I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in August.
Joseph and the Amazing Technicolor Dreamcoat, aka the Sheridan Smith show
Queen of the Mist, aka the surprisingly affecting one
Appropriate, aka all hail Monica Dolan
Waitress, aka ZZZZZZZOMGGGGG STUNT CASTING oh wait, Joe Suggs hasn’t started yet
The Doctor, aka all hail Juliet Stevenson
A Very Expensive Poison, aka it was a preview so I shouldn’t say anything
Blues in the Night, aka all hail Broadway-bound Sharon D Clarke (and Debbie Kurup, and Clive Rowe too)
The Night of the Iguana, aka justice for Skyler Continue reading “August theatre round-up”
The full cast has been announced for the West End transfer of Robert Icke’s new adaptation of Mary Stuart. Following a critically acclaimed, sold out season at the Almeida Theatre in 2016-17, the production will open at the Duke of York’s Theatre from 15 January for a limited run before visiting
Theatre Royal Bath, Salford Lowry and Cambridge Arts Theatre.
As previously announced, Juliet Stevenson and Lia Williams reprise the play’s central roles. Also reprising their roles are Rudi Dharmalingam (Mortimer), David Jonsson (Davison), John Light (Leicester), Carmen Munroe (Kennedy), Eileen Nicholas (Melville) and Daniel Rabin (Kent).
Joining the cast are Michael Byrne (Talbot), Christopher Colquhoun (Paulet), Calum Finlay (Aubespine) and Elliot Levey (Burleigh).
Two queens. One in power. One in prison. It’s all in the execution.
Schiller’s political tragedy takes us behind the scenes of some of British history’s most crucial days. Playing both Elizabeth I and Mary Stuart, Juliet Stevenson (Hamlet) and Lia Williams (Oresteia) trade the play’s central roles, decided at each performance by the toss of a coin.
Get your tickets here and have a read of my review from the Almeida here.
“I shall not look upon his like again”
My lack of willpower when it comes to theatre is infamous, even more so on the rare occasions when I get invited to be someone’s plus one, with the responsibility of filing my own review lifted from the shoulders for once. Thus I found myself at the Harold Pinter for the transfer of the Almeida’s Hamlet, a production I enjoyed immensely on the two occasions I saw it in North London and whose charms I wasn’t entirely sure would translate to the larger theatre here.
Those fears were largely unfounded – the scale of the intimate family drama that Robert Icke has fashioned from Shakespeare’s ever-present tragedy amplifies effectively, and Andrew Scott’s deeply conversational style still resonates strongly (in the stalls at least) through the familiar verse, finding new readings and meanings. If I’m brutally honest, I don’t think I gained too much from this repeat viewing but that’s just my rarified position – it is still a thrilling piece of theatre and it’s a thrill to see it in the West End.
Running time: 3 hours 35 minutes (with 2 intervals)
Booking until 2nd September, Juliet Stevenson leaves the company on 1st July when she is replaced by Derbhle Crotty
“Most fair return of greetings and desires”
As follows many a sold out run with a high-profile cast, Almeida Associate Director Robert Icke’s new production of Hamlet transfers to the West End for a strictly limited season this summer (read my review here) from 9th June to 2nd September.
Starring BAFTA and Olivier Award winner Andrew Scott (Sherlock, Birdland, Cock, Pride) as the Danish Prince, Hamlet is brought to the stage by the critically acclaimed and multi-award winning creative team behind 1984 and Oresteia. And in further excellent news, the entire cast is making the trip to the West End (although Juliet Stevenson only until 1st July, no news yet on who might step into Gertrude’s shoes). Continue reading “The Almeida’s Hamlet transfers to the Harold Pinter”
“There is nothing either good or bad, but thinking makes it so”
The enduring image of Robert Icke’s Hamlet is family – the repeated motif of group of three cleaving together haunts the production as much as Hamlet’s father himself. From the instant and intense bond established between Polonius, Ophelia and Laertes, Icke makes striking emotional sense of the respective grief and ferocity of the latter two, powerfully played by Jessica Brown Findlay and Luke Thompson against Peter Wight’s twinkling charm as their father.
And Icke also gives the tragic visual of Andrew Scott’s Hamlet trying to rebuild his original family unit, joining hands with his mother and the ghost of his father in the midst of the closet scene, willing Juliet Stevenson’s Gertrude to see what he sees, to put things back the way they used to be. And in a stunning montage for the final scene, these trios reform, emphasising the innate happiness of one and the deep tragedy of the other. It is deeply, deeply felt. Continue reading “Review: Hamlet, Almeida”
2017 is only just over a week away now and the reviewing diary is already filling up! All sorts of headline-grabbing West End shows have already been announced (The Glass Menagerie, Who’s Afraid Of Virginia Woolf, Don Juan In Soho, The Goat, Or Who Is Sylvia) and the National look to continue a sensational year with another (Twelfth Night, Consent, the heaven-sent Angels in America), so this list is looking a little further afield to the London fringe and some of the UK theatres I hope to get to throughout the year.
After hearing Elizabeth Newman speak passionately on a panel discussion about women’s theatre, I kinda have a big (intellectual) crush on her, so I’m very keen to see her tackle a new adaptation by Deborah McAndrew of the classic Anne Bronte novel in a theatre that is very close to my heart.
Continue reading “20 shows to look forward to in 2017”
“The Queen? Which Queen?”
Robert Icke’s Mary Stuart is a towering success, an extraordinary piece of theatre that surely ranks amongst the year’s best, no mean feat considering his Oresteia, also for the Almeida, did the same thing last. There’s added spice here too since leading players Lia Williams and Juliet Stevenson do not know which of Queen Elizabeth I and Mary Queen of Scots they will be playing until the beginning of the performance when it is decided with a coin toss. And so too, dear reader, must you decide…
“It’s all in the execution”
Aside from an excuse to use one of the greatest publicity shot ever created in our lifetimes, courtesy of Miles Aldridge, this is actually a public service announcement to let you know that more tickets for Mary Stuart will go on sale at 10am today (Monday 5th December). And a little bird can tell you that since the show is pretty much in the round, the new seats that they’ve added in the Stalls (Section C) are really rather good as you’re very close to the action. (Sightlines are affected occasionally esp in final scene so I’d opt for 3-4 or 31-32 if you can). That little bird might also tell you to book now for the love of God, tickets will be like gold dust!
Running time: 3 hours 20 minutes (with interval) (subject to change)
Booking until 21st January
“We are both queens”
There’s much to enjoy about this Mary Stuart but what is particularly pleasing to see is Robert Icke’s directorial instincts developing and maturing. The production opens with Tim Reid’s live video, capturing the opening gambit, but cannily isn’t used again until a key counterbalancing action later on; likewise original compositions from Laura Marling are quite the coup but again are used sparingly, wisely, at two crucial and contrasting moments. The timestamping of each act over a more or less 24 hour period measures out a steady but always forceful sense of pace – Icke has always been a strikingly effective director but the less is more ethos espoused here is singularly superb.
So too with the political overtones of his adaptation, everywhere you look contemporary resonances can be found but they’re never overplayed. The 52% are hauled over the coals when “a majority does not prove a thing is right”; the dangers of riding roughshod, Trump-like, over the tenets of “international laws” are explored; the doublespeak (or rather non-speak) of ‘Brexit means Brexit’ finds a chilling partner in Elizabeth’s determination to shift the responsibility of the death warrant onto her man Davison, surely no accident that his modern-day equivalent is called David Davis… Continue reading “Mary Stuart – heads you win”
“You seem to know our miseries alright”
A coin toss is naturally a game of chance and so the odds of getting the same side twice in a row are just as high as getting heads and then tails (or maybe not, but I’m not researching probability theory on Wikipedia to pretend that I know). What I’m trying to say is that I went back a week later and I got Williams as Elizabeth and Stevenson as Mary again and so my plans of having two different reviews went kaput!
Here’s the review I did write.