Such pleasure in watching Jonathan Pryce and Eileen Atkins onstage plus The Height of the Storm at the Wyndham’s Theatre is great for post-show reconstruction of this deconstructed story
“What would I do without you?
What would become of me without you?”
As Florian Zeller returns to the London stage with his latest play The Height of the Storm, you get something of the sense that British theatre is patting itself on the back saying ‘look, we do do European theatre’. But as with Ivo van Hove’s continued presence here, there’s a risk that familiarity will breed contempt as the risk of employing European theatremakers is mitigated by picking the same ones over and over.
Which is a bit of a long-winded way of saying that, whilst I enjoyed this immensely, I wonder if we’re approaching diminishing returns territory with Zeller. The Father was an extraordinary piece of storytelling in its disorientating structure and The Height of the Storm occupies a similar territory as we join long-married André and Madeleine and their two daughters and try to work out who is alive, who is dead, and just how many mushrooms there are onstage. Continue reading “Review: The Height of the Storm, Wyndham’s”
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”
A quick whip through Series 2 of The Crown
“History is not made by those who did nothing”
Do I still love The Crown? Yes. Do I still find it a little hard to muster enthusiasm about it until I’m watching it. Absolutely. It remains lavish prestige drama that carries little excitement about it and that’s perhaps inevitable as it trundles through the decades of the second half of the twentieth century, little dramatic surprise can really be sprung.
Instead, the thrills come from the script of Peter Morgan’s fantasia into the emotional life of our monarch, and a production that looks like the multi-millions of dollars that have been spent on it. Oh, and the cream of British acting talent popping in for a scene or two at an astonishingly high rate. Continue reading “TV Review: The Crown, Series 2”
“How does this end Simon?”
In some ways, you can’t blame ’em for trying to replicate the extraordinary success of the first series of Doctor Foster, quality drama that fast became a rare appointment-to-view fixture with a rare return to weekly instalments. And given that writer Mike Bartlett is known for his prolific nature, that a second series quickly came into the offing was no great surprise.
But it can be hard to recapture the magic and though all of the key players have returned – most notably warring ex-couple Suranne Jones’ Gemma and Bertie Carvel’s Simon – this set of five episodes has really suffered from a lack of raison d’être. Waves of vicious revenge percolate throughout but with no discernible driving narrative beyond that, it proved far less engaging. Continue reading “TV Review: Doctor Foster Series 2”
“I’d much prefer to have honest criticism than your, if you don’t mind me saying so, negative remarks”
The list of the NT2000 top 100 plays has proven quite an interesting one to keep to hand as it has often made me choose to see things I wouldn’t necessarily normally have gone to (with both good and bad results). The result of consultation with 800 playwrights, actors, directors, theatre professionals and arts journalists, the list purports to give us the 100 most significant plays of the 20th century, a subjective exercise at the best of times and one which throws up some real curveballs, like this play.
Written by Christopher Hampton in 1970, The Philanthropist was conceived as a response to Molière’s The Misanthrope, it’s the lead character’s unflappable amiability that causes havoc around him here. But for all the intertextuality, it feels a horrendously dated piece of writing that you can scarcely believe has had revivals in 2005 at the Donmar and 2009 on Broadway. With the likes of Simon Russell Beale and Matthew Broderick at their helm, they may have been better acted but in its gender politics, in its treatment of sexual abuse and suicide, how this play has got the reputation it has is beyond me. Continue reading “Review: The Philanthropist, Trafalgar Studios”
“On the dank and dirty ground…”
Joe Hill-Gibbins’ idiosyncratic 2015 take on Measure for Measure filled the Young Vic with inflatable sex dolls so it should come as little surprise that for his A Midsummer Night’s Dream, he and designer Johannes Schütz have transformed the stage into a muddy paddock. With just a mirrored back wall to add to the set, the scene is thus set for an exploration of the “subconscious” of this most oft-seen (particularly in the year gone by) of Shakespeare’s plays.
There’s some great work, delving into the murkiness of the relationships here. Far from spirits “of no common rate”, these royal fairies feel like a real married couple in the throes of having to work things out yet again, Michael Gould’s Oberon’s manipulations as much as anguished as angry, and Anastasia Hille’s Titania relishing the removal of the ball and chain as she plays sex games with Bottom, roleplaying the attending fairies in a witty twist. The intensity of their connection repeats itself later in another clever connection. Continue reading “Review: A Midsummer Night’s Dream, Young Vic”
“To do nothing is the hardest job of all”
It’s taken a little time to getting round to watching all of The Crown because, in a first for me, I found it impossible to binge-watch the show. Even with Netflix kindly providing offline downloads just at the point where I had a lot of travelling to do, Peter Morgan’s drama was lots of fun to watch but rarely captured the buzzy energy that has accompanied much online programming. Because it many ways it isn’t like much of Netflix’s previous output, it really is an encroachment into BBC Sunday night and as such, I felt it worked best spread out in almost weekly installments.
That’s partly down to the nature of the subject material, we’re not likely to get many surprises in a detailed retelling of the history of the House of Windsor. But it is also due to Morgan’s writing which tends a little to the formulaic, especially in the middle part of the series, which is when my interest was most in danger of waning. The opening two episodes started brightly but once the shock of becoming monarch was over, the rhythm became very much one of someone close to the queen has an issue and she has to weigh personal desires against public duty, the latter always winning out. Continue reading “TV Review: The Crown, Series 1”
Marianne Elliott wasted no time in making headlines twice over last week – after the announcenement of her departure from the National Theatre, it was officially been announced that she has teamed up with theatre producer Chris Harper to set up Elliott Harper Productions which will produce new work throughout 2017. The first play in the season will be Simon Stephens’ Heisenberg which will be directed by Elliott and run at a yet-to-be confirmed venue in Autumn 2017. This will be followed by Oedipus to Antigone in a new adaptation by Yael Farber who will also direct.
But the highlight of the season looks set to be a modern revival of Stephen Sondheim and George Furth’s musical Company which will see the glorious Rosalie Craig take on the role of Bobbie, in a gender-reversed version of the musical about a confirmed bachelor that has been specially approved by Sondheim, once again directed by Elliott.
Not much else is known about the production or even the season, but watch this space!
Continue reading “Round-up of news and treats and other interesting things”
“Do you think the rape of a continent dissolves in cigarette smoke?”
To think that just a couple of weeks ago, I hadn’t ever seen a play by Lorraine Hansberry and now I’ve seen two – the extraordinary A Raisin in the Sun which has now completed its UK tour and this new production of Les Blancs at the National. The sad reality is that there isn’t much more to see now, pancreatic cancer taking her life at just 34, but what a startling legacy this writer left of theatre that delves uncompromisingly into issues of race and identity, that remains as pertinent today as it did the mid-twentieth century when she was writing.
Hansberry didn’t get to complete Les Blancs before her death and so this final text was adapted by her sometime husband and collaborator Robert Nemiroff and it is directed here by Yaël Farber, making her National Theatre debut after her highly acclaimed 2014 The Crucible for the Old Vic. And people who saw that production will instantly recognise Farber’s modus operandi as this show opens in a highly atmospheric manner – a group of matriarchs, led by musical director Joyce Moholoagae, chanting and singing in Xhosa to leave us in no doubt what continent we’re on. Continue reading “Review: Les Blancs, National”
“I’m stunned with wonder”
When Rupert Goold first announced the #AlmeidaGreeks season with all its familiar titles, I don’t think anyone could have predicted how genuinely epic a sweep of theatrical innovation it would usher in. From the extraordinary Oresteia to the shattering Bakkhai and Medea, the radical main house programme has been supported by a wide range of supplementary activity, not least the 16 hour, 60+ actor retelling of The Iliad (which can now be viewed in full on the Almeida website).
So it’s only natural that as the season draws to an end, it is bookended by another Homeric extravaganza in The Odyssey, again with 60 odd actors participating in a 12 hour non-stop feat of major storytelling which was live-streamed on t’internet. And conscious of raising the ante, directors Rupert Goold and Robert Icke took us on a literal journey, putting the players in taxicabs, boats, buses, trekking across rooftops and down busy streets to bring Ithaca to Islington as Odysseus winds his way home. Continue reading “Review: The Odyssey, Almeida/Live-stream”