A new series of monologues, curated and produced by Michelle Collins alongside the Equity Benevolent Fund, has been released online for charity. Entitled “#FortheLoveofArts”, the scheme sees acting talent come together to raise funds for beleaguered artists and individuals during the ongoing pandemic.
Appearing in the series are Lesley Manville, Ian McKellen, Adjoa Andoh, Miriam-Teak Lee, Derek Jacobi, Layton Williams, Sue Johnston, Jason Watkins, Sanjeev Bhaskar, Pearl Mackie and more. Some of the monologues are brand new works penned especially for the series.
The monologues can be viewed on the Equity Benevolent Fund’s YouTube channel.
The enduring lightness and laughter of Series 1 of Twenty Twelve make it an ideal lockdown watch
“OK. Here’s the thing. OK? The thing is… OK. Here’s the thing with this. OK. The thing is…”
Though it is actually nearly a decade ago now, 2011 does seem like another lifetime. And it is worth remembering too that pre-Olympics, many of us (particularly those who live and work in the capital) were sceptical about what havoc the 2012 Games would bring (I had a whole meeting about how dedicated traffic lanes would impact on some training I was meant to be running…).
Into this unknown, mockumentary Twenty Twelve – written and directed by John Morton – was broadcast (on BBC Four natch, those sceptics abounded) to coincide with the 500-day countdown to the opening ceremony. And a new British comedy classic was born, one which still holds up well now that things are, well, different. Continue reading “TV Review: Twenty Twelve (Series 1)”
Don’t you love farce? Well turns out I rather did like Alexis Michalik’s Edmond De Bergerac at the Richmond Theatre
“But will the audience come?”
I do love a comedy that unexpectedly makes me laugh a lot. It is a genre, particularly when it leans towards farce, that can be a tricky one to get right and there’s nothing worse than being the only one stony-faced in a theatre full of people roaring their heads off (qv me at One Man Two Guvnors, or most Feydeau plays). But sometimes it works, sometimes there’s a Noises Off in there, and treading a similar-ish path is Alexis Michalik’s Edmond De Bergerac as it tracks the on- and off-stage shenanigans of a theatre company whilst playwright Edmond Rostand struggles to write Cyrano de Bergerac for them.
And I have to say that I chortled merrily through Roxana Silbert’s production, which has popped around the country after a run at Birmingham Rep. It is thoroughly silly, doesn’t take itself seriously for a single moment, and is consequently most enjoyable if just a touch overlong. Freddie Fox’s Rostand is a struggling writer whose last show was a flop and with the bills mounting, is blocked. His artistic juices are only stimulated when his pal Léo commissions him to write a suite of love letters to seduce a new would-be paramour on his behalf and the spark of a new play ignites as life imitates art imitates life and opening night fast approaches. Continue reading “Review: Edmond De Bergerac, Richmond Theatre”