BEST ACTOR IN A SUPPORTING ROLE IN A MUSICAL
Jonathan Bailey for Company at Gielgud Theatre
Clive Carter for Come From Away at Phoenix Theatre
Richard Fleeshman for Company at Gielgud Theatre
Robert Hands for Come From Away at Phoenix Theatre
BEST ACTRESS IN A SUPPORTING ROLE IN A MUSICAL
Patti LuPone for Company at Gielgud Theatre
Ruthie Ann Miles for The King And I at The London Palladium
“The Queens” – Aimie Atkinson, Alexia McIntosh, Millie O’Connell, Natalie Paris, Maiya Quansah-Breed and Jarneia Richard-Noel – for Six at Arts Theatre
Rachel Tucker for Come From Away at Phoenix Theatre Continue reading “2019 Laurence Olivier Awards nominations”
Simon Russell Beale, Ben Miles and Adam Godley are superb in new epic play The Lehman Trilogy at the National Theatre
“Let’s go to this magical music box called America”
At a time when Lady Liberty’s message was actually heeded, when the USA lifted the lamp to its golden door and welcomed all that immigrants could bring, three German Jewish brothers made the journey from Bavaria in the 1840s and set up shop in Montgomery, Alabama. From selling cotton cloth to brokering cotton sales to diversifying into other markets, other cities, they built up their family business into a financial services behemoth, the very embodiment of the American Dream. The name of that firm – Lehman Brothers…
Thus The Lehman Trilogy is a tale of boom to bust. Stefano Massini’s epic play, adapted here by Ben Power in a National Theatre and Neal Street Productions co-production, takes a generational viewpoint to move us through 170 years of American history and three generations of Lehman men. And in the hands of Simon Russell Beale (Henry), Ben Miles (Emanuel) and Adam Godley (Mayer), they could scarcely be better in Sam Mendes’ sleekly poised and pacey production. Not only do they play the brothers, their son and their grandsons, they cover all the other roles as they narrate their own story – it truly is an acting tour-de-force. Continue reading “Review: The Lehman Trilogy, National Theatre”
by Brian Friel
Previews from 22 May, Press night 30 May, on sale until 7 July with further performances to be announced
Owen, the prodigal son, returns to rural Donegal from Dublin. With him are two British army officers. Their ambition is to create a map of the area, replacing the Gaelic names with English. It is an administrative act with radical consequences.
Brian Friel’s modern classic is a powerful account of nationhood, which sees the turbulent relationship between England and Ireland play out in one quiet community. Cast includes Dermot Crowley, Aoife Duffin, Adetomiwa Edun, Michelle Fox, Ciarán Hinds,Laurence Kinlan, Colin Morgan, Seamus O’Hara, Judith Roddy and Rufus Wright.
Directed by Ian Rickson, with design by Rae Smith, lighting design by Neil Austin and music by Stephen Warbeck and sound design by Ian Dickinson.
Part of the Travelex Season with hundreds of tickets for every performance available at £15. Continue reading “New casting announced for 2018 National Theatre season”
“The king’s name is a tower of strength”
The Hollow Crown reaches its climax with a solid and occasionally very strong Richard III which once again shimmers with quality and hints of artistic innovation. And for all the lauding of Benedict Cumberbatch’s starring role, it is pleasing to see Dominic Cooke and Ben Power give Sophie Okonedo’s excoriating Margaret of Anjou her due as one of the real pleasures of running these plays together is to trace her complete arc (for she’s the only character to appear in them all) and root her enmity – alongside that of so many others – in something most palpable.
Cooke’s direction also benefits from loosening its representational restraints, Richard III’s monologues and asides make this a different type of play and Cooke responds with a series of interesting choices (though the surfeit of nervy finger-tapping was a touch too much for me) making great use of both gloomy interiors and hauntingly effective exteriors. Playing so many scenes in woodlands was an inspired decision as it leant a real eeriness to proceedings, whether Margaret or Richard bursting from the bushes to disrupt the private mourning of Elizabeth or Anne. Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 3. Richard III”
“I was a woeful looker-on”
On a night when the real drama was unfolding in Stockholm’s Globen arena and the main internecine conflict was between the juries of music professionals and the public vote as revealed by the new counting mechanism, the BBC’s decision to schedule The Hollow Crown against the Eurovision Song Contest didn’t work for me. Last week’s Henry VI Part 1 was a great reintroduction into these quality adaptations as it started the new series but the follow-up doesn’t quite match the same level.
Part of the issue lies in the seemingly accepted wisdom that the Henry VI plays are problems that need solving – I’ve still not managed to see a conventional production of the trilogy to use as a benchmark – and so the plays are often abandoned to the mercies of the vision of writers and directors. Such is the case with The Wars of the Roses: 1. Henry VI Part 2, chopped down and frantically paced, there’s a whole lot of fury but just not enough feeling (though if you’re a fan of battlefields and decapitated heads, you might fare better than I did). Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 1. Henry VI Part 2”
“I would his troubles were expired”
The Hollow Crown rises again. Four years on from the first suite of striking televisual adaptations of Shakespeare’s history plays, the BBC continue their Shakespeare Lives season by completing the set. For theatregoers, it has been a ripe time of it – Trevor Nunn reviving The Wars of the Roses late last year and the excellent Toneelgroep Amsterdam bringing their streamlined version Kings of War to the Barbican just last month – but as you’ll see, the common thread is one of adaptation, opportunities to see the three parts of Henry VI as they are remain few and far between.
And so it proves here. Though this is entitled The Hollow Crown – The Wars of the Roses: 1. Henry VI Part 1, Ben Power and Dominic Cooke have compressed the three plays into two parts and it’s hard to argue against it really – there’s plenty here to sink your teeth into (and get your head around). Emasculated by lord protector the Duke of Gloucester (a solid Hugh Bonneville, displaying as much range as he ever does), Tom Sturridge’s Henry VI finds himself an uncertain king, a querulous youth who bends whichever way the wind blows strongest in his court, riven by dynastic rivalry. Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 1. Henry VI Part 1”
“How is a woman to have a husband when all the men belong to their mothers?”
You have to respect the huge ambition behind Husbands and Sons, Marianne Elliott and Ben Power’s adaptation of three DH Lawrence plays which sees each of them run simultaneously in the round in the Dorfman. It manages this by taking the Holroyds from The Widowing of Mrs Holroyd, the Gascoignes from The Daughter-in-Law and the Lamberts from A Collier’s Friday Night and imagining them living on the same street in the East Midlands village of Eastwood. And spread over three weeks in October 1911, the interlocked, if not intersecting, dramas of their lives play out, dominated by the long shadow of the pit.
Initially it’s a dizzying affair, as the eye and the ear deals with the three separate domestic establishments. Bunny Christie’s design takes a visual cue from the Lars von Trier film Dogville with the fully furnished houses demarcated by white lines on the floor and labelled by name, doors (and coats, weirdly) are mimed with accompanying sound effects. And with a nod to the fixedness of this arrangement, ticket-holders in the pit swap seats at the interval, getting to sit in the corresponding place on the other side of the auditorium, offering an alternative perspective on the goings-on. Continue reading “Review: Husbands and Sons, National Theatre”
“I choose to take back my life.
Booking a return trip to anything Helen McCrory is starring in is something of a reflex action now but I was more pleased than usual to be able to revisit Medea as conversations with numerous of my friends who were not fans had left me questioning whether I had maybe over-rated the show on first viewing. And it was equally nice to find out that I had not. I can see why elements of Carrie Cracknell’s production might have been polarising but for me, the synergy between the different disciplines is alchemical.
From jerky dancing to Goldfrappian swells of music, luxury cameos through to an actor magisterially making her mark on an oft-played role to dominate the vast auditorium of the Olivier, it’s a Medea for our time and so it was entirely correct that this performance should be part of the NTLive programme and be broadcast to cinemas across the world. Spine-chillingly remarkable stuff and that’s all I really have to say!
Running time: 100 minutes (without interval)
Booking until 4th September
““Terrible things breed in broken hearts”
Euripides’ Medea has long been considered one of the greatest roles for a woman to play so it is a little surprising (or perhaps not) that it hasn’t been performed at the National Theatre before. But the winds of change blow even on the South Bank so it makes great sense that one of our finest living actresses, Helen McCrory, should take on the part in a production by Carrie Cracknell, herself responsible for making some of that change with recent shows like A Doll’s House and Blurred Lines.
Ben Power’s new version relocates the betrayed Medea in a blasted contemporary setting (another ingeniously cracking design from Tom Scutt, evocatively lit by Lucy Carter) where she and her two children anxiously await news of the husband and father who has abandoned them for a newly politically expedient marriage. Trapped in a foreign land, having severely burned her bridges with her homeland, we watch helplessly along with a hefty Greek Chorus as grief inexorably transmutes into anger. Continue reading “Review: Medea, National Theatre”