Not really news, more a heads-up to this brilliant piece in the Guardian which covers the 30-odd years that Tristram Kenton has been taking pics for the Guardian’s theatre coverage. Highly recommended: https://www.theguardian.com/stage/gallery/2020/jul/30/caesar-cilla-and-a-superstar-cast-tristram-kentons-stage-archive-in-pictures
Theatre Royal Stratford East to release audio play 846 in response to the death of George Floyd
On May 25th 2020, a police officer in Minneapolis killed George Floyd by kneeling on his neck for eight minutes and 46 seconds.
This brutal murder ignited a global surge of anger and pain. An ocean away, from the Windrush scandal to the Grenfell Tower tragedy, racist oppression is very much alive in the UK.
Acclaimed playwright Roy Williams brought together 14 writers to respond artistically to George Floyd’s murder and the Black Lives Matter Movement. From this came 846 – a collection of short pieces. Each is a standalone exploration of racial inequality and oppression, but together they form a powerful tapestry of voices. Continue reading “News: Theatre Royal Stratford East to release audio play 846 in response to the death of George Floyd”
A fatally muddled tone means Been So Long ends up less than the sum of its parts, despite glorious lead performances from Arinzé Kene and Michaela Coel
“People don’t want inclusivity mate, they want exclusivity. And something for the gluten-intolerant”
I really wanted to like Been So Long, and can imagine it having worked well on the stage (it played the Young Vic in 2009) but something has definitely been lost in translation with this screen adaptation here. It is mildly curious as the film is written by Ché Walker, scribe of the original play and the subsequent stage musical, but maybe this was a step too far?
One of the main problems for me is that crucial issue of tone. As a love story set in contemporary Camden, and in which Camden plays a central role, there’s a tendency towards gritty naturalism, particularly in showing the home lives of its protagonists, new ex-con Raymond (Arinzé Kene) and single mum of a disabled daughter Simone (Michaela Coel). Continue reading “Film Review: Been So Long (2018)”
Tectum Theatre and Gaunt & Son Productions are pleased to announce the launch of a LIVE Online evening of new writing theatre titled Five-4-Five, on 5th June 2020 at 19:30PM. All five of the short plays, have been written specifically for the current period of lockdown, and showcase some of the struggles and hilarity that this entails.
The evening is in aid of Acting For Others, which provides financial and emotional support for artists throughout the performing industry when they are in times of need. Continue reading “News: Tectum Theatre and Gaunt & Son Productions launch Five-4-Five”
I mean, just look at this absolute treasure trove of theatrical talent!
We are proud to announce the launch of THE MONOLOGUE LIBRARY, an audio love letter to the industry. #MonoLibrary is a FREE resource of over 100 monologues recorded by professional actors in isolation to celebrate, commiserate & share speeches that mean something to them now… pic.twitter.com/GuT7Y7wQ1q
— The Mono Box (@TheMonoBox) May 1, 2020
I’m off to listen to Patsy Ferran read Tom Wells, and Gabby Wong read Alexi Kaye Campbell, and Sarah Niles read Winsome Pinnock and…and…
This incredible resource is free but like so many creative endeavours right now, would benefit hugely from your donations here.
Full of moments where you’re not sure if you’re laughing or crying, Killing It talks about grief beautifully at the VAULT Festival
“Thanks for coming – sorry about the dark”
It can be a bit overwhelming sometimes, trying to decide what to see in the multitudes of shows that make up the VAULT Festival. But the presence of both Janet Henfrey and Doña Croll in the cast for Killing It made it a no-brainer, it’s just a shame that it is only playing for two nights.
Written by Josephine Starte, who also completes the company, Killing It circles around how grief affects those left behind, and how that might vary between different generations. So when a young man goes missing at sea, his girlfriend, his mother and his grandmother try to find a way forward that manages to make that grief useful in the way that society suggests is the right thing to do. Continue reading “Review: Killing It, VAULT Festival”
Adjoa Andoh excels in an all-women-of-colour production of Richard II at the Sam Wanamaker Playhouse
“No matter where; of comfort no man speak”
Just a quickie for this as I’ve left it very late in the run. Co-directed by Adjoa Andoh and Lynette Linton, this is billed as the first professional production of Richard II by a company of women of colour and when you look at the talent onstage, you wonder how on earth it has taken this long. (And then acknowledge that the answer is far too obvious.)
In the atmospheric space of the Sam Wanamaker Playhouse, it is clear that the creative decisions behind this production are drawing on a wealth of experience far beyond white Anglo-Saxon traditions. Rajha Shakiry’s design and Rianna Azoro’s costumes speak of the cultural backgrounds of the company, so too the influences of Dominique Le Gendre’s music under Midori Jaeger’s musical supervision. Continue reading “Review: Richard II, Sam Wanamaker Playhouse”
I’d thought I didn’t need to see Richard II again for a good while but Michelle Terry’s tenure at the Globe is most certainly testing that resolve. The forthcoming production there is to be staged by the first-ever company of women of colour in a Shakespeare play on a major UK stage. Co-directed by Adjoa Andoh and Lynette Linton, Adjoa will also play the titular role. Continue reading “Theatre news round-up”
David Tennant’s opening season took the template of the opening series and ran with it, Russell T Davies’ vision finding its ideal mate in the Scottish actor. The typically adventurous sweep was tempered with a more tender vision, which considerably upped our emotional investment (previous companions returning, romantic connections whether past or present).
Bringing back the Cybermen was an interesting move, as was the introduction of the notion of parallel worlds (and how important that became…). And if the series-long motif of Torchwood didn’t really pay off, especially not when one considers what Torchwood the show became, the finale to Doomsday is pretty close to perfection. Continue reading “Countdown to new Who: Doctor Who Series 2”