2018 Best Actress in a Play + in a Musical

Best Actress in a Play

Leah Harvey, Clare Perkins, Vinette Robinson, Emilia
For the second year running, this award goes three ways as apparently I’m a sucker for a women-heavy production (who knew!). But there’s something more here, it wasn’t just about how Harvey, Perkins and Robinson shared the role of the title character in Emilia, its how they supported each other through it as well, reinforcing the play’s cry for the necessity of solidarity. Everyman? Every-Emilia! 

Honourable mention: Sarah Gordy, Jellyfish
A deeply empathetic performance from Gordy underscored the undersung importance of this production – her searingly honest Kelly opened the eyes and touched the hearts of surely everyone who saw Jellyfish

Patsy Ferran, Summer and Smoke
Marieke Heebink, Oedipus
Elinor Lawless, To Have To Shoot Irishmen
Carey Mulligan, Girls and Boys
Sarah Niles, Leave Taking

8-10
Sophie Okonedo, Antony and Cleopatra; Lia Williams, The Prime of Miss Jean Brodie; Ria Zmitrowicz, Dance Nation

 

Best Actress in a Musical

Rosalie Craig, Company
Crowding us with love, forcing us to care…Craig’s initial casting as Bobbie garnered all sorts of headlines but once Marianne Elliott’s production opened, that attention was more than justified by a sterling turn from this most versatile of actors (don’t forget she’d only just finished a run in The Ferryman). A strikingly contemporary figure, she both integrated Bobbie better into the ensemble than ever before and made her stand out at just the right moments, ie making sure she got hers from Andy!

Honourable mention: Kaisa Hammarlund, Fun Home
Given some of the things that transferred into the West End, especially now the Ambassador’s has been freed up, it’s a travesty that Fun Home didn’t get to further its journey (for now at least), especially since it was anchored by a finely nuanced performance from the excellent Hammarlund. A small saving grace is that she’s now free to lead the cast of Violet in the New Year.

Bonnie Langford, 42nd Street
Eva Noblezada, Hadestown
Caroline O’Connor, The Rink
Gemma Sutton, The Rink
Adrienne Warren, Tina the Musical

8-10
Jocasta Almgill, Sunshine on Leith; Jemima Rooper, Little Shop of Horrors; Rebecca Trehearn, Sweet Charity (Nottingham Playhouse)/Gemma Sutton, Sweet Charity (Watermill)

Review: To Have To Shoot Irishmen, Clapham Omnibus

A play with songs that works in the most achingly beautiful way – To Have To Shoot Irishmen is quietly stunning at the Clapham Omnibus

“Some things are worth fighting for”

Too often, the term ‘play with songs’ is abused by marketing types to avoid using the word musical in all its apparent divisiveness. So what a blessed relief to find that Lizzie Nunnery’s To Have To Shoot Irishmen is pretty much a perfect representation of the form. A suite of original songs composed by her and Vidar Norheim are sprinkled throughout the play almost as bookends to scenes, enriching the text with their eloquent lyrics and folk-tinged mood.

They don’t progress the narrative for that is not their purpose. Nunnery’s story is as shattered as the set on which it takes place (considered design work from Rachael Rooney), a Dublin neighbourhood ripped apart by the Easter Rising. There, a young mother named Hanna searches anxiously for her husband, the writer and activist Francis Sheehy Skeffington, with a growing sense of dread; and at some point in the recent past, we follow Frank’s experience being held by the British army. Continue reading “Review: To Have To Shoot Irishmen, Clapham Omnibus”

Review: Bakkhai, Almeida

“I am somewhat…supernatural”

What is most fascinating about the way that the Almeida Greeks season is unfolding is that it is as interested in interrogating storytelling as much as stories. As with Aeschylus’ Oresteia and now Euripides’ Bakkhai, we’re being presented with striking new versions of these familiar tales which simultaneously make a case for why they have endured into a third millennium rather than complacently assuming they will just speak to modern audiences regardless.

Robert Icke incisively opened up the domestic and legal ramifications of the House of Atreus in forensic detail. And now Anne Carson, following her version of Antigone for Ivo van Hove, and director James Macdonald position their Bakkhai deep in the recesses of folk memory, a guttural song passed from generation to generation with its cautionary tale of the consequences of leading society to defy convention. It is sure to be divisive but I have to say that I found it endlessly interesting. Continue reading “Review: Bakkhai, Almeida”