BEST ACTRESS IN A PLAY
Rachel Weisz – A Streetcar Named Desire at the Donmar Warehouse (24.8%)
Alison Steadman – Enjoy at the Gielgud (12.8%)
Fiona Shaw – Mother Courage & Her Children at the NT Olivier (9.4%)
Helen Mirren – Phedre at the NT Lyttelton (21.60%)
Juliet Stevenson – Duet for One at the Almeida & Vaudeville (7.60%)
Lesley Sharp – The Rise & Fall of Little Voice at the Vaudeville (23.80%
THE CAPITAL BREAKS BEST ACTOR IN A PLAY
Jude Law – Hamlet, Donmar West End at Wyndham’s (40.80%)
David Harewood – The Mountaintop at Theatre 503 & Trafalgar Studios 1 (6.00%)
Dominic West – Life Is a Dream at the Donmar Warehouse (13.60%)
Ken Stott – A View from the Bridge at the Duke of York’s (14.90%)
Mark Rylance – Jerusalem at the Royal Court Downstairs (13.90%)
Samuel West – Enron at the Royal Court Downstairs (10.80%)
Continue reading “Winners of the 2010 What’s On Stage Awards”
UK – Best male in a supporting role
Clifford Rose as The Judge in The Chalk Garden
UK – Best female in a supporting role
Phoebe Nicholls as Frances Trebell in Waste and Helen Seville in The Vortex
US – Most promising Male
Aaron Tveit – as Gabriel Goodman in Next to Normal
US – Most promising female
Quincy Tyler Bernstine– as Salima in Ruined
“You’re not that old, you just look it”
Really Old, Like Forty Five is a new play from Tamsin Oglesby which looks at the challenges that an increasing ageing population is having on society. We see a government thinktank come up with strategies to deal with them, and we also witness 3 siblings are dealing with old age and the effect it has on their extended family. This dual perspective is effectively shown by use of a split level stage: the government bods are perched on a balcony on top and we see how their decisions affect the general population in the form of the family who occupy the main lower part of the stage, with its mini-revolve allowing for quick scene changes.
I found it to be highly amusing and also highly moving: it’s wittily written, with funny lines popping up all over the place, we’re often laughing at our own prejudices against old people but then quickly forced to confront them as we see just how far this government is willing to go to provide a ‘final solution’ in witnessing the trials of Alice, Lyn and Robbie with their families. Gawn Grainger as Robbie gamely dresses up in more and more ridiculous ‘street’ outfits as he chases a long-gone youth and Marcia Warren has a wonderful twinkle-eyed charm as the ever chipper Alice, with a beautiful speech about the vagaries of the human memory in response to her sister’s distressing decline and jumbled up recollections of their shared youth. Continue reading “Review: Really Old, Like Forty Five, National Theatre”
“This is a dismal business, isn’t it”
I rather suspect that Daisy Pulls It Off at the Arts Theatre is an old-fashioned a tale as you’ll ever see, it is certainly the one of the most odd. It’s a jolly old hockey sticks boarding school romp with Daisy Meredith, a poor scholarship girl, having to prove herself at Grangewood School for Young Ladies in the face of some absolutely beastly bullies who just don’t like her. It helps of course that she is exceptionally intelligent, plays a mean game of hockey and writes lovely poetry.
There’s some good performances here, Joanne Gale and Emma Scholes as the older girls shone for me, but some really painful ones too. There’s little real connection between the characters, such limited interactions, that it is hard to get much sense of a company here, and it is just unclear what the tone of the piece really is. Is it a spoof? Is it a comedy? Is it a straight-up play? I’m not sure, and I don’t think the actors were either, such was the variance in the way they played their roles. Plus my bete noire of the year so far raised its head again, with Daisy narrating random sections of the play which stilted the rhythm of the piece horribly. Continue reading “Review: Daisy Pulls It Off, Arts Theatre”
“You must go…to Norfolk”
Barbershopera II is written by company founders Rob Castell and Tom Sadler who perform it, alongside Lara Stubbs and Pete Sorel-Cameron in the shape of a comedy barbershop quartet. The plot, insomuch as it is important, concerns a Catalan matador Esteve who inherits a barber shop in Norfolk from his long-lost father but faces opposition from hostile locals and his hairdressing rival, Trevor Sorbet. There’s then an insane amount of twists and turns which get increasingly daft and surreal. The main twist though is that it’s performed in different harmony groupings throughout (though rarely as a barbershop quartet interestingly enough).
The show really caught light for me with a brilliant medley of songs during the hairdressing competition which skillfully wove in a whole raft of jokes, both visual and lyrical through five completely different styles in quick succession. Lyrically, the songs are excellent throughout, always provoking laughter, but it is sometimes hard to escape the feeling that this is one (albeit excellent) trick that is drawn out for too long. Continue reading “Review: Barbershopera II, Trafalgar Studios 2”
“One day you’ll be so bored that you’ll read it”
According to the programme, Christopher Hampton’s version of Three Sisters at the Lyric Hammersmith directed by Sean Holmes and the Filter theatre company, is here to raise “the audience’s otherwise sluggard pulses in a revivifying revival”: what more introduction could we possibly need?!
Three Sisters opens with Irina Prozorova’s name-day celebration, in the provincial Russian town where their late military father had been stationed. Irina and her sisters Olga and Masha make half-hearted attempts to put up with life in their adopted home, but cannot stop longing for their birth town Moscow. We then follow the sisters and a group of acquaintances over a 3 year period as the sisters learn the hard lessons of life. Continue reading “Review: Three Sisters, Lyric Hammersmith”
“I’ll throw her in a well so that no-one can find her,
I’ll tuck my dick between my legs and call it a vagina”
Silence! The Musical is described as ‘the unauthorised parody of The Silence of the Lambs‘ and grew from a collection of songs posted on the internet into an off-Broadway show in 2005. It had a two week run in Baron’s Court last year, but this version at the Above the Stag theatre above a Victoria gay bar is billed as the European professional premiere: it has added new material getting its first airing and retains the original director from New York, Christopher Gatelli.
It does what is says on the tin, it’s a relatively faithful rerun of the events of the film where trainee FBI agent Clarice Starling is pressed into interviewing notorious psychiatrist and serial killer Hannibal Lecter in prison in order to help catch another serial killer Buffalo Bill. However, it is mercilessly and hilariously parodied throughout with a book by Hunter Bell and music and lyrics by Jon & Al Kaplan and a chorus of singing and dancing lambs. Continue reading “Review: Silence! The Musical, Above the Stag”
“You’re like Huckleberry Finn on a raft of rent boys”
I’m not sure at what point something moves from just being popular to becoming a trend, but containing either onstage narration and/or male nudity seems to be recurring with alarming regularity in plays this year. The Little Dog Laughed contains both, but more on those later!
It’s a tale of a up and coming Hollywood actor, Mitchell Green, who just happens to be a closeted homosexual but using the cover of a relationship with his lesbionic agent, Diane in order to maintain the facade. He’s then thrown when he meets and falls for a rent boy, Alex who has a girlfriend Ellen, and decides that he wants to pursue this relationship and come out to the public. This is played against a sub-plot of Diane trying to get a ‘gay play’ made into a movie as a star vehicle for Mitchell, but needing it to be ‘de-gayed’ in order for it to be made and to maintain Mitch’s straight front. Continue reading “Review: The Little Dog Laughed, Garrick”