Review: Dance Nation, Almeida

I loved Clare Barron’s Dance Nation at the Almeida but fear it might not get the audiences it deserves

“People don’t say they cry when they watch me dance.
When they watch Amina dance, they cry. I know.
Because I cry when I watch Amina dance.”

I saw a late preview of Dance Nation at the Almeida so I was going to hold off saying much about it. But the hypocrisy of Quentin Letts’ tweet about the show (search on Twitter if you must) roused me to action for it is a pretty damn fine piece of writing by US playwright Clare Barron, and a damn fine piece of theatre directed by Bijan Sheibani.

It uses the device of adults playing kids to delve into the world of competitive high school dance, investigating what it is like to be a 13 year old girl, to be caught up in the ferocity of cut-throat contest whilst also navigating the physical and emotional upheaval of becoming a teenager. It’s blistering, uncompromising stuff and so it is perhaps little surprise that it has ruffled the feathers of some terribly sensitive souls. Continue reading “Review: Dance Nation, Almeida”

2017 BroadwayWorld UK Awards Shortlist

Best Actor in a New Production of a Musical
Andrew Polec, Bat Out of Hell, London Coliseum
John McCrea, Everybody’s Talking About Jamie, Sheffield Crucible
John Partridge, La Cage Aux Folles, UK Tour
Jon Robyns, The Wedding Singer, UK Tour
Michael C. Hall, Lazarus, King’s Cross Theatre
Robert Fairchild, An American in Paris, Dominion Theatre

Best Actor in a New Production of a Play
Andrew Scott, Hamlet, Almeida Theatre
Arinzé Kene, One Night in Miami…, Donmar Warehouse
Brendan Cowell, Life of Galileo, Young Vic
Conleth Hill, Who’s Afraid of Virginia Woolf?, Harold Pinter Theatre
Lucian Msamati, Amadeus, National Theatre
Nicholas Woodeson, Death of a Salesman, UK Tour Continue reading “2017 BroadwayWorld UK Awards Shortlist”

Cast of Mike Bartlett’s new TV show Press announced

An ensemble cast of some of Britain’s hottest talent will portray the determined and passionate characters behind the daily news at two fictional, competing newspapers in Mike Bartlett’s (Doctor Foster, King Charles III) drama series, Press, on BBC One.
Charlotte Riley (King Charles III, Jonathan Strange & Mr Norrell) will play the News Editor of fictional broadsheet, The Herald and Ben Chaplin (Apple Tree Yard, The Thin Red Line) will play the Editor of fictional tabloid newspaper, The Post, while Priyanga Burford (London Spy, King Charles III) will play The Herald’s Editor. Paapa Essiedu (A Midsummer Night’s Dream, RSC’s Hamlet) will play The Post’s newest reporter and Shane Zaza (Happy Valley, The Da Vinci Code) its News Editor; while Ellie Kendrick (Game Of Thrones, The Diary Of Anne Frank) will be a junior reporter; Al Weaver (Grantchester, The Hollow Crown) an investigative journalist and Brendan Cowell (Young Vic’s Yerma, Game Of Thrones) the Deputy Editor at The Herald.
They will be joined by David Suchet (Poirot) who will play the Chairman & CEO of Worldwide News, owner of The Post.
Press will be directed by Tom Vaughan (Victoria, Doctor Foster) and produced by Paul Gilbert (Humans).
Set in the fast-paced and challenging environment of the British newspaper industry, Press immerse viewers in the personal lives and the constant professional dilemmas facing its characters. The series follow their lives as they attempt to balance work and play, ambition and integrity, amid the never-ending pressure of the 24-hour global news cycle and an industry in turmoil.
Press is a Lookout Point, BBC Studios, Deep Indigo production, co-produced with Masterpiece, for BBC One. Executive Producers are Faith Penhale and Mike Bartlett for Lookout Point, Bethan Jones for BBC Studios, Nigel Stafford-Clark for Deep Indigo, Mona Qureshi for BBC One and Rebecca Eaton for Masterpiece. International Distribution will be handled by BBC Worldwide.
Press begins filming in London in October and will broadcast on BBC One in 2018.

Round-up of news and treats and other interesting things

Hamilton-mania never dies down – as the first news about the UK cast arrives, the original Schuyler Sisters are reuniting this weekend!

 

When you FaceTime your friends from 🇬🇧 because they’re practicing their SONG FOR THE SUPERBOWL (WHAT?!) pic.twitter.com/2rKARtaUW6

— Lin-Manuel Miranda (@Lin_Manuel) January 27, 2017

 

Continue reading “Round-up of news and treats and other interesting things”

Review: Yerma, Young Vic

“We used to have a life. 
We have each other and my empty womb”

It’s Yerma yes, but not as you know it. Australian auteur Simon Stone (best known in the UK for The Wild Duck but whose Medea in Amsterdam was just masterful) has revised, reshaped, rewritten Lorca’s 1934 tragic poem into an all-too-contemporary lament that throbs with the painful intensity of Billie Piper’s stunning performance here at the Young Vic.

Encased in a glass box, the audience in traverse (designer Lizzie Clachan doing some extraordinary work), Piper plays Her, a woman in her mid-30s with a successful career as a blogger (I KNOW!) and happily married to the slightly older John. As the societal narrative goes, they buy a house and then decide to start a family but despite the fecundity of those around them, they struggle to conceive. Continue reading “Review: Yerma, Young Vic”

20 shows to look forward to in 2016

2016 is nearly upon and for once, I’ve hardly anything booked for the coming year and what I do have tickets for, I’m hardly that inspired by (the Garrick season has been ruined by the awfulness of the rear stalls seats, and I only got Harry Potter and the Cursed Child tickets due to FOMO). Not for the first time, I’m intending to see less theatre next year but I do have my eyes on a good few productions in the West End, fringe and beyond. Continue reading “20 shows to look forward to in 2016”

Review: The Wild Duck, Belvoir Sydney at Barbican

“There are things not everybody needs to know”

You’ve got to love an adaptation that ruffles a few feathers and Simon Stone and Chris Ryan’s take on The Wild Duck for Belvoir Sydney certainly does that, quite literally in one case as the show features a live duck that paddles the stage in a striking opening image. Part of the Barbican’s International Ibsen festival, this is a startlingly contemporary look at the Norwegian classic which strips it to its spine (as Stone says in a programme note) and reimagines it significantly as a modern fable about secrets and lies (and a duck).

Encased in the confines of Ralph Myer’s clear perspex box and dramatically illuminated by Niklas Pajanti’s utterly complete lighting design, the family drama of the Ekdals and the Werles play out to levels of intensity normally associated with Greek tragedy. And under this scrutiny, there’s nowhere for them, or us, to hide – the private grief of Anita Hegh’s catatonic Gina is exposed like a raw wound for nigh on 20 minutes, the uncontrollable anger of Brendan Cowell’s Hjalmar literally bounces off the walls, the target for Hedwig’s shotgun practice is quite simply the audience.

Continue reading “Review: The Wild Duck, Belvoir Sydney at Barbican”

Review: Happy New, Trafalgar Studios 2

I could be the model Australian”

The Old Red Lion Theatre in Angel seems to have struck up quite the symbiotic relationship with the Trafalgar Studios 2 as a number of its productions have transferred there and the latest to make the leap to the Whitehall venue is Brendan Cowell’s Happy New. I decided to see it purely on the strength of the casting of Lisa Dillon and avoided reading anything about it in advance as it is a rare pleasure indeed that I see a play with no knowledge of what it is about. And it really paid off as the unexpected direction of the show and the way in which it progressed came as a genuine surprise and one which I’d recommend, going in blind if possible.

It’s a story alternately about the cruelty that humans can inflict on each other and the way in which the media are often guilty of exploiting human crises for their own gain and then dropping the subjects like hot potatoes when the next big story breaks. Traumatised by events from their past, Danny and Lyle are two brothers now living an almost hermetic existence in a tiny flat, with just the vibrant Pru as a conduit to the outside world though it becomes increasingly clear that her intentions are far from honourable.  Continue reading “Review: Happy New, Trafalgar Studios 2”