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!
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…
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”
“Some things are worth getting your heart broken for”
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”
“For women are as roses…”
It is seriously impressive how sparklingly fresh Jonathan Mumby has managed to make Twelfth Night in his production for English Touring Theatre which I caught at Richmond Theatre this week. The familiarity, even overfamiliarity, which many have with Shakespeare’s work means it can often be hard to get too excited about yet another production but Mumby’s work here has all the hallmarks of a successful and subtle reinvigoration.
Colin Richmond’s artfully distressed design and an original suite of songs from Grant Olding locate this version of Illyria in the folky fancies of Brian Protheroe’s Feste, a move which pays dividends in extending its oft-melancholy mood to all and sundry. So Hugh Ross’ Malvolio is more tragi than comic, a deep sadness apparent under the prickly exterior. Milo Twomey’s Aguecheek is a rueful soul indeed and Doña Croll’s Maria has a marvellous pragmatism.
Continue reading “Review: Twelfth Night, ETT at Richmond Theatre”
Rubbish sees Martin Freeman and James Lance reprise characters from an earlier short film Call Register, best mates Kevin and Julian. Once again tussling over a girl, in this case Anna Friel’s new neighbour Isobel, this time the scenario is around recycling in the flats where they live. Ed Roe’s film neatly punctures the hypocrisy that many of us carry about green issues, the lip service we pay and in this example, how that can rebound on us. Lance carries on his laidback swagger and Freeman is brilliant once again as the constantly over-compensating Kevin, aware he’s about to lose another girl to his handsome friend.
Elephant Palm Tree
Another film from Kara Miller and another two-hander that this time charts the quietly painful collapse of a marriage. No external factors are involved, it’s just a woman realising that the relationship to which she has devoted her life is giving her nothing back and asking for a divorce. But his (unspecified) high-flying job has kept her a very plush way of life and as they do battle over what she would walk away with, it becomes clear that whereas she’s ready to leave her man, her resolve may not be strong enough to divorce herself from this lifestyle. George Harris redeems himself a little for Frankenstein and Doña Croll is subtly affecting as the torn Martha, the difficulties of her life and decisions etched upon her face.
A rather fascinating project in which the medium of short film is stretched to encompass the world of video games, all on the most meagre of budgets. It’s an experiment for sure, but worth a look.
I Am Bob
Donald Rice’s I am Bob is a rather amusing if slightly overlong film that plays like a homespun take on Being John Malkovich but with Bob Geldof at the heart of it. A mix-up with his chauffeur on a toilet break during a long ride up to a gig in Glasgow leaves him stranded in an isolated Lancashire pub without cash, cards or mobile. But far from being abandoned, it is hosting the 14th Long Marston Lookalike Convention and so he gets swept up in the baffling world of celebrity impersonations where David Bamber has already entered as Bob Geldof and the two have to do battle to be the most convincing Bob. It’s silly but fun and even if it stretches a little too languorously, it is always good-natured.
“We’re happy enough – what more can anyone ask from life?”
Three short reviews for three short radio play this week. My favourite was The Organist’s Daughter by Stephen Wyatt, a genuinely gorgeous piece of drama with a beautiful soundscape and an excellent cast including Simon Russell Beale, Emma Fielding and Naomi Fielding. The story concerns the succession of Lübeck Cathedral’s organist – the incumbent, Dieterich Buxtehude, is in ill health and wishes to retire but the man who follows him must, as tradition dictates, marry his eldest daughter. But Anna Margreta has what people call inner beauty and her rather plain looks leave him despairing, though a series of suitors bring their own surprises with them. Russell Beale is an excellent grouch, Fielding a superbly pragmatic daughter and as the would-be organists, Karl Davies, Joseph Kloska and Matthew Watson are all good fun, the first two wannabes bearing the somewhat familiar names of Johann Sebastian Bach and Georg Friedrich Handel…
Lenny Henry’s reinvention as a proper thespian continues apace with his first radio play, Corrinne Come Back and Gone, a powerful tale of a difficult family reunion in Jamaica. Due to the poverty of their lives, Corrinne was forced to leave her children in the Caribbean as she fled to the UK but twenty years later, she receives a letter from her daughter inviting her back though nothing is quite how she imagines it would be nor how she remembered. It’s an emotive subject but one suffused with hard-headed humour as Claire Benedict’s Corrinne sets about attempting to make amends where she can and trying, and failing, to stop interfering to make things better. A slightly too schematically upbeat ending aside, it’s an impressive debut from Henry, helped by a superb cast including Doña Croll, Nadine Marshall and Alex Lanipekun. Continue reading “Review: The Organist’s Daughter / Corrinne Come Back and Gone / The Patience of Mr Job”
My Dad the Communist from Tuyen Do on Vimeo.
It is tempting to see My Dad the Communist
as something of a neat companion piece to Chimerica
, featuring a Benedict Wong character responding to the events of Tiananmen Square in a completely different way but in truth, they are separate beasts and the only real thing linking them is the dearth of complex Asian-related stories on our screens and stages (although things do seem to be changing, slowly). This Lab Ky Mo film focuses on a typical British-Chinese family who work in a takeaway (where else?!) – Tony has lived all of his life in the UK yet his father has remained stubbornly, inscrutably Chinese in his behaviour, rarely uttering anything at all or showing any affection to his wife or son.
A car accident involving the older man motivates Tony to look back on his 20 year life and reflect on the rare moments that his dad did speak, realising the huge significance of those events, and the ones where he didn’t, imagining the parental figure he craved. Mo utilises the fantasy flashback several times to great effect, we really get a sense of being caught up in Tony’s reverie and it is really quite moving. Wong is customarily excellent as the taciturn father, Siu Hun Li is also strong as the son trying to do things differently, not least with his own new wife, an expressive performance from Tuyen Do.
Continue reading “Short Film Review #23”