Morgan Lloyd Malcolm’s Emilia transfers to the Vaudeville Theatre with all of its feminist fire and fun intact
“There’s a woman on the stage”
Is there anything currently on the London stage that is more gracefully eloquent than the moment that the transformative power of grief is writ large at a crucial point a third of the way into Emilia. It’s a rare moment of beautiful subtlety in a play that is more often considerably bolder in its sentiment but it’s also a mark of just how nuanced Nicole Charles’ production and Morgan Lloyd Malcolm’s writing is, even while some tie themselves in knots trying to square its historical and feminist credentials.
A transfer from Shakespeare’s Globe last summer (officially the 13th best show of the year doncha know) where its short run caught fire, its all-female and wonderfully diverse cast and creative team mean that all three of the Strand’s major playhouses currently have work written by women in them (I wonder when this last happened). And while that ought not to be noteworthy, god knows it still is and it all ties up rather neatly with Lloyd Malcolm’s writing. For though this is a play about a historical woman, it is also a play about all women. Continue reading “Review: Emilia, Vaudeville Theatre”
So much to keep on top of – pics from All About Eve, videos from Waitress, foodie secrets from Gingerline and casting news from Emilia
We’re just three weeks away from All About Eve starting previews and these rehearsal pics ought to whet anyone’s appetite.
And more importantly if you’ve not booked yet, details have been released about day seats and a front row lottery – this will definitely not be one to miss.
Day Seats: Available in person at the Box Office from 10am on a first come, first served basis. Maximum x2 per person. Limited availability. £25.00 per ticket.
Front Row Lottery: In partnership with Today Tix. More information on how to enter will be announced on the All About Eve social media channels from Friday 25 January 2019. Maximum x2 per person. £25.00 per ticket. Continue reading “Some goodies for a cold January Thursday”
In this year, at this time, with this message, Emilia feels more important than ever. a triumph
“We are only as powerful as the stories we tell…
we have not always been able to tell them”
Three weeks on holiday and completely off social media have been bliss but within seconds of switching back on, it was hard to miss the buzz around Emilia so I did the right thing and booked myself in at the Globe. And though I’d been forewarned, I still wasn’t quite prepared for just how much Morgan Lloyd Malcolm’s brand new play would so thoroughly shake the ground on which it was performing.
Ostensibly, Emilia is a piece of historical biography, a deep dive into the life of Emilia Bassano, a writer who was one of the first Englishwomen to publish an original collection of poems and as contemporary of Shakespeare, a possible inspiration to the Bard. With hard facts about her few on the ground, Lloyd Malcolm toys with this to suggest that that inspiration may have extended beyond giving her name to several of his characters across to providing a literary source from which to crib. Continue reading “Review: Emilia, Shakespeare’s Globe”
Morgan Lloyd Malcolm’s new play Emilia already looked like one of the top tips of Michelle Terry’s inaugural season at the Globe and with this cast announcement, Nicole Charles’ production fast becomes an absolute must-see!
Nadia Albina will play Lady Katherine
Anna Andresen will play Mary Sidney
Shiloh Coke will play Lady Anne Clifford
Leah Harvey will play Emilia 1
Jenni Maitland will play Countess of Kent
Clare Perkins will play Emilia 3
Carolyn Pickles will play Lord Henry Carey
Vinette Robinson will play Emilia 2
Sophie Russell will play Lord Thomas Howard
Sarah Seggari will play Lady Cordelia
Sophie Stone will play Lady Margaret Clifford
Charity Wakefield will play William Shakespeare
Amanda Wilkin will play Alphonso Lanier
In 1611 Emilia Bassano penned a volume of radical, feminist and subversive poetry. It was also the first published collection of poetry written by a woman in England. Lloyd Malcolm promises to reveal the life of Emilia: poet, mother and feminist from the 10th August. See you there? Continue reading “Round-up of news and treats and other interesting things”
“There was no happier man on the planet than me, the day I learned they’d split The Hobbit into three separate films”
In what is quite the coup for Salisbury Playhouse, Chris Chibnall’s new play Worst Wedding Ever is premiering there, a product of AD Gareth Machin’s determination to promote new writing from local sources. A resident of Dorset, Chibnall held the much of the nation’s collective attention last year in the brilliant Broadchurch which starred the beautiful Dorset coastline alongside its whodunit, and whilst this very much ploughs a different furrow, it proved to be quite engaging.
A comedy through and through, about a young couple keen to have a quiet wedding on the cheap but failing to take into account the determination of their families and in particular her mother, to get involved as much as possible. What makes it work though is the way which Chibnall manages to stretch the remit of comedy here to cover both the outrageously farcical and the touchingly human – there’s a huge emotionality at play here which means the comedy is often most moving. Continue reading “Review: Worst Wedding Ever, Salisbury Playhouse”
“Literature doesn’t teach us anything”
Juan Mayorga’s The Boy At The Back turned out to be one of my favourite radio dramas that I’ve listened to this year so far. A canny choice for producer/director Nicolas Jackson as Mayorga is one of Spain’s most highly renowned contemporary writers (which makes me a little sad that this is the first I’ve heard of him) and this play proved to be a most effective psychological drama as a precocious pupil and deluded teacher play out a dangerously voyeuristic pas-de-deux that threatens many people around them.
By comparison, Melissa Murray’s Chiwawa might have felt a little bit tame, but its tale of a self-important author trolling around on the internet, leaving anonymous reviews slagging off his rival’s work and bigging up his own, has a deliciously biting contemporary feel. Michael Bertenshaw’s writer is lots of pompous fun but the real joy comes from Fenella Woolgar as his manipulative wife and current RSC darling Pippa Nixon as the PA she forces to shoulder the blame for the mishaps, with unpredictable consequences. Continue reading “Radio Review: The Boy At The Back / Chiwawa / Silk: The Clerks’ Room, Jake”
“I think the temptations will be too strong in Brighton”
Just a quickie for this 3 hour adaptation of Jane Austen’s Pride and Prejudice which was spread over 3 weeks and so proved to be quite a drawn-out experience. Charlotte Jones’ dramatisation, directed by Sally Avens, worked extremely well, thanks to a spiffingly high-quality cast. Current RSC darling Pippa Nixon ad Jamie Parker took on the leading couple, Samantha Spiro as Mrs Bennett, Toby Jones as Mr Collins, Fenella Woolgar as Miss Bingley…the list goes on. And narrated by Amanda Root, it was practically tailor-made for me.
Which made the scheduling a tad frustrating, the week-long gaps a little too long for my apparent attention span these days whereas I would have rather binged on the whole thing in one go. But it was good. Parker taking a little getting used to as Darcy but getting there, connecting well with Nixon’s vibrant Elizabeth. Lydia Wilson making a compassionate Jane, Michelle Terry the same with Charlotte Lucas, David Troughton’s Mr Bennett resignedly pleasant against Spiro’s over-exuberant wife. A genuine pleasure.
“I don’t think being gay is that bad. I’ve had three erotic dreams about The One Show’s Matt Baker and I’ve really enjoyed them.”
Tom Wells’ Jonesy is currently running as part of nabokov’s Symphony as part of the Vault Festival, so it was a pleasant surprise to see it pop up as a Radio 4 Afternoon Drama, all the more so as Wells has adapted to fit the new medium. It is clearly a work that has a special relationship with sound for the writer – on stage, it is part of a trio of plays presented as a gig, live music augmenting the dramatic experience and on radio, it becomes a foray into the world of sound effects.
The original story follows academic and asthmatic Withernsea lad Jamie Jones as he tries to emulate the sporting underdog movies he loves so much by passing GCSE PE but it is now told by Jonesy himself from the confines of the BBC Radio Drama Sound Department where he has secured some work experience. So the storytelling becomes a little meta with its references but also surreally enhanced by the breadth of effects at his fingertips, some of them not entirely appropriate for the task in hand but all of them used most wittily. Continue reading “Radio Review: Jonesy / Pixie Juice / The Mysterious Death of Jane Austen”
“Was he driven to it by someone’s rage?”
Last up in the reinvention of Aeschylus’ Oresteia is Rebecca Lenkiewicz’s take on The Furies, bringing this tale of murder, revenge and justice to an end as the gods opt to end the vicious cycle of blood vengeance by introducing the concept of trial by jury and instituting the first ever homicide trial.
Niamh Cusack’s perfectly modulated tone makes for an engaging narrator, Lesley Sharp has the intensity and ferocity of a thunderstorm as the vitriolic Clytemnestra, and Maureen Beattie, Polly Hemingway and Carolyn Pickles are intimidatingly malevolent as the Furies, determined to get their revenge on Will Howard’s Orestes. His defender comes in the form of Chipo Chung’s Athena, who spots the chance to change the way humans sort out their grievances yet still has to battle against the established order. It’s an interesting story but something in this production didn’t quite gel for me in the way the previous two parts of the trilogy did, possibly due to the use of a narrator, something I’m rarely keen on. Continue reading “Radio Review: The Oresteia – The Furies / November Dead List”
“Kill her and be free”
Greek tragedies are never a light affair but The Libation Bearers, the second part of Aeschylus’ Oresteia trilogy is particularly brutal. Following on from the vengeful fury of Clytemnesta slaying her husband Agamemnon for sacrificing their daughter Iphigenia to the gods, the thirst for revenge switches to her other children Electra and Orestes, the latter of whom returning from exile to kill his mother for murdering his father. He’s got his own permission from the gods so it’s ok and urged on by a viciously determined Electra to conquer his nagging doubts, he sets about steeling himself for such a deed.
Ed Hime’s new version is highly atmospheric and swirls effectively on the edge of the mystical. His Chorus of slave women are voiced by Amanda Lawrence, Carys Eleri and Sheila Reid, their cracked voices recalling Macbeth’s Weird Sisters in urging Will Howard’s solid Orestes towards matricide. Lesley Sharp is strong again as Clytemnesta, haunted by her misdeeds and Electra is given a chilling intensity by Joanne Froggatt – I just find it interesting that there is no attempt to understand her mother’s actions, instead Agamemnon is venerated as the greatest leader ever despite the fact he had her sister killed. Continue reading “Radio Review: The Oresteia – The Libation Bearers / The 40 Year Twitch”