Full casting has been announced for Queen’s Theatre Hornchurch’s upcoming production of Misfits, an innovative new hybrid of live theatre and digital content, playing 12-22 November 2020. Bookers will purchase a ticket which will allow them the choice of watching the show be performed live onstage in front of a socially
distanced audience or streamed to their homes, right up until the day of the show.
Misfits intertwines four inspirational tales of Essex resilience to make an unmissable world premiere by four of the region’s most exciting playwrights: Anne Odeke, Guleraana Mir, Kenny Emson and Sadie Hasler and will be co-directed by QTH Artistic Director Douglas Rintoul and Emma Baggott. The cast is Anne Odeke, who is also writing part of the piece, Gemma Salter, Mona Goodwin and Thomas Coombes. Continue reading “An assortment of October theatre news”
I’m loving this deep dive in to Tristram Kenton’s archive, this time taking a turn into the many Chekhov productions he has been witness to. Highly recommended:
Photos: Tristram Kenton
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
Photos: Tristram Kenton
– Tom Hiddleston, Kristin Scott Thomas, Kit Harington, Simon Russell Beale, Indira Varma, Zawe Ashton and many more announced
– Happy Birthday, Harold will take place on what would have been the Nobel Prize winning playwright’s 88th birthday on October 10th
– Charity event will raise money for Amnesty International and Chance to Shine
– Tickets are on sale now
Continue reading “The Jamie Lloyd Company announces cast for charity gala to celebrate Harold Pinter’s birthday”
In sad news, the death of Sir Peter Hall, one of the great names in British theatre, has been announced today. Sir Peter died on 11 September at University College Hospital, at the age of 86, surrounded by his family.
As the below statement from the National Theatre reminds us, his achievements were unparalleled, his devotion to the arts undoubtable. And in this selection of photos from some of his productions for the NT, his was a rare artistic vision indeed.
Continue reading “Sir Peter Hall: 1930-2017 – a photo retrospective”
“Donna Noble has left the library. Donna Noble has been saved”
And here we are, my favourite series of Doctor Who. So much huge wonderfulness and even its less good moments are still more than halfway decent. Key to the series’ success is Catherine Tate’s Donna Noble – gobby and one-dimensional in her introductory episode the Christmas special The Runaway Bride, her character journey throughout this season is magisterially constructed, a true awakening of self (with thankfully no romantic inclinations towards our Time Lord) and one given unbearable poignancy due to its frustratingly tragic end.
It’s also one of the best constructed series in terms of its over-arching season arc, its warnings and clues layered meaningfully into several stories and building into a momentous and properly climactic finale, which lands just about the right level of grandiosity. There’s also the first companion-lite episode (the superbly creepy Midnight) to go with the Doctor-lite one (the achingly beautiful dystopian Turn Left); a typically brilliant Moffat double-header in Silence in the Library and Forest of the Dead with gorgeous work from Alex Kingston as the soon-to-be-hugely-significant River Song; and if the return of Rose undoes some of the emotional impact of the Series 2 finale, Billie Piper’s work is spikily powerful. These are episodes I can, and have, watched over and over again.
Continue reading “Countdown to new Who: Doctor Who Series 4”
“I can’t say I’m very taken with this marmalade”
It does seem that Alan Ayckbourn has been officially anointed national treasure status by the critical establishment but his charms have largely eluded me, appealing more to a middle-aged greying sensibility that trips merrily down the middle of the road. But the ease with which I was able to get one of the cheaper tickets for the balcony of the Wyndhams theatre, one of the more intimate West End houses and so a great bargain tip, for the final day of the run of Relatively Speaking meant a cheeky matinée was in the offing.
The story is one of his archetypal mistaken identity farces – Ginny has decided that Greg is the man for her even though it has only been a month and so she nips off to the country to end her affair with an older man. But she tells Greg she is going to visit her parents and in a moment of passion, he decides to follow her in order to ask for her father’s hand. What follows is confusion at the enduring mix-ups, exacerbated by the English reticence to confront the obvious and thus avoid social embarrassment. Continue reading “Review: Relatively Speaking, Wyndhams”