I mean, just look at this absolute treasure trove of theatrical talent!
I’m off to listen to Patsy Ferran read Tom Wells, and Gabby Wong read Alexi Kaye Campbell, and Sarah Niles read Winsome Pinnock and…and…
Not much festive cheer around at the Royal Court, but plenty of grimly insightful writing in Gurpreet Kaur Bhatti’s A Kind of People
“This will bleed and bleed”
Opening with the kind of house party you’d be quite happy to end up at after a few drinks down the pub, you can kinda see where the Royal Court is coming from in programming Gurpreet Kaur Bhatti’s A Kind of People over Christmas. But as in the tradition of all good parties – and most good plays – something goes wrong, conflict must arise, and any sense of festive cheer is soon Scrooged away.
Bhatti’s play is set in the bosom of a tight-knit multicultural, working class community, with mixed-race couple Gary and Nicky at its heart. With friends and family forever knocking on their door, their home doesn’t lack for conviviality but it is lacking space – they’re bursting out of the seams of their council flat. But Gary’s up for a promotion at work, with a serious pay rise, so things could be looking up. Continue reading “Review: A Kind of People, Royal Court”
Undeniably challenging but ultimately thought-provoking and impeccably designed, Exit the King plays at the National Theatre this summer
“You are going to die at the end of the play”
There’s something intriguing about the fact that Eugène Ionesco has never been programmed at the National Theatre before, perhaps a long-present euroscepticism guarding against a writer at the vanguard of the French avant garde scene (give how much Beckett gets staged, it’s clearly not anti-absurdism). But Rufus Norris has looked to rectify this by commissioning a new version of Le Roi se meurt from Patrick Marber, who also directs here.
And as an absurdist drama, Exit the King suggests a bit of different thinking. On the face of it, it’s a simple enough tale – a man is told he only has a day left to live and struggles to deal with it. But that man is a king – King Bérenger – and he’s over 400 years old. And his kingdom is dying around him, with him, stone walls cracking and crumbling away, its people disappearing into the ether, the darkness swallowing everything up whole. Continue reading “Review: Exit the King, National Theatre”
So much goodness announced here in the National Theatre’s near future – particularly excited for Nine Night’s transfer, what looks like a leading role for Siân Brooke and the prospect of Joanna Riding’s ‘Losing My Mind’.
National Theatre Season: July 2018 – January 2019
Nine Night, Natasha Gordon’s critically acclaimed debut play transfers to the West End following a sold-out run at the NT
Further cast announced for Antony and Cleopatra alongside Ralph Fiennes and Sophie Okonedo, playing from September
Cast confirmed for world premiere of David Hare’s new play I’m Not Running, including Siân Brooke, Alex Hassell and Joshua McGuire
Peter Brook returns to direct at the National Theatre for the first time in 50 years with The Prisoner, co-directed with Marie-Hélène Estienne
Following the acclaimed Consent, Nina Raine returns to the NT with her new play Stories starring Claudie Blakley
Anthony Neilson makes his NT debut with new play The Tell-Tale Heart, based on the short story by Edgar Allan Poe
Alexander Hanson and Joanna Riding to join the cast of Follies alongside Janie Dee and Peter Forbes, returning to the Olivier Theatre in February 2019
War Horse returns to the NT marking the centenary of Armistice Day
Antony and Cleopatra and I’m Not Running to broadcast to 65 countries worldwide as part of NT Live
To mark the 100th anniversary of the first women in the UK gaining the right to vote, the NT stages Courage Everywhere; a series of rehearsed readings, talks and screenings Continue reading “News: National Theatre Season: July 2018 – January 2019”
News, news everywhere – Joe Orton’s Loot has had its initial casting revealed in the shape of Calvin Demba and Sam Frenchum pictured up top, and the glorious Sinéad Matthews.
Continue reading “Round-up of news and treats and other interesting things”
“It may be nonsense but at least it’s not clever nonsense”
The problem with being addicted to theatre is that it can be hard to turn down things, even against your better instincts. I knew I didn’t really want to see Travesties so I didn’t go to the Menier but sure enough, it transferred into the West End to test my resistance further and I crumbled.
I should not have done.
Running time: 2 hours 30 minutes (with interval)
Booking until 29th April
“…now begrimed and black as mine own face”
For all the excitement of Kenneth Branagh’s announcement of his year long residency at the Garrick, the programme was lacking a certain diversity. So it’s pleasing to see that the Tricycle Theatre’s production of Red Velvet has been slotted in for a month, featuring a barnstorming lead performance from Adrian Lester and a fascinating insight into a piece of sorely neglected theatrical history.
My four star review for Cheap Theatre Tickets can be found here.
“A man dare not play the tyrant in London, because there are so many examples to encourage the subject to rebel.”
It may be The Beaux’ Stratagem but it is Mrs Sullen’s play. The most striking thing about Simon Godwin’s production of George Farquhar’s final Restoration comedy is its determinedly proto-feminist stance as Mrs Sullen – an independently wealthy woman now desperately unhappily married – is given surprising agency to express herself in a meaningful way and attempt to extricate herself from her situation. And in Susannah Fielding’s superbly silken performance, she’s exquisitely played as an almost tragicomic figure, endlessly entertaining in the raucous romping around but as Jon Clark’s lighting picks her out at the end of each act, capable of holding the entire Olivier theatre’s hearts in her hands.
The beaux ain’t too bad either. Farquhar’s plot centres on their attempts to marry into money after squandering their fortunes in London. Hoping news of their disgrace hasn’t reached the provinces, they head north and stop off in Lichfield, pretending to be master and servant, where their attentions fall on a rich young heiress and her unhappily married sister-in-law. Samuel Barnett’s Aimwell and Geoffrey Streatfeild’s Archer are a witty pair of fellows indeed, with a cracking line in beautifully cut overcoats too, as their avaricious adventures are soon overturned by amorous attentions as they can’t help but fall head over well-turned heel for their marks. Continue reading “Review: The Beaux’ Stratagem, National Theatre”
Ashley Zhangazha, for Ross in Macbeth (Crucible Theatre, Sheffield)
Amy Morgan, for Margery Pinchwife in The Country Wife (Royal Exchange Theatre, Manchester)
Lara Rossi, for Dol Common in The Alchemist (Liverpool Playhouse)
Jade Anouka, for Calpurnia, Metellus Cimber, and Pindarus in Julius Caesar (Donmar Warehouse)
Alys Daroy, for Yelena in The Wood Demon (Theatre Collection)
Holly Earl, for Bertha in The Father (Belgrade Theatre, Coventry)
Kurt Egyiawan, for Arsace in Berenice (Donmar Warehouse)
Paapa Essiedu, for Fenton in The Merry Wives of Windsor (Royal Shakespeare Company)
Johnny Flynn, for Viola in Twelfth Night (Globe Theatre and West End)
Aysha Kala, for Maid in Much Ado About Nothing (Royal Shakespeare Company)
Vanessa Kirby, for Masha in Three Sisters (Young Vic)
Simon Manyonda, for Lucius in Julius Caesar (Royal Shakespeare Company)
Luke Norris, for The Soldier in Antigone (National Theatre)
Ailish Symons, for Cecily in The Importance of Being Earnest (Lyric Theatre, Belfast)
Ellie Turner, for Fanny Hawthorn in Hindle Wakes (Finborough Theatre)
“Reserve your tears for the bedroom Madam, this is whist!”
With just a handful of films under his belt, Joe Wright has made quite the name for himself as a director of some theatrical flair – perhaps nodding to childhood time spent at the Little Angel Theatre that his parents founded – but it is only now that he has made his directorial debut in the theatre with Trelawny of the Wells at the Donmar Warehouse. Whether by design or by accident, it marks the third notable recent outing for the otherwise neglected Victorian playwright after the Rose’s The Second Mrs Tanqueray and the National’s The Magistrate but it cleaves closer to the gently farcical nature of the latter than the melodrama of the former. The text here has been ornamented by Patrick Marber, though more learned writers than I will be able to tell you by how much.
The play focuses on Rose Trelawny, a star of the melodramas that filled the Victorian stage, who opts to give up her career in the theatre when she decides to marry her paramour, the aristocrat Arthur Gower. But when the social chasm between her and his family drives them apart, drastic measures on both sides are necessary to try and restore their relationship. But for a play about the theatre, it had little of the breathless joy and theatricality that I had assumed Wright would bring into play and not all of that can be ascribed to the fact that this was a preview. Continue reading “Review: Trelawny of the Wells, Donmar Warehouse”