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”
Headlines from the National’s Autumn press conference:
- not great news if you were hoping for better female writing and directing representation
- amazing news in terms of advances with the D/deaf community, both as actors and audiences
- equally admirable new efforts to reach out into local communities
- and Indira Varma, Cecilia Noble and Katharine Parkinson
Continue reading “National Theatre 2018 and beyond”
And who is there to lead into…well, god know where?
The Donmar’s Faith Healer has a lot of rain pissing down in it and given the voting record of our own new faith healer, it May well feel like its pissing down for the foreseeable.
“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
“What the hell, it’s only a name. It’s the same isn’t it. Well, isn’t it?”
In something of an anniversary year for them, English Touring Theatre are having themselves quite the 21st birthday. Howard Brenton’s Eternal Love has been revived to great effect, Blanche McIntyre’s take on Noël Coward looks set to be an exciting highlight of the summer and their production of Brian Friel’s Translations, co-produced with the Rose Kingston and Sheffield Theatres, turned out to be an absolute cracker in a month that has already seen a lot of great theatre that is sure to figure heavily on all our year-end lists.
Set in 1833 in a Gaelic-speaking hedge school in Donegal, the lives of those in this quiet rural teaching establishment are set for massive upheaval with the arrival of a British Army platoon who have the job of redrawing territorial boundaries and translating all of the local Gaelic place names into English. Ageing school master Hugh’s two sons embody the conflict – the one having stayed on to become an apprentice at the school, the other becoming an interpreter in Dublin and only returning to turn his home from Baile Beag to Ballybeg. Continue reading “Review: Translations, Rose Kingston”
“They may say what they like, for aught that I care”
There’s something rather pleasing about watching the upwards trajectory of an actor in front of our very eyes, the sense that we are witness to a genuine star in the making. From Little Shop of Horrors to Legally Blonde to Flare Path, Sheridan Smith has worked up a list of much-lauded theatrical credits, in the face of much scepticism it has to be said, which sits next to a television career which has also deepened and broadened in the types of roles that she is taking on. It was still a little bit of a surprise though to find that she would be taking on the title role in the Old Vic’s production of Hedda Gabler, Ibsen’s complex character oft being considered one of the juiciest roles for an actress to take on.
Anna Mackmin directs a new version of the text by Brian Friel whose main focus seems to have been to imbue the play with a much stronger vein of humour. It is a decision of which I was not particularly fond as it diminishes much of the impact of the first half of the play. Being encouraged to laugh so much at the characters by whom Hedda finds herself surrounded in what is meant to be her newly-wedded bliss means that there’s too much of a disconnect when the more serious business post-interval kicks in. Adrian Scarborough’s husband is the biggest victim here, we’re never really invited to see him as a real man beyond his wife’s distaste and though his grand moment plays well to his comic strengths, it feels entirely incongruous. Continue reading “Review: Hedda Gabler, Old Vic”
“Just because he doesn’t say much doesn’t mean that he hasn’t feelings like the rest of us”
Instincts can be useful and they can also be really annoying, especially when you don’t follow them. After three weeks away from the theatre, most of which has been spent lying by a pool in the South-West of France, my first engagement back was at the Donmar Warehouse to see Brian Friel’s Philadelphia, Here I Come! As with most things at theatres such as these, I automatically book for everything as soon as it is released, sometimes it’s the only way to guarantee getting the cheap seats, and so there is rarely any sense of deciding whether I actually want to see something or not. And because it is then cheap, thus one can argue that it doesn’t really matter if I don’t like it – such excellent self-perpetuating logic is needed to ensure I keep getting up early to join the website-crashing scrum of first day booking.
But my tolerance has lessened somewhat as I’m slowly weaning myself off my addiction to theatre (at least to a more manageable position…) and after having unpacked my holiday things and checked the calendar as to when I was next booked in anywhere, my heart was not particularly singing with joy at the prospect of seeing this play. I allowed myself to be persuaded that I needed to “get back on the horse” and that I was just suffering from post-holiday blues – my companion reckoned I wouldn’t have been enthused about any play that didn’t involve me sitting in a hot tub – but in all honesty, my overall impression of Philadelphia… was one of overwhelming ‘meh’. Continue reading “Review: Philadelphia, Here I Come! Donmar Warehouse”
Still utilising the in-the-round format introduced for The Norman Conquests, the Old Vic now hosts the first revival of Brian Friel’s Dancing at Lughnasa. Telling the story of five unmarried sisters living in rural Ireland, the play is actually narrated from the memories of a seven-year-old Michael, the illegitimate son of the youngest sister, now grown up: a framing device which initially proves very effective. The play looks at the struggles faced by the women to subsist in increasingly uncertain economic times, exacerbated by their unwell brother recently returned from Africa and Michael’s father’s unexpected visit to their cottage.
The five actresses playing the sisters have a great chemistry, and I longed for more scenes with all five of them simultaneously on the stage, but Simone Kirby as Rosie is given much less stage time than the others. Niamh Cusack came close to stealing the show for me, she effortlessly showed the great strength in her character who assumes the responsibility of keeping spirits high in the household, whether it be through cooking (she displays some great bread-making skills on-stage), through her melodic singing, or just her joie-de-vivre. Her scenes with Michelle Fairley’s more matriarchal Kate were spine-tingling as their frustrations at their ever-worsening situation threaten to take over, but they can’t allow their feelings to explode as they have the rest of the family to think about. Continue reading “Review: Dancing at Lughnasa, Old Vic”