The 2019 London Evening Standard Theatre Awards – Shortlist announced

Proper award season is starting to kick into gear now with the reveal of the shortlist for the 2019 London Evening Standard Theatre Awards and an uncharacteristically strong set of nominations that will surprise a fair few. I had little love for Sweet Charity so I’d’ve bumped its nod for something else but generally speaking, I’m loving the love for Dorfman shows and the Royal Court and I hate the reminder that there’s a couple of things I mistakenly decided not to see (Out of Water, …kylie jenner)

BEST ACTOR in partnership with Ambassador Theatre Group
K. Todd Freeman Downstate, National Theatre (Dorfman)
Francis Guinan Downstate, National Theatre (Dorfman)
Tom Hiddleston Betrayal, Harold Pinter Theatre
Wendell Pierce Death of a Salesman, Young Vic & Piccadilly
Andrew Scott Present Laughter, Old Vic

NATASHA RICHARDSON AWARD FOR BEST ACTRESS in partnership with Christian Louboutin
Hayley Atwell Rosmersholm, Duke of York’s
Cecilia Noble Downstate, National Theatre (Dorfman) & Faith, Hope and Charity, National Theatre (Dorfman)
Dame Maggie Smith A German Life, Bridge
Juliet Stevenson The Doctor, Almeida
Anjana Vasan A Doll’s House, Lyric Hammersmith Continue reading “The 2019 London Evening Standard Theatre Awards – Shortlist announced”

Winners of the 2019 Black British Theatre Awards

An important addition to the theatre award calendar, the winners of the inaugural Black British Theatre Awards can be found below

Creatives Group

BEST DIRECTOR FOR A PLAY OR MUSICAL
WINNER – Lynette Linton; Sweat: Gielgud Theatre
Roy Alexander Weise; Nine Night: National Theatre
Nancy Medina; The Half God of Rainfall: Kiln Theatre

BEST PRODUCER
WINNER – Tobi Kyeremateng; Babylon Festival: Bush Theatre

BEST CHOREOGRAPHER 
SPONSORED BY HARLEQUIN FLOORS
Rachael Nanayonjo; Sleeping Beauty: Theatre Royal Stratford East
Alesandra Seutin; Boy Breaking Glass: Sadlers Wells
WINNER – Shelley Maxwell; Equus: Theatre Royal Stratford East Continue reading “Winners of the 2019 Black British Theatre Awards”

Nominations for the 2019 Black British Theatre Awards

Creatives Group

BEST DIRECTOR FOR A PLAY OR MUSICAL
Lynette Linton; Sweat: Gielgud Theatre
Roy Alexander Weise; Nine Night: National Theatre
Nancy Medina; The Half God of Rainfall: Kiln Theatre

BEST PRODUCER
Tobi Kyeremateng; Babylon Festival: Bush Theatre

BEST CHOREOGRAPHER 
SPONSORED BY HARLEQUIN FLOORS
Rachael Nanayonjo; Sleeping Beauty: Theatre Royal Stratford East
Alesandra Seutin; Boy Breaking Glass: Sadlers Wells
Shelley Maxwell; Equus: Theatre Royal Stratford East Continue reading “Nominations for the 2019 Black British Theatre Awards”

20 shows to look forward to in 2019

So many of the recommendations for shows to see next year focus on the West End. And for sure, I’m excited to catch big ticket numbers like All About Eve, Come From Away, and Waitress but I wanted to cast my eye a little further afield, so here’s my top tips for shows on the London fringe (plus one from the Barbican) and across the UK.

1 Medea, Internationaal Theater Amsterdam at the Barbican
Simon Stone’s sleekly contemporary recasting of Euripides is straight up amazing. Anchored by a storming performance from Marieke Heebink, it is as beautiful and brutal as they come. It’s also one of the few plays that has legit made me go ‘oh no’ out loud once a particular penny dropped. My review from 2014 is here but do yourself a favour and don’t read it until you’ve seen it.

Macbeth, Watermill Theatre
2018 saw some disappointing Macbeths and I was thus ready to swear off the play for 2019. But the Watermill Ensemble’s decision to tackle the play will certainly break that resolve, Paul Hart’s innovative direction of this spectacular actor-musician team will surely break the hoodoo…

3 Noughts and Crosses, Derby Theatre, and touring
Pilot Theatre follow on from their strong Brighton Rock with this Malory Blackman adaptation by Sabrina Mahfouz, a Young Adult story but one which promises to speak to us all. Continue reading “20 shows to look forward to in 2019”

Re-review: ear for eye, Royal Court

I go back to debbie tucker green’s ear for eye because sometimes, you just have to

“Change don’t give-a-fuck
change gone do its thing with or without you.”

Not too much to add about ear for eye that I didn’t already say in my original review but it was a play that I kept thinking about, reading and re-reading, and decided that I needed to see again to really get that confrontational power that it possesses. A bit disappointed to see a few people making a dash for it, clearly too much of a challenge for them but you have to laud debbie tucker green for creating the kind of structurally ingenious and politically urgent work that provokes such some emotion.

Running time: 2 hours 5 minutes (without interval)
Photos: Stephen Cummiskey
eye for ear is booking at the Royal Court until 24th November

 

Review: ear for eye, Royal Court

ear for eye, debbie tucker green’s new play for the Royal Court is ferocious and uncompromising and challenging and quite often breath-taking

“This is harder for us than it is for you”

debbie tucker green’s new play play ear for eye is ferocious and uncompromising and challenging and quite often breath-taking. Tackling the current state of racism in both the UK and the US, a triptych of wildly diverse parts bind together green’s innate linguistic power with an acutely pointed experiential style and a determination to really make you listen.

Played at two hours without an interval, green thus presents us with what it is to be black today. The first is a tangle of overlapping voices, mothers advising sons how to deal with contact with the police, victim of harassment, activists looking to galvanise the struggle. Scenes are repeated in different voices, viscerally contrasting those experiences (particularly when the hand gestures scene is replayed with BSL).

Then we switch to a tightly wound duologue (Lashana Lynch and Demetri Goritsas, both excellent) as a black student talks, discusses, argues with a white professor about the violence meted out by white men in school shooting and bombings etc. She’s adamant it is indicative of systemic, structural racism, he’s sure they’re all lone wolves, but the power dynamics here are astonishing as we’re swept right into the maelstrom of mansplaining mendacity as he battles to exert his authority.

Finally, the third section is a filmed segment, white people reciting the horrific detail of some of the Jim Crow laws, seemingly the basis for segregation in the US. And lest we British get too complacent, it is followed by extracts from UK slave codes, tracing the historic links of these pernicious rules, literally codified into society and seemingly impossible to shake off. It is hard to take and that is pretty much green’s point (and why there’s no interval to slope off shamefully). 

green directs with laser-like precision, Vicki Manderson’s movement creating beautiful tableaux as the sixteen-strong ensemble endlessly switch and reconfigure. And Merle Hansel’s monolithic set frames this opening sequence with real visual flair, under Paule Constable’s elegant lighting choices. ear for eye is as challenging as theatre gets, as art gets, but make no mistake as to how vital it is. (And what a year Kayla Meikle is having!)

Running time: 2 hours (without interval)
Photos: Stephen Cummiskey
eye for ear is booking at the Royal Court until 24th November

Review: a profoundly affectionate, passionate devotion to someone (-noun), Royal Court

“I want you beyond what I can say beyond what I got words for”

The warnings come early as you queue to get into the Royal Court upstairs – “if you’ve got coats and bags, check them into the cloakroom or keep them on your knees” – and they’re well-founded, for Merle Hansel’s spectacular redesign of the auditorium puts the audience on swivelling stools in the centre, with the company on raised strips of narrow stage around us on three sides.

It’s an arresting start and an entirely appropriate one too, for debbie tucker green’s a profoundly affectionate, passionate devotion to someone (-noun) comes with all the gnomic but still conversational energy of her best writing. And as dialogue pings from one side of the room to the other to the other as the actors prowl its borders, we can twist and turn as we please, to focus where we will or follow the action like head-bobbing tennis spectators. Continue reading “Review: a profoundly affectionate, passionate devotion to someone (-noun), Royal Court”

Review: hang, Royal Court

“You wouldn’t have the course for it. You would have the paperwork for it…you wouldn’t have the words, the stomach, the imagination for it”

A woman – a mother, a wife, but definitely not a victim. Hell no. Marianne Jean-Baptiste’s enigmatically named Three is a quiet presence at first in debbie tucker green’s self-directed hang. Ushered through the institutionally bland corridors of Jon Bausor’s raised set by two nameless employees (well, they’re called One and Two) of a faceless corporation, she’s there to exact the price of an event past. But as the requisite layers of bureaucracy are peeled back for her decision to be authorised, the cold fury and righteous indignation that has fuelled her for the past couple of years erupts with calculated precision in a stunning performance.

We’re in a near-future environment not too different from our own – surveillance has increased and more and more services have been out-sourced, including the punishment system. tucker green initially gives little away but the writing uncoils in unexpected but engaging ways, information slowly drip-dripping from the half-finished sentences like sweat from a politician’s brow on election night. And the rhythm it establishes is astonishing, making detailed use of active silences to speak volumes about the relationships between the characters, the interplay between Jean-Baptiste and Claire Rushbrook’s officer is particularly deliciously charged. Continue reading “Review: hang, Royal Court”

Review: random, Royal Court

debbie tucker green’s one-woman show random is a 50 minute tale of an everyday black family whose lives are torn apart by a random act with tragic consequences. Performed by Nadine Marshall on the Royal Court’s main stage, she holds the attention effortlessly with a stunning performance of great intensity.

Marshall takes us through all the family members, Brother, Sister, Mum and Dad, in a witty opening sequence full of domestic idiosyncracies, finding much humour in the mundane and fleshing out all four characters well before tragedy hits and the ugly spectre of knife crime rears its head. From here, Sister comes to the fore as the voice of grief, stricken with emotion at the brutality of the crime the injustice of the world that keeps on turning despite their loss. Continue reading “Review: random, Royal Court”