The effect of coronavirus on The Effect at the Boulevard Theatre, is robbing us of what was sure to be a striking revival of Lucy Prebble’s play
“We are facing an everyday epidemic”
With lines like the above, you wonder how Lucy Prebble’s The Effect would have gone down at the Boulevard Theatre, especially directed by Anthony Neilson at this moment in time. Sadly, we won’t get to find out any time soon and though the current crisis isn’t good for any theatre, it feels particularly cruel on a new venue still finding its feet in the London theatre ecology.
I’d wager this production would have gone some way to establishing the Boulevard’s dramatic credentials. Prebble’s play was a huge hit at the National in 2012, and got even better in its regional premiere in Sheffield a few years later. And with a cast as talented as Eric Kofi Abrefa, Christine Entwisle, Tim McMullan and the ever-excellent Kate O’Flynn, I hope this doesn’t wind up a case of what might have been.
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Edgar Allan Poe via Anthony Neilson might not seem the typical recipe for your festive fare but The Tell-Tale Heart proves a gory and gothic delight
“I will do anything to make you happy”
Edgar Allan Poe via Anthony Neilson might not seem the typical recipe for your festive fare but The Tell-Tale Heart proves a gory and gothic delight. Marking Neilson’s National Theatre debut, it is a typically free-wheeling affair, a playfully post-modern take on Poe.
The Writer wins a major playwriting award but declines it publicly and to escape the outrage caused, decamps to Brighton to write her second play. She’s looked after there by a delightfully offbeat Landlady who, while she keeps half her face hidden with a mask, opens up her heart and home. Continue reading “Review: The Tell-Tale Heart, 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”
“My mind’s telling me no…”
As The Prudes is still in previews and given the nature of the way Anthony Neilson works, I ain’t gonna write a review but just offer up these images as an obscure preview.
Running time: currently around 80 minutes (without interval)
Photo: Manuel Harlan
The Prudes is booking at the Royal Court until 2nd June
“All artists have their whims”
A slightly odd experience to see a show being performed almost entirely on-book but such is the nature of Anthony Neilson’s collaborative creative process of shows being created in the rehearsal room that the scripts for Unreachable had only been printed the day before. And what’s more, they’re only being used as a starting point for considerably more rewrites, which will continue to happen up until press night later this week. So all I’ll say is that the show is brilliantly light-hearted at a time when the world is seemingly going to shit, the ticket price is worth it for the allotment joke, the corpsing (whether real or not) should be kept in, and Matt Smith is one flirtatious bastard when it comes to live audiences.
Running time: around 2 hours 30 minutes (with interval) (at the moment)
Booking until 6th August
“We’ve got an elf tied up and Christmas is under threat, that’s about the size of it”
Given there are two other shows with the same title but aimed at the family market, it would be advisable to check in advance that Anthony Neilson’s The Night Before Christmas is the one you intend to see. For blessed with adult content warnings and a sense of humour as dark as black ice, it’s not one for the kids. Christmas Eve sees an intruder in Gary’s warehouse and he calls ex-con mate Simon for help but as he arrives, he’s managed to apprehend them. Thing is, he dressed as an elf and claims to have fallen from the sky, so naturally they decide to interrogate him.
Neilson’s comedy really is as black as they come, with topical jokes and references abounding (though one wonders if the Mandela one is still present, written as it was before his death…) and the premise allows for a daftness which is hugely appealing. When they find trackmarks on his arms, Simon sees this as confirmation that he’s a junkie on the make yet Gary believes the elf’s story of a tragic addiction to fairydust – it’s silly but charming and so the choice to adapt it into a musical doesn’t come from too far left-field. Continue reading “Review: The Night Before Christmas,Soho Theatre”
“Don’t internalise it, tell us your story”
‘Form is broken’, so the publicity for Anthony Neilson’s new play Narrative tells us, so here goes. Simply described as a new play about stories, it has been devised by Neilson and his company of seven and brings together a blend of characters and scenes and songs and poems and scripts and video to diagnose something of the modern condition, the world in which we find ourselves today. Continue reading “Review: Narrative, Royal Court”
“We know that there’s another way…we just not sure where it is”
What is Utopia? Defining the hopes and dreams of a perfect world has occupied writers for hundreds of years and in this co-production between Newcastle’s Live Theatre and the Soho Theatre, contemporary writers have also been asked to explore their own takes on the concept, blueprints for future happiness, which have been woven altogether by Steve Marmion and Max Roberts in this ambitious, if unwieldy production.
In a strange grey room, six pierrots work their way through the different blueprints, working through the various scenarios to see if any of them actually do lead to the promised land. Some are funny and satirical as in the warlord discovering the power of Facebook or the old-school stand-up whose jokes fall flat in a world of perfect harmony. And some are more serious, as the authors probe the idea of utopian ideals arising out of less-than-perfect situations, acts of self-sacrifice and tender kindness coming out of the blue. Continue reading “Review: Utopia, Soho Theatre”
“What good is it going to do you, moping about your flat all day”
New Artistic Director for the Soho Theatre, Steve Marmion, has chosen an ambitious way to start his tenure using one company to perform two plays – one English premiere of an Edinburgh hit and one new commission – both exploring matters of the mind and sanity. The first of these is Anthony Neilson’s Realism, the story of a man who wants to spend his Saturday doing ‘f*** all’, just curled up on his sofa. This he does, but what Neilson explores is that even in the act of physically doing nothing, the mind remains highly active and can take us on a marathon of a journey that can be just as exhausting as actually running one.
So the tiniest action our protagonist carries out: opening the post, putting a load of washing in, making some toast, triggers memories and trains of thoughts, delving into the full gamut of the emotionally bruising recent past, sexual fantasies and as far back as childhood but also spinning off into fantastical moments and imagining his own funeral. The hugely endearing Tim Treloar takes us on his journey with great skill, negotiating the peaks and troughs as his conscious and sub-conscious clash in the most bizarre of ways. Continue reading “Review: Realism, Soho Theatre”
“All I want for Christmas is to meet my real Dad”
A bit of a random choice for January, but when an offer of £5 tickets for Get Santa! came into the inbox, I couldn’t resist a sneaky trip to the Royal Court, plus I’m still on leave for a week so technically I’m still on my Christmas holiday. Aimed at the 7-11 age range, this non-traditional Christmas show comes from the pen of Anthony Neilson with music by Nick Powell, offering a distinct alternative to pantomime which is recognisably suffused with the spirit of the Royal Court as much as it is with Christmas.
Holly Finnegan has the same Christmas wish every year, to meet her father for the first time, but frustrated with his lack of response, she hatches a plot to, well, get Santa and have him fulfil her demands. For though she is a relatively normal, if stroppy, 10 year old, her stepfather is a dog and her mother and grandmother are a bit batty, but not even she could forsee the wacky turn of events. For she manages to trap Santa’s son Bumblehole instead of the man himself and when the spirit of her father manifests itself in a malevolent Russian teddy bear who hoodwinks her, an absurd groundhog day situation emerges as Holly begins to realise that getting everything you want is not always as good as it sounds. Continue reading “Review: Get Santa, Royal Court”