Simon Annand’s Time To Act is a beautiful book of photos capturing actors in the minutes before they go on stage
Tackling the constraints of the pandemic in its own way, Simon Annand’s fantastic new book of photos Time To Act has launched a virtual exhibition of some of the photographs which has now been extended to until Christmas. It’s an ingenious way of sharing some of the hundreds of images from the book and should surely whet the appetite for either just buying it now or putting on your list for Santa to collect soon.
Kwame Kwei-Armah, Artistic Director of the Young Vic, has announced the start of the Young Vic’s 50th birthday with a year-long programme of work entitled We are the New Tide, dedicated to the theatre’s milestone birthday.
The 50th birthday year of work begins with three major commissions:
YV 50thProjection Project– a projection celebrating the people and productions from across five extraordinary decades, illuminating the front of the Young Vic building each evening, with video design by Duncan McLean – check out just some of those productions in the gallery above.
The Unforgotten–an interactive outdoor art installation commemorating trailblazers Mary Seacole, Marsha P. Johnson and Ulric Cross. Furthering the conversation within the Black Lives Matter movement, the Young Vic community will be invited to contribute to the installation by submitting their own nominations in writing on the side of the building and online, asking us all to (re)consider who we celebrate as our heroes. Created by artists Sadeysa Greenaway-Bailey and Anna Fleischle. From 11 September, free.
The New Tomorrow– for the first piece of live theatre since the pandemic closed UK theatres, this weekend festival of speeches and monologues asks what the next fifty years hold. Writers and artists Jade Anouka, Marina Carr, Jasmine Lee-Jones, Ruth Madeley, Amy Ng, Stef Smith, Jack Thorne, Isobel Waller-Bridge and Steve Waters will explore the change that has come and is coming. Cast to be announced. 3 & 4 October, 4pm, Main House, free
Robert Hastie’s production of Guys and Dolls brings all kind of Christmas cheer at the Crucible Theatre
“Call it dumb, call it clever Ah, but you can get odds forever”
There’s a touch of the predictable about going for a classic like Guys and Dolls as your Christmas musical, but can you blame Sheffield Theatres when its a stone-cold classic like this. And even if I’ve seen it fair few times in recent years (Royal Exchange, West End, Chichester), its joyous spirit is one which is hard to resist.
And that spirit is in fine evidence in Robert Hastie’s exuberant production at the Crucible. In Kadiff Kirwan’s highly personable Sky Masterson and Alex Young’s pleasingly self-assured Sarah Brown, and Martin Marquez’s Nathan Detroit and Natalie Casey’s Miss Adelaide, it has a cracking central quartet who have no problem in whisking us away from our troubles, if only for a couple of hours. Continue reading “Review: Guys and Dolls, Crucible”
A trio of album reviews cover the (relatively) recently released cast recordings of Company, Follies and Mythic
“One more souvenir of bliss”
I adored Marianne Elliott’s reinterpretation of Stephen Sondheim and George Furth’s Companyon my many visits and so the news of a cast recording was of course ecstatically received. And perhaps inevitably it doesn’t quite live up to the thrill of seeing it live but maybe that’s because the production is still so fresh in my mind. I mean we’re only talking a 4 instead of a 4.5…
I swear Patti LuPone’s ‘Ladies Who Lunch’ was different every time I saw it but this version here is as good as any, with the glorious fullness of her voice pointedly sharpening its wit. Her contributions to ‘The Little Things We Do Together’ are inspired, Jonny Bailey’s ‘Not Getting Married’ is breathlessly affecting and the warmth of Rosalie Craig’s character and voice infuse the whole experience with real quality. Continue reading “Album Reviews: Company / Follies / Mythic”
Follies2019 remains the show that I need right now
“I’m so glad I came”
Just a quickie for this revisit to Follies, which remains as perfect a piece of musical theatre as I could hope for. I loved it then but I really love it now, Joanna Riding is just heartbreakingly perfect as Sally, she really brings something to the role that somehow eluded Imelda Staunton (for me at least), Alexander Hanson is superb in tracing Ben’s tragic fall, and Janie Dee and Peter Forbes maintain their stellar work as Phyllis and Buddy (seriously, Dee is a proper showstopper).
And as is surely appropriate in Dominic Cooke’s production, ghosts of the past interplay with what we’re seeing from top to bottom. It was great to see Dame Felicity Lott as Heidi, a different but no less affecting proposition than Dame Josephine Barstow (there truly ain’t nothing like a…). And the young talents of Gemma Sutton, Ian McIntosh, Harry Hepple and Christine Tucker are eloquently elegant as the younger incarnations of the central quartet. Continue reading “Re-review: Follies 2019, National Theatre”
The Olivier Award-winning Follies returns to the National Theatre in richer, deeper, more resonant form and just blows me away
“It’s the cat’s pyjamas”
Like the ghosts of their younger selves that haunt the characters in Folliesso beautifully in this production, for those who were lucky enough to catch its superlative Olivier Award-winning 2017 run, so too do our memories interplay with what we’re seeing, inducing some soul-shiveringly exceptional moments that are almost metatheatrical in the feelings they provoke.
The tingle of anticipation is never far away but the show somehow feels richer, deeper, more resonant in the note of melancholy it strikes as it exposes nostalgia for the rose-tinted self-delusion it so often becomes. Janie Dee’s Phyllis somehow feels more desolate, especially in her bitterly brilliant ‘Could I Leave You’; Tracie Bennett scorches the roof once more in ‘I’m Still Here’ in what feels like a more internal performance now; we’re all at least a year older… Continue reading “Review: Follies 2019, National Theatre”
A hugely fascinating new musical from the RSC, Miss Littlewood impresses at the Swan Theatre – might we see it London before too long?
“I’ve come about the theatre”
The last musical to come out of the RSC is a little know thing that is still kicking around somewhere, Matilda I think it’s called… So Miss Littlewood might have a little expectation carrying on its shoulders, although it is clearly a completely different kettle of fish.
In the Swan Theatre, Sam Kenyon (book, music and lyrics) tells us the story of Joan Littlewood. Or rather, given the format of the show, hands the reins over to Joan to tell her story. Clare Burt stars as an older Littlewood who acts as a narrator, a maestro, as she directs six other performers, all of whom take turns in donning the blue cap to embody this most totemic figure of British theatre. Continue reading “Review: Miss Littlewood, Swan Theatre”
Not too much more to say about Folliesthat I didn’t cover last time, suffice to say it’s just such a luxuriously fantastic show and I think I could watch it over and over! The head-dresses! Everything Janie Dee does! The orchestra! How no-one seems to be falling down that staircase! The staging! The shade of mint green in Loveland! The Staunton’s icy bitterness in ‘Losing My Mind’! The amount that Josephine Barstow has now made me cry, twice! The Quast! Just get booking now, while you still can.
Running time: 2 hours 20 minutes (without interval) Booking until 3rd January, best availability from 6th November
Follies will be broadcast by NT Live to cinemas in the UK and internationally on Thursday 16 November.
An utterly majestic production of Sondheim’s Follies is a masterpiece for the National Theatre
“All things beautiful must die”
Well this is what we have a National Theatre for. For Vicki Mortimer’s set design that both stretches towards the heights of the Olivier and lingers some 30 years back in the past; for the extraordinary detail and feathered delights of the costumes; for the lush sound of an orchestra of 21 under Nigel Lilley’s musical direction; for a production that revels in the exuberance and experience of its cast of 37. And all for what? For a musical that, despite its iconic status in the theatre bubble, is more than likely to raise a ‘huh?’ from the general public (at least from the sampling in my office!).
Stephen Sondheim (music and lyrics) and James Goldman’s (book) Folliesis a show that has a long history of being tinkered with and more often than not, is as likely to be found in a concert presentation (as in its last London appearance at the Royal Albert Hall) as it is fully staged. Which only makes Dominic Cooke’s production here all the more attractive, not just for aficionados but for the casual theatregoer too. Using the original book with just a smattering of small changes, this is musical theatre close to its most luxurious, and a bittersweetly life-affirming thrill to watch. Continue reading “Review: Follies, National Theatre”