BEST ACTOR IN A SUPPORTING ROLE IN A MUSICAL
Jonathan Bailey for Company at Gielgud Theatre
Clive Carter for Come From Away at Phoenix Theatre
Richard Fleeshman for Company at Gielgud Theatre
Robert Hands for Come From Away at Phoenix Theatre
BEST ACTRESS IN A SUPPORTING ROLE IN A MUSICAL
Patti LuPone for Company at Gielgud Theatre
Ruthie Ann Miles for The King And I at The London Palladium
“The Queens” – Aimie Atkinson, Alexia McIntosh, Millie O’Connell, Natalie Paris, Maiya Quansah-Breed and Jarneia Richard-Noel – for Six at Arts Theatre
Rachel Tucker for Come From Away at Phoenix Theatre Continue reading “2019 Laurence Olivier Awards nominations”
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”
“We were both ordinary men, he and I.”
Though Rufus Norris’ tenure hasn’t managed to nail a new writing hit in the Olivier, it has had considerable success in finding revivals to fill this voluminous space. Follies was a standout from last year, particularly in how Vicki Mortimer’s design swelled to magnificent heights and late in 2016, it was a glorious production of Peter Shaffer’s Amadeus that rose to the occasion. So it is no real surprise to see that show return to the schedule, indeed the surprise was that it might even have gotten better.
That this is Michael Longhurst’s debut in this theatre makes it all the more impressive and I wouldn’t be surprised if his name doesn’t soon become one of the ones bandied around the round of musical chairs that is London artistic directorships. And his decisions here remain as pinpoint accurate in nailing the psychological torment at the heart of this drama, from the toxicity of Salieri’s jealousy, Mozart’s own struggles in dealing with his genius, and how society also has its difficulties in its treatment of those it elevates. Continue reading “Re-review: Amadeus, National”
Lots of exciting news in the National’s new season announcement, taking us up to January 2018, rather putting the lie to the cries of “crisis” that pop up far too easily when a less-than-well-received show (or two) takes up residency there.
Highlights for me include the perfection of this production pic:
Justine Mitchell and Sam Troughton appearing in a thing together (this may or may not be their feet:
And of course the Ivo van Hove/Lee Hall/Bryan Cranston amazefest that will be Network
(which will have some onstage seating!):
Mountains of info was released by the National Theatre about their plans for 2017-18 at this morning’s press conference, so much that I’m still digesting the half of it. Particular stand-outs on the first sift though, are
- Ivo van Hove’s return (after his Hedda Gabler) with a world premiere adaptation of Network, with no less than Heisenberg himself, Bryan Cranston making his UK stage debut
- The cast of Nina Raine’s Consent including Priyanga Burford, Pip Carter, Ben Chaplin, Heather Craney, Daisy Haggard, Adam James and Anna Maxwell Martin.
- The glorious Amadeus returning in the new year, Michael Longhurst’s stellar production wisely keeping its two leads of Lucian Msamati and Adam Gillen intact
- The Headlong co-production of DC Moore’s Common will see Anne-Marie Duff return to the South Bank along with Trevor Fox.
- And Duff is clearly in for the long haul, as she’ll also appear in Macbeth with Rory Kinnear, a taster of which we saw at the Shakespeare Live event
- Cast and creatives for Yaël Farber’s Salomé have been announced too. It is designed by Susan Hilferty with lighting design by Tim Lutkin, music and sound by Adam Cork, movement direction by Ami Shulman, fight direction by Kate Waters and dramaturgy by Drew Lichtenberg. Cast includes Philip Arditti, Paul Chahidi, Ramzi Choukair, Uriel Emil, Olwen Fouéré, Roseanna Frascona, Aidan Kelly, Yasmin Levy, Theo T J Lowe, Isabella Niloufar, Lubana al Quntar, Raad Rawi and Stanley Townsend.More, much more, information after the jump.
Continue reading “News: so much goodness at the National Theatre 2017-18”
“It would make angels mourn”
Perhaps fittingly, on an evening when beautiful tribute was paid to the late Howard Davies, whose invaluable contribution to the National Theatre (36 productions over 28 years) will sorely be missed, there’s a sense of the passing of the guard with director Michael Longhurst making his main stage debut in the South Bank venue. Longhurst has been establishing himself quite the reputation (Constellations and Linda at the Royal Court, Carmen Disruption at the Almeida, A Number at the Nuffield, an extraordinary Winter’s Tale earlier this year, and the brilliant The Blackest Black at the Hampstead, to name just a few) and his graduation here feels entirely earned.
He makes his bow with Peter Shaffer’s Amadeus, a play that premiered at this very theatre in 1979 (another sad loss, as Shaffer passed away this summer) and with the enviable resources to hand here, mounts an excellent production. The play depicts a largely fictionalised version of the intertwined lives of composers Wolfgang Amadeus Mozart and Antonio Salieri and their rival careers, and the Southbank Sinfonia are on hand to provide live orchestral accompaniment. So that when The Marriage of Figaro is premiered, we get an excerpt; when people read the sheet music, we don’t have to imagine the notes of the page, we hear them out loud. Continue reading “Review: Amadeus, National Theatre”
“You took my shopping and then you took my virginity”
Oh lordy, I have no idea what Noel Clarke is like as a person but on this evidence he is in desperate need of someone to tell him ‘no son, no’. Having shown promise with his earlier work, 22.214.171.124. sees Clarke moving onto what he sees as the next level , it just so happens that it is the next level down rather than up. A brash would-be comedy thriller that dreams so dreadfully of transatlantic success and yet comes off as exploitative try-hard, depressingly manipulative and a laughable vanity project.
Even at its base, it is a disappointment. The structure of the film follows four young friends as they deal with a particularly hectic time involving some gangsters and a bag of conflict diamonds they’ve nicked. Clarke retells the story from each woman’s point of view, a tried and tested device, but one which is wasted here – the narratives are kept essentially separate with no sophisticated intersection or interplay in the storytelling that would actually justify the format. Continue reading “DVD Review: 4321”
“He opened his laptop and didn’t like what he saw”
The second part of the Royal Court’s 2013 Rough Cuts mini-season based around the internet, was a work-in-progress from EV Crowe named Searched. I hadn’t initially intended to see this play as Crowe really provoked my ire with her last play Hero, it still annoys me to think of it now, but once the cast was announced I knew I would be powerless to resist. And whilst I might have preferred a little more cooling off time and a slightly more appropriate environment, I find it is always good to test one’s preconceptions and so I was willing to give a second chance to the young playwright.
Since this was a work-in-progress, workshopped by Crowe, the company and director Carrie Cracknell over the last 10 days, I won’t say too much about it, save to mention that it really is a pleasure to be able to see such great actors up close and personal in such an early stage of a project, even with script in hand there’s a genuine openness to the performances, a freshness to the acting which is great to see. Continue reading “Not-a-Review: Rough Cuts – Searched, Royal Court”
“What is it? A drama, a documentary?”
A couple of short radio reviews, as with having to have done a fair bit of travelling over the last weeks, I’ve had ample time to listen to things. First up was a fascinating piece called The Last Breath, which I particularly admired for being something quite challenging, both in subject matter and form, even in the afternoon drama slot on Radio 4. Created by Ben Fearnside with Anita Sullivan and set in a 2018 UK where assisted suicide has been legalised, it chronicles the attempts of a radio producer – Anita – to profile an artist – Ben – who is making a piece of modern art which will be the capture of someone’s dying breath in a jar and displayed for all to see.
Fearnside and Sullivan’s work sits somewhere between documentary and drama – real people and real names are utilised in the telling of what is a fictional story (I couldn’t quite work out why there had to be one fictional character, though it was pleasure to get to hear Nicola Walker’s sonorous voice again) which posed and worked through, if not providing necessarily neat answers, to some powerful questions. The ethics of ending one’s own life, the ethics of representing that in whatever form, the role that art has to play in peoples’ lives, to entertain, to educate, to provoke. I wasn’t mad keen on the use of music as I couldn’t quite see what it added to the show as a whole, but overall I found it a rather strong piece of radio drama. Continue reading “Radio Review: The Last Breath / The Diary of a Nobody”
“You can indeed each fear remove,
for even scandal dies if you approve”
Commencing before the curtain ‘rises’ with a futuristic-Georgian fashion show, complete with gossiping fashionistas, it is clear from the outset that Deborah Warner’s production of Sheridan’s The School for Scandal is no stately Peter Hall-esque costume piece, but rather something completely different. Employing much of the same visual language employed in her 2009 Mother Courage for the National, the Brechtian feel is very much here in the deconstructed pieces of set lying against walls, stagehands visible onstage and placards announcing the scene changes.
At a time of ever-increasing tabloid gossip, injunctions, superinjunctions and Twitter, Warner is clearly keen to draw direct comparisons between Sheridan’s Georgian London society (who presumably twittered rather than tweeted) and the shallower end of our own contemporary society obsessions with celebrity and consumerism. This is done in the most heavy-handed of ways, so the scandalous intrigue and politics that surrounds the plot of romantic entanglements, debated inheritances, saucy liaisons, unhappy marriages is dressed in designer shopping bags, a thumpingly loud soundtrack and all sorts of modernities. Continue reading “Review: The School for Scandal, Barbican”