Andrew Scott and Simon Stephens combine to blistering effect in Sea Wall, but make sure you find some of the cheaper seats at the Old Vic if you can
“I was the polar opposite of Daniel Craig”
As is only right with any significant birthday, the Old Vic has been seriously milking their 200th and their latest gift is a two week revival of Sea Wall. The Simon Stephens monologue, written for Andrew Scott, has popped its head up a few times over the last few years, and this is being touted as possibly its final appearance.
Since I’d missed it previously in London and given that its 30 minute running time meant it slotted in quite nicely to a two-show day, I picked up one of the cheaper tickets available (incredibly, prices go up to £80 for this). It was almost worth the money for the pre-show ‘entertainment’ as the audience fell silent a good couple of minutes before the show actually started. Continue reading “Review: Sea Wall, Old Vic”
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”
An interesting set of nominations have been announced for the 2018 Laurence Olivier Awards. Perhaps predictably, the headline grabbers are Hamilton with their record 13 nominations, and The Ferryman which received 8. I’m pleased to see Follies and Angels in America represent a strong showing for the National with 10 and 6 respectively, and also lovely to see Everybody’s Talking About Jamie close behind with 5. Beyond delighted for The Revlon Girl too, my play of the year.
Naturally, not everything can get nominated and for me, it was most disappointing to see Barber Shop Chronicles miss out on any recognition. And with Hamilton crowding out the musicals categories, there was sadly no room for The Grinning Man, Romantics Anonymous and The Secret Diary of Adrian Mole (although I’m unsure of the Menier’s eligibility with regards to SOLT). And I think Victoria Hamilton (Albion). Philip Quast (Follies) and Louis Maskell and Julian Bleach (The Grinning Man) are entitled to be a bit miffed.
How do you feel about these nominations? And what do you think should have been nominated instead?
Continue reading “2018 Laurence Olivier Awards nominations”
How do you mark a significant birthday? My parents are currently (jointly) turning 140 and are celebrating the occasion with a six month program of events, peaking with an all-day party happening very soon. But if you’re the Old Vic and you’re turning 200, you open your contacts and see who is free.
Turns out a fair few people are, and so their list currently includes Nikki Amuka-Bird, Sheila Atim, John Boyega, Cate Blanchett, Bertie Carvel, Kim Cattrall, Lily Cole, Alan Cumming, Judi Dench, Michelle Dockery, Rupert Everett, Martin Freeman, Tamsin Greig, David Harewood, Derek Jacobi, Toby Jones, Cush Jumbo, Ben Kingsley, Pearl Mackie, Helen McCrory, Ian McKellen, Bill Nighy, Anika Noni Rose, Maxine Peake, Mark Rylance, Andrew Scott, Tom Stoppard, Stanley Tucci and Julie Walters.
Continue reading “News: Old Vic bicentenary ambassadors announced”
The Jack Tinker Award for Most Promising Newcomer (a tie)
Sheila Atim for Girl from the North Country, Old Vic and Noël Coward Theatre
John McCrea for Everybody’s Talking About Jamie, Sheffield Crucible and Apollo Theatre
The Trewin Award for Best Shakespearean Performance
Andrew Scott in Hamlet, Almeida and Harold Pinter Theatre
Most Promising Playwright
Brandon Jacob-Jenkins for An Octoroon, Orange Tree Theatre and Gloria, Hampstead Theatre
The Peter Hepple Award for Best Musical
Hamilton, Victoria Palace Theatre
Vicki Mortimer for Follies, National Theatre
Dominic Cooke for Follies, National Theatre
Victoria Hamilton for Albion, Almeida Theatre
Bryan Cranston for Network, National Theatre
Best New Play
The Ferryman by Jez Butterworth, Royal Court and Gielgud Theatre
David Lan for services to theatre
Best Actor in a Play
It is great news indeed that this Orange Tree production will be gaining further life in 2018 with a transfer to the National Theatre in the summer. I really hope that as much of the original cast comes with it, especially Nwosu who anchored the complex ideas of the show with confidence and clear-sighted integrity.
Honourable mention: Andrew Scott, Hamlet
In the parlance de nos jours, Scott managed that most difficult of things to really make this most-well-known of roles his own, his collaboration with Rob Icke breathing a conversationally, contemporary life into the part that was utterly mesmerising.
Andrew Garfield, Angels in America
Gary Lilburn, Trestle
Ian McKellen, King Lear
Cyril Nri, Barber Shop Chronicles
Sam Troughton, Beginning
In the midst of all the hype and expectation that was the first preview, and in a production that had no right to be that polished and on-point, there was no doubt in my mind about who the star of the evening was. Terera’s Burr feels very much his own creation and delivers a well-deserved push into the limelight for this most charismatic of performers – I suspect this won’t be his first award.
Honourable mention: Scott Hunter/Andy Coxon, Yank! A WWII Love Story
Hitting the right time and place, I first saw Yank! in the afternoon of London Pride and a happier, gayer Clowns I could not have been. And at its heart is the epic, tragic romance of Stu and Mitch, brought to beautiful life by Scott Hunter and Andy Coxon respectively.
John McCrea, Everybody’s Talking About Jamie
Philip Quast, Follies
Michael Rouse, Superhero
It’s that time of year again and getting in early with the announcement of their nominees is What’s on Stage. Voted for by the public, they’re often skewed a little towards the bigger ‘names’ but this year’s set of nominations are relatively controversy-free. There’s something a little odd about the way that regional theatre has its own separate category but its actors appear in the main ones – I feel like regional theatre productions should either be considered entirely in or out, rather than this halfway house.
Naturally, big shows rule the roost – 42nd Street and Bat out of Hell lead the lists with 8 nominations apiece – and they’ve even found a way to shoehorn in Hamilton by nominating it for the two new categories of Best Cast Recording (which somehow includes Les Mis??) and Best Show Poster, thus being able to get round it not actually being open yet and grabbing the requisite headlines once it does, inevitably, win.
BEST ACTOR IN A PLAY SPONSORED BY RADISSON BLU EDWARDIAN
Andrew Garfield, Angels in America
Andrew Scott, Hamlet
Bryan Cranston, Network
David Tennant, Don Juan in Soho
Martin Freeman, Labour of Love
BEST ACTRESS IN A PLAY
Eve Best, Love in Idleness
Imelda Staunton, Who’s Afraid of Virginia Woolf?
Olivia Colman, Mosquitoes
Natalie Dormer, Venus in Fur
Tamsin Greig, Labour of Love Continue reading “2018 What’s On Stage Award nominations”
The nominations for the 2017 London Evening Standard Theatre Awards have been released and naturally I have thoughts. Initially, they are:
BEST ACTOR IN PARTNERSHIP WITH AMBASSADOR THEATRE GROUP
“I shall not look upon his like again”
My lack of willpower when it comes to theatre is infamous, even more so on the rare occasions when I get invited to be someone’s plus one, with the responsibility of filing my own review lifted from the shoulders for once. Thus I found myself at the Harold Pinter for the transfer of the Almeida’s Hamlet
, a production I enjoyed immensely on the two occasions I saw it in North London
and whose charms I wasn’t entirely sure would translate to the larger theatre here.
Those fears were largely unfounded – the scale of the intimate family drama that Robert Icke has fashioned from Shakespeare’s ever-present tragedy amplifies effectively, and Andrew Scott’s deeply conversational style still resonates strongly (in the stalls at least) through the familiar verse, finding new readings and meanings. If I’m brutally honest, I don’t think I gained too much from this repeat viewing but that’s just my rarified position – it is still a thrilling piece of theatre and it’s a thrill to see it in the West End.
Running time: 3 hours 35 minutes (with 2 intervals)
Booking until 2nd September, Juliet Stevenson leaves the company on 1st July when she is replaced by Derbhle Crotty
“Most fair return of greetings and desires”
As follows many a sold out run with a high-profile cast, Almeida Associate Director Robert Icke’s new production of Hamlet transfers to the West End for a strictly limited season this summer (read my review here) from 9th June to 2nd September.
Starring BAFTA and Olivier Award winner Andrew Scott (Sherlock, Birdland, Cock, Pride
) as the Danish Prince, Hamlet
is brought to the stage by the critically acclaimed and multi-award winning creative team behind 1984
. And in further excellent news, the entire cast is making the trip to the West End (although Juliet Stevenson only until 1st July, no news yet on who might step into Gertrude’s shoes).
Robert Icke “one of the most important forces in today’s theatre” (The Observer) previously directed Mary Stuart, Uncle Vanya, Oresteia, Mr Burns and 1984 for the Almeida Theatre and this isn’t his first West End transfer (1984 and Oresteia have made the leap too) though I’m glad I got to see the show in the more intimate surroundings in N1.
Tickets on general sale from Thurs 6 Apr, Almeida members from Sunday 2nd (at midnight!), SFP E-list members from Sunday 2nd at midday, Almeida E-list members from Monday 3rd.