I might have taken a break from reviewing in June, but I didn’t stop going to the theatre – I had too many things already booked in. Here’s some brief thoughts on what I saw.
Betrayal, Harold Pinter
Shit-Faced Shakespeare – Hamlet, Barbican
The Knight of the Burning Pestle, Cheek By Jowl at the Barbican
Somnium, Sadler’s Wells
Les Damnés, Comédie-Française at the Barbican
Vanya and Sonia and Masha and Spike, Theatre Royal Bath
Blithe Spirit, Theatre Royal Bath
The Hunt, Almeida
Present Laughter, Old Vic
Europe, Donmar Warehouse
The Deep Blue Sea, Minerva
Plenty, Chichester Festival Theatre
Pictures of Dorian Gray, Jermyn Street
The Light in the Piazza, Royal Festival Hall
Hair of the Dog, Tristan Bates Continue reading “June theatre round-up”
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”
Episodes, in order of preference
World Enough and Time
The Doctor Falls
The Eaters of Light
Empress of Mars
The Pyramid at the End of the World
The Lie of the Land
Top 5 guest spots
1 David Suchet’s Landlord was as perfectly written a character as befits one of our more superior actors
2 Regular readers will know I’m a big fan of Kieran Bew and his astronaut in Oxygen was no exception
3 Nicholas Burns‘ malevolent Sutcliffe was a delightfully Dickensian villain
4 Another theatrical delight of mine is Anthony Calf, impressive as the pseudo-Victorian Godsacre
5 Rebecca Benson’s young Pict impressively led The Eaters of Light from the front, a perfect vessel for Rona Munro’s vision
Michelle Gomez’s Missy has been a brilliant breath of fresh air and whilst her decision to follow Moffat and Capaldi out the door is understandable, it isn’t any less disappointing. And perhaps the timey-wimeyness of the circumstances around her passing mean that maybe this isn’t the last we see of her…
Most wasted guest actor
I don’t what I expected from the reliably excellent Samantha Spiro in Doctor Who but I didn’t get it from her part in The Doctor Falls.
Gay agenda rating
With Bill onboard, A+!
Theatre Royal Bath Productions has announced full casting for David Hare’s Racing Demon, directed by Jonathan Church, and seemingly deliberately designed to challenge my resolve to not see the production which runs from Wednesday 21 June to Saturday 8 July.
As previously announced Olivier Award-winner David Haig will star as Lionel Espy in the multi-award winning play. He will be joined by Sam Alexander, Michelle Bonnard, Anthony Calf, William Chubb, Paapa Essiedu, Ian Gelder, Andrew Fraser, Rebecca Night, Amanda Root and Ashley Russell.
Four clergymen seek to make sense of their mission in inner-city London whilst facing their own personal crises. There’s Lionel Espy, a cleric whose faith is wavering as his parishioners dwindle; tabloid-hounded gay vicar Harry Henderson; ‘Streaky’ Bacon, a genial reverend with a taste for tequila, and a charismatic young curate, Tony Ferris whose arrival is set to fan the flames, whilst his sexual relationship with his lover turns to ash. The day of judgement is at hand for all. Continue reading “Casting announced for Theatre Royal Bath’s Racing Demon”
“When that I was a little boy”
Even with the best of intentions, it can be a little too easy to forget that there’s more to LGBT+ than just the G. Representations of gay men are increasingly common in our theatres but pickings are slim if we look towards the lesbian, bi, and transgender characters and stories. So it’s interesting to see directors turning to Shakespeare, and specifically Twelfth Night, to address that in a couple of high profile productions this year. Simon Godwin shifted the nature of Malvolio’s illicit passion by casting Tamsin Greig as Malvolia, and now Jo Davies has moved along the acronym by casting transgender performer, writer and activist Kate O’Donnell as Feste at the Royal Exchange.
And far from any suggestion of a gimmick, it’s a deeply sensitive, nuanced take on the role that breathes a real sense of contemporary life into the show. Her experience on the cabaret circuit shows in the ease with which she entertains her audience, whether onstage with the text or bantering off-book with the stalls crowd in the interval, but as funny as she is, there’s a depth to her stage presence too. An extra-textual moment where she clocks the cross-dressed Viola in the dark with a hint of recognition, the gorgeous melancholy with which the resonance of her final song grabs you – “when I came to man’s estate…”, this is the verse sprung to life anew. Continue reading “Review: Twelfth Night, Royal Exchange”
Manchester’s Royal Exchange have announced the details for their production of Twelfth Night
which arrives this spring. It is directed by the award-winning Jo Davies
who makes her Royal Exchange debut with Shakespeare’s whirlwind comedy. Faith Omole, Kevin Harvey and Mina Anwar
return to the Exchange as Viola, Orsino and Maria, Kate Kennedy
takes on the role of Olivia and Anthony Calf
And in its own spin on the gender, identity and love issues at the heart of the play, award-winning Manchester-based transgender artist and activist Kate O’Donnell makes her Royal Exchange debut in the role of Feste, the wise observer in this foolish, lovesick kingdom. Live music from the critically acclaimed folk musician Kate Young and lap-tap guitarist Joe Gravil adds to the complexity of this intricate comedy which probes gender-politics and ideas of belonging. The play runs from 13 April – 20 May.
The cast is completed by Aaron Anthony, Simon Armstrong, Harry Attwell, Daniel Francis-Swaby, Tarek Merchant and Jill Myers. The creative team includes Designer Leslie Travers, Lighting Designer Jack Knowles, Sound Designer Pete Malkin and Composer Alex Baranowski.
Continue reading “Round-up of news and treats and other interesting things”
“Part of me is saying I should go”
Like many others, I imagine, I did not leave Stephen Ward thinking I particularly want to hear this score by Andrew Lloyd Webber again anytime soon and so three years later, this is the first time I’ve revisited this musical. And as the strange melody of opening number ‘Human Sacrifice’ started, I began to wonder if I’d been overly harsh, Alexander Hanson’s story-telling experience imbuing this prologue of sorts with real interest and setting me up for a potential reimagining of my opinion.
But then track number 2 ‘Super Duper Hula Hooper’ kicks in, that title makes me die a little inside every time I hear it, and you soon begin to realise why the show barely managed 4 months in the West End. Lloyd Webber may have been a teenager in the 60s but he’s looking back at them like a man in his sixties, the air of rose-tinted corrective lenses and musical tweeness proving fatal to conjuring any kind of authentic sense of the period. Continue reading “Album Review: Stephen Ward (2013 Original Cast Recording)”
- Damien Molony looking cute in a cardigan
- The line “she was milking the family buffalo at 8” is mentioned. It is a winner.
- Damien Molony looking strangely alluring in a lady’s shorty robe
- Olivia Vinall looks to be the new Hattie Morahan, and delivers the leading role here with a delightful mixture of charm and confidence – nice to see her outwith Shakespearean damsel mode for once
- Damien Molony’s thighs in said robe. *swoons*
- Stoppard hasn’t reined in his tendency to lay his research bare. Not sure what a hedge fund is? A character conveniently asks the question to allow an explanation… Nor is there a huge deal of sophistication in his plotting, the twists that come seem rather obvious (though this could possibly have been his intention)
- Damien Molony in his boxers
- The play does have some meaty, fascinating aspects to it though, pairing up thoughtful forays into God versus science and the mind versus the brain, whilst also delving into the financial markets, research ethics and the vagaries of human behaviour, especially under pressure. Heaven only knows what those who’ve done their homework will make of it, for me it could do with exploiting the emotional angle more fully.
- For all his hotness, Damien Molony could really do with enunciating and projecting a little better.
- And plus ça change at the Dorfman/Cottesloe as in its end-on configuration, Row S clearly stands for severely restricted view – the cheap seats in the gallery on the right hand side (looking at the stage) cut off an area where Hytner frustratingly places actors on a regular basis. Even leaning didn’t really help. And with all the recent renovation work, it’s surprising the NT hasn’t managed to put signs up to Door C or Row S (or indeed placed ushers on that level to help out customers).
- I continue to love Lucy Robinson, my first ever Lady Macbeth, even when she’s forced to swear like she’s in a Richard Curtis film.
- Some gorgeous brainwave and synapse-inspired design work by Bob Crowley and lighting designer Mark Henderson make it visually arresting, though the reliance on the piano soundtrack felt a little clichéd and uninspired. Press go in on Wednesday though it is hard to imagine, that with this being Hytner’s directorial swansong as Artistic Director and Stoppard’s first new play in nine years, that a certain air of benevolence won’t characterise a goodly portion of the critical responses. If you’ve been already, let me know what you thought of it.
*Yes, shallowness abounds but hey, it’s Friday night.
Show information can be found here
Running time: 100 minutes (without interval)
Booking until 16th April (though new dates to be released in next booking period and returns often pop up)
“Your alliance would be a disgrace”
This six-part adaptation of Pride and Prejudice has gone down in history as one of the most iconic TV programmes ever, its cultural breakthrough into the mainstream taking everyone by surprise and spearheading something of a revival in period dramas. For me though, my abiding memory remains watching a documentary some years later and hearing adaptor Andrew Davies saying that the stage direction he wrote for Colin Firth, for when Darcy meets Elizabeth after she has rushed over to see her ailing sister, was “Darcy is surprised to get an erection”.
Smut aside, it is a strikingly well done piece of work though, Luxuriating over 6 hour-long instalments, it allows for the slow-burn of the central relationship which makes this version of the story really work, Firth and Jennifer Ehle so incredibly well-matched that their every interaction is scintillatingly drawn as mutual antipathy turns to mutual admiration amidst the various family dramas of the Bennetts, Wickhams, Collins et al. His brooding looks and engagingly smooth voice and her keenly intelligent eyes with her delightful pragmatism are utterly engaging. Continue reading “DVD Review: Pride and Prejudice (1995)”
“I share no-one’s ideas, I have my own”
Another day, another tale of people languishing in the dying embers of Imperial Russia, but Fathers and Sons – Brian Friel’s 1987 adaptation of Ivan Turgenev’s 1862 novel – has something special about it, which makes it truly stand out from the crowd. Much of this has to do with Lyndsey Turner’s sterling production for the Donmar, her gift for marshalling large ensembles to the absolute best of their abilities coming to the fore once again and smoothing over any potential weaknesses in the play itself.
Pace sometimes flags, with narrative description dominating a little too much in the second act and too many characters for them to all to really register. But such caveats pale in the face of performances like these – Joshua James’ would-be revolutionary Arkady and Anthony Calf as his hapless father, Seth Numrich’s more radical Bazarov and his own father played beautifully by Karl Johnson, Susan Engel’s vividly drawn Princess, Tim McMullan’s hilarious fop of an uncle, it’s an embarrassment of riches.
Running time: 2 hours 20 minutes (with interval)
Booking until 26th July