer, and hiding tins of spam around the house. And she’s struggling to hold onto the details of who she lives with, confusing her granddaughter Rosie for her own daughter, Rosie’s mum.
Such is the world of Cockamamy, a Lustrum Award-winning play by Louise Coulthard, that uses her own experiences to depict the experience of how dementia can affect a household. And as Rosie’s relationship with her gran shifts, it is contrasted with the new connection she’s building with new squeeze Irish doctor Cav, exposing the challenges for both carer and the cared for. Continue reading “Review: Cockamamy, Hope”
Such amazing casting news came our way yesterday, with not one but two of my absolute faves returning to the London stage in the coming months. The starrier of the two is Cate Blanchett, who will appear with Stephen Dillane in a brand new play by Martin Crimp’s directed by Katie Mitchell at the National Theatre in January 2019. The play is enigmatically entitled When We Have Sufficiently Tortured Each Other – Twelve Variations on Samuel Richardson’s Pamela. (The torture presumably being the absolute scrum there’ll be to get tickets, as the show is going into the NT’s most intimate space, the Dorfman.)
But matching Blanchett in my personal pantheon in Lucy Cohu, an actor whom I’ve longed admired since she broke my heart in the double whammy of Torchwood – Children of Earth on the TV and Speaking in Tongues on the stage. She’s joining the cast of Florian Zeller’s The Height of the Storm, alongside Anna Madeley and Amanda Drew. And given that the cast already contains the previously announced Jonathan Pryce and Dame Eileen Atkins, this ought to be a good’un. That shows arrives at the Wyndham’s Theatre in October after a brief tour of Richmond, Cambridge and Bath. Continue reading “#CastingbyClowns – I celebrate as Cate Blanchett and Lucy Cohu return to the stage”
Site-specific theatre done right – High Hearted’s The End of History sits us in the beautiful surroundings of St Giles-in-the-Fields and really makes us think
“Why are we here?”
Marcelo dos Santos’ The End of History is not just performed in the church of St Giles-in-the-Fields but it is set there too, a quiet spot of calm in among the bustling Soho streets. And as Crossrail forces yet another upheaval of the immediate surrounding area, dos Santos and director Gemma Kerr ask us to locate this development in the wider scheme of things, in a history of constant evolution and ponder what might be lost in the process.
This they do by colliding two individuals – charity worker Wendy and Paul, seeking to make his mark in the world of property. They’re both having a shocker of a day – she’s coming out of a long-term relationship and searching for somewhere to live, he’s waiting on some test results and the battery on his phone is going down fast because he can’t quite keep off Grindr. Or Scruff. Or Hornet. Continue reading “Review: The End of History, St Giles-in-the-Fields”
Lady Macbeth, Ophelia and Juliet get a moment to themselves in the intelligently amusing Shakespeare’s Mad Women – A Love Letter to Shakespearean F?!kboys, at TheatreN16
“If the world wants mad women, they can have them. This place is enough to drive anyone stark, raving insane”
Lady Macbeth, Ophelia and Juliet walk into a bar…it sounds like the set-up for a great joke. Swap out the bar for an amorphous corner of the afterlife and you get the set-up for the delightfully titled debut production from Lady Garden Theatre, Shakespeare’s Mad Women – A Love Letter to Shakespearean F?!kboys, taking a short run at TheatreN16 after playing the Brighton Fringe last month.
This is the bit of the afterlife where Shakespeare’s female characters end up, specifically the ones who take their lives because of a man, and heaven knows there’s a lot of them. Juliet is the latest to join the group and when she arrives, she is naturally thoroughly discombobulated: instead of finding her Romeo with arms open wide, there’s two strange women drinking tea. Continue reading “Review: Shakespeare’s Mad Women – A Love Letter to Shakespearean F?!kboys, TheatreN16”
Killer Joe is a horribly misjudged revival at Trafalgar Studios that makes a mockery of #MeToo, you and all of us
“Is she doin’ anybody any good?”
Just to be clear, I’m using the ‘she’ in the quote above to refer to the play itself here – an misjudged, tone-deaf revival of Tracy Letts’ Killer Joe, a poor poor replacement for The Grinning Man at the Trafalgar Studios and a curious choice indeed for Orlando Bloom to make a return to the West End stage.
Written in 1993 and marking Letts’ debut, it is a scorchingly nasty look at working-class American life, the desperation it forces some into, the impact that an unconstrained popular culture has on society. And whilst it may have resonated then, all that chimes now is a warning bell to keep the fuck away. Continue reading “Review: Killer Joe, Trafalgar Studios”
Farinelli and the King
Harry Potter and the Cursed Child, Parts One and Two – WINNER
Latin History for Morons
The Band’s Visit – WINNER
SpongeBob SquarePants: The Musical
Best book of a musical
Itamar Moses for The Band’s Visit – WINNER
Jennifer Lee for Frozen
Tina Fey for Mean Girls
Kyle Jarrow for SpongeBob SquarePants: The Musical Continue reading “Winners of the 72nd Tony Awards”
I Am Of Ireland proves a knotty and thought-provoking look at Irish society at the Old Red Lion theatre pub in London
“A hundred thousand welcomes”
The ambition behind Seamus Finnegan’s I Am Of Ireland is awesome in its scope, as it tackles the last century of modern Irish history in all its myriad complexities. And the intent that lies behind it is equally laudable, as Finnegan delves deep into the national psyche to analyse what deep-seated religious and political partisanship means for society in a contemporary Ireland.
With the Troubles under the microscope, Finnegan provides us with a dizzying kaleidoscope of stories – some inter-connected, some not, but all touching on the way some kind of conflict has impacted on life. Nationalism curdled into racism, faith challenged by abuse, the legacy of a life governed by terrorism moving forward into a future that seemingly only wants forgiveness. Continue reading “Review: I Am Of Ireland, Old Red Lion”
A contemporary adaptation of King Lear does little to prove its worth on BBC Two
“Some villain hath done me wrong”
A belated visit to this Bank Holiday TV offering and one I should probably have left alone. I’m not the biggest fan of King Lear, nor of Anthony Hopkins if I’m honest. But the notion of a contemporary adaptation and a deluxe level of supporting casting was enough of a draw for me to give it a try.
A co-production between the BBC and Amazon, this Lear has been adapted and directed by Richard Eyre. Trimmed down to a scant couple of hours and located in a contemporary England, it clearly has its eye on new audiences as much as your Shakespearean buff, and I’d be intrigued to know how the former reacted. Continue reading “TV Review: King Lear, BBC Two”
I’m left unmoved by The Strange Death of John Doe, running at the newly press-covered Hampstead Downstairs
“I mean, where does a person begin and end, and when did they stop being a person?”
So it looks like the Hampstead Theatre’s policy of not having its downstairs shows ‘officially’ reviewed has been well and truly junked asThe Strange Death of John Doe is the second show to get the full press treatment after The Phlebotomist. And perhaps it’s just a coincidence that this one is directed by Edward Hall himself…
As it is, the Hampstead Downstairs’ remit as an experimental space has always been a bit of an iffy one, in reality this is more of a Royal Court Upstairs kind of theatre, and Fiona Doyle’s new play is no exception. An intriguing take on a horrific but underexplored aspect of the refugee crisis, vividly staged with movement by the late Scott Ambler. Continue reading “Review: The Strange Death of John Doe, Hampstead Downstairs”