The National Theatre’s New Views playwriting competition for 14 to 19-year-olds throws up some real winners in its shortlist.
This year’s New Views programme saw the National Theatre engage with 74 schools across the UK, offering workshops with writers like Luke Barnes, Dawn King, Winsome Pinnock and Chino Odimba to help 14 to 19-year olds learn about writing plays. Over 300 plays were then submitted and 10 shortlisted. The winning play – If We Were Older – is receiving a full production and the other 9 are getting the rehearsed reading treatment, some of which I was able to catch.
I really enjoyed It’s More Than Okay Levi by Robert Lazarus (Haberdashers’ Aske’s Boys’ School, Hertfordshire) – crying at plays about Alzheimer’s is my jam (the kind of emotional torture I like to put myself through…) and even in the reduced circumstances of this reading, I have to say there was a tear or two prickling away. Continue reading “Review: New Views – Rehearsed Readings”
“We are bound on a wheel on pain”
The first series of Penny Dreadful may not have been perfect but I really rather liked it and was glad to hear a second season had been commissioned. And when I discovered the triple whammy of Helen McCrory and Simon Russell Beale being promoted to series regulars, Billie Piper’s distracting Oirish brogue being excised and Patti LuPone appearing as a guest star, I was in heaven. Saving up the 10 episodes to binge-watch on holiday also worked well for me, ain’t technology grand!
Having established its world of gothic Victoriana, John Logan’s writing picks up some of the strands of the first series’ finale – the consequences of sometime-werewolf Ethan’s bloodbath being chased up by a tenacious policeman and Victor Frankenstein’s newest creation inspiring an unlikely love triangle. But it succeeds most by re-introducing McCrory’s Evelyn Poole as a series-long villain as the head of a witches coven and maker of some of the creepiest puppet dolls you have ever seen – it’s no secret I love her but this really is a career highlight for this most superb of actresses. Continue reading “TV Review: Penny Dreadful Season 2”
“I am even the natural fool of fortune”
Poly over at The Other Bridge Project asks the question “can you have too many King Lears” and though she’s adamant that you can’t, I have to say my heart sinks a little every time a new production is announced, whether here in Chichester with Frank Langella or Simon Russell Beale’s forthcoming turn for the National Theatre early next year. But the enduring reputation of Shakespeare’s late classic attracts the kind of casts that are irresistible to a theatrical junkie like me and so I find myself a glutton for punishment going back again time after time.
And though I’d love to say that Angus Jackson’s production, running just a short while in the Minerva before transferring to New York, was worth the effort, it didn’t really do it for me. It is a hugely Lear-centric version of the play, placing Langella’s titanic monarch even more at the heart of the play than usual, and recalibrating the journey he takes as madness seizes him after a bit of a rum do with his three daughters. It’s a striking move, and one which showcases Langella well, but it does come at the expense of the richness of the ensemble.
Continue reading “Review: King Lear, Minerva”
“How dare you bring the world into this”
Enda Walsh’s Penelope is a modern reimagining and refocusing of Homer’s Odyssey, taking as its main subject the wife of Odysseus who, whilst waiting for her husband to return, was entertained by over 100 suitors whom she kept at bay for over 20 years. Walsh picks up the story on the day before Odysseus returns, with the last four remaining men kept in a disused swimming pool next to Penelope’s palatial home, desperate for one last chance to win her hand.
Densely poetic, the language is chillingly beautiful at times, none more so than with Niall Buggy’s hoarsely intonated speech about the ‘real’ world. Each actor though is given the opportunity to shine as they each plead for Penelope’s hand, all too aware of the fast-approaching consequences of Odysseus’ return and unable to hide the desperation they all feel. Walsh depicts the senselessness of pursuing competition recklessly to the end, taking aim at perceived notions of masculinity and by extension, the state of Ireland today. Continue reading “Review: Penelope, Hampstead Theatre”