The National Theatre has today announced further productions that will be streamed live on YouTube every Thursday at 7PM BST via the National Theatre’s YouTube channel as part of National Theatre at Home; the new initiative to bring content to the public in their homes during the Coronavirus outbreak. The titles announced today include productions from partner theatres which were previously broadcast to cinemas by National Theatre Live. Continue reading “News: National Theatre at Home Phase 3”
Fancy a new Caryl Churchill play? Well here’s four of ’em. Glass. Kill. Bluebeard. Imp. impresses at the Royal Court
True story, I’d intended this review of Glass. Kill. Bluebeard. Imp. to be much more formally adventurous than my usual four paragraphs. But my coding ain’t up to scratch and real life intervened to take up time and so I’m just using normal words and format to express my admiration for this quartet of new Caryl Churchill plays.
Directed by James Macdonald, they’re an often extraordinary combination, circling around ideas of myths and stories with her customary precision and linguistic expertise. Married to the ingenuity of Miriam Buether’s set designs, each cannily different to the other as they loom out of the darkness of Jack Knowles’ lighting, it is a full-on auditory treat. And that’s before we even mention a cast that includes Deborah Findlay and Toby Jones. Continue reading “Review: Glass. Kill. Bluebeard. Imp., Royal Court”
Ahead of the film’s release on 19th July, a new trailer has been released for Making Noise Quietly
“Not with those muddy boots on”
Since his decade at the helm of Shakespeare’s Globe, Dominic Dromgoole has turned his hand to Oscar Wilde seasons with his new theatre company Classic Spring and has also set up the film company Open Palm Films – no resting on his laurels here. Not only that, but he’s also now making his directorial feature film debut with an adaptation of Robert Holman’s Making Noise Quietly. Continue reading “Film news: trailer for Making Noise Quietly released”
If female-fronted lawyer shows are your bag (and why wouldn’t they be!), the twin joys of The Split and The Good Fight have marvellous to behold
“Kill all the lawyers”
If I’m completely honest, Abi Morgan’s The Split did leave me a tad disappointed as it veered away from its legal beginnings to something considerably more soapy over its six episodes. The personal lives of the Defoe clan well and truly took over at the expense of any of the cases they were looking after and even if that family includes Nicola Walker, Annabel Scholey and Deborah Findlay, it’s still a bit of a shame that it ended up so schlocky. Continue reading “TV Review: The Split Series 1 / The Good Fight Series 2”
With Allelujah! at the Bridge Theatre, the return of Alan Bennett leaves me less than enthused
“Still, it was better than this”
In some ways, Allelujah! is perfectly symptomatic of the problem I have with the Bridge Theatre. Does London really need any new theatres, no matter how much people think they want interval madeleines? Does it especially need ones that put on large-scale Alan Bennett premieres? It is nice to see Nicholas Hytner maintaining the long-gestating creative relationship he has with Bennett but at the point where his new venture is now just a carbon-copy of his former home down the South Bank, except with premium seating, it is increasingly hard to make the case for it.
It doesn’t help that this isn’t vintage Bennett. His first play in six years, Allelujah! takes place in the crowded geriatric ward of the Bethlehem, a Yorkshire hospital threatened with closure. A camera crew are filming a documentary, allowing many of the patients to wax lyrical about lives that have passed on by, the England that once was. And in the corridors around the hospital, Bennett similarly lets rip, on the loss of compassion in our society, a social care system on its knees, an NHS in an even worse state, privatisation, gentrification, the downright stupidity of an immigration system that is leaching away the very talent we need to stay. Continue reading “Review: Allelujah!, Bridge Theatre”
Farinelli and the King
Harry Potter and the Cursed Child, Parts One and Two
Latin History for Morons
The Band’s Visit
SpongeBob SquarePants: The Musical
Best book of a musical
Itamar Moses for The Band’s Visit
Jennifer Lee for Frozen
Tina Fey for Mean Girls
Kyle Jarrow for SpongeBob SquarePants: The Musical Continue reading “The complete 72nd Tony nominations”
All hail the return of Nicola Walker to our TV screens in new Abi Morgan drama The Split
“Divorce shouldn’t be easy”
Just a quickie to cover the first episode of this new legal drama which looks extremely promising, not least because of a swooningly wonderful cast. The aforementioned Nicola Walker, Annabel Scholey and Fiona Button as sisters, the ever-marvellous Deborah Findlay as their fearsome mother, people like Stephen Tompkinson and Meera Syal as clients, hunky Dutchmen like Barry Atsma looming on the sidelines, and the likes of Rudi Dharmalingam and Kobna Holdbrook-Smith also on the fringes.
Photograph: Mark Johnson/BBC/Sister Pictures
“For whatever reason, he spared a hamster”
“I’m walking down the street and there’s a door in the fence open and inside there are three women I’ve seen before”
There’s something delicious about seeing the Caryl Churchill’s Escaped Alone return to the Royal Court before heading out to New York and then a UK tour. It’s also testament to James MacDonald’s production that the quartet of actors who originated their parts have all returned – Linda Bassett, Deborah Findlay, Kika Markham and June Watson, marvels every one.
I ranked the play as the fourth best thing that I saw last year and though I don’t always like to go back to things I enjoyed (in case it sullies the memory), I wanted to treat myself to this again. And I’m glad I did, for the layered complexity of Churchill’s writing allows for re-appreciation and indeed re-interpretation. My original review holds true but given the way the world has lurched closer to apocalypse (literally so, apparently), the play’s contrast between Doomsday and the domestic feels ever more poignant and pertinent.
Running time: 50 minutes (without interval)
Booking until 11th February, then touring 15 – 26 Feb BAM, New York; 7 – 11 March The Lowry, Salford; 14- 18 March Cambridge Arts Theatre; 22 – 26 March Bristol Old Vic
“At our time of life, we simply cannot deal with this shit”
It’s interesting to see the things that make ruffles in the theatrical establishment and those which pass by without comment. Vicky Featherstone’s reign at the Royal Court has not been without its uneven moments but the fact that The Children will be followed on the main stage by the return of Escaped Alone is indicative both of the daring nature of her programming in forefronting stories about older people, and also its success.
Lucy Kirkwood’s new play further ups the ante in making her protagonists sexual beings, her trio of retired scientists are battling not only the fallout from nuclear disaster but from the collision of their emotional lives. Nearly 40 years ago, Hazel and Rose were rivals for Robin and the play opens with the two women seeing each other for the first time since then. It’s a stilted, strange encounter, further complicated by Robin’s arrival. Continue reading “Review: The Children, Royal Court”