10 of my top moments of the decade

Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!)

© James Bellorini

Extraordinary Public Acts for a National Theatre

The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions.  A truly joyous and momentous occasion. 

Honourable mention: this year’s musical take on As You Like It proved just as heart-swellingly beautiful over at the Queen’s Theatre Hornchurch. Continue reading “10 of my top moments of the decade”

Review: Guys and Dolls, Crucible

Robert Hastie’s production of Guys and Dolls brings all kind of Christmas cheer at the Crucible Theatre

“Call it dumb, call it clever
Ah, but you can get odds forever”

There’s a touch of the predictable about going for a classic like Guys and Dolls as your Christmas musical, but can you blame Sheffield Theatres when its a stone-cold classic like this. And even if I’ve seen it fair few times in recent years (Royal Exchange, West End, Chichester), its joyous spirit is one which is hard to resist.

And that spirit is in fine evidence in Robert Hastie’s exuberant production at the Crucible. In Kadiff Kirwan’s highly personable Sky Masterson and Alex Young’s pleasingly self-assured Sarah Brown, and Martin Marquez’s Nathan Detroit and Natalie Casey’s Miss Adelaide, it has a cracking central quartet who have no problem in whisking us away from our troubles, if only for a couple of hours. Continue reading “Review: Guys and Dolls, Crucible”

Review: And Suddenly I Disappear – The Singapore/UK ‘d’ Monologues, Southbank Centre

The much-needed refreshing take on what it means to be disabled – And Suddenly I Disappear – The Singapore/UK ‘d’ Monologues illuminates the Southbank Centre ahead of a short tour

“There is no dis in my ability”

Honest conversations about disability are difficult to have. Just looking at the range of responses to last week’s announcement of a non-disabled actor taking the lead in the BBC’s new production of The Elephant Man (take a glimpse at the comments on this article, just a quick one mind, the soul can only take so much…) indicates the scale of the problem but also, crucially, how few people really see it as that much of an issue, the systemic way in which disabled people are othered in society. 

Someone who does get it is playwright Kaite O’Reilly, whose And Suddenly I Disappear – The Singapore/UK ‘d’ Monologues (the first multilingual, intercultural, Deaf and disability-led theatre project created between the UK and Singapore doncha know!) plays the Southbank Centre as part of their Unlimited Festival. A set of fictional monologues that start a conversation about difference, about disability, by presenting the huge gulf in perception between actual lived experience and what societal conditioning tells you it is. Continue reading “Review: And Suddenly I Disappear – The Singapore/UK ‘d’ Monologues, Southbank Centre”

Review: Pericles, National Theatre

Combining with the joyous feel of carnival with the sincerity of the most serious of dramas, this musical  Pericles proves a heart-lifting triumph at the National Theatre for their Public Acts programme

“Pericles likes to play
Pericles likes to woo
Pericles never pauses to think things through”

What is a national theatre for? You’d be forgiven for answering ‘complaining about’ given the amount of sniping regularly aimed at the institution. But with the launch of Public Acts, the National Theatre’s new national initiative, you feel that they’ve alighted on the answer. The desire to “create extraordinary acts of theatre and community” by collaborating with a range of organisations whose community reach is second to none, the first result of which is this production of Pericles which brings over 200 non-professional performers onto the stage of the Olivier Theatre.

Emily Lim’s production is thus a huge endeavour but one whose heart swells effortlessly to accommodate the full scope of its representation. The choice of Pericles is a canny one and Chris Bush’s adaptation loses none of its essentially random character, the introduction of music from Jim Fortune further democratising it and adding opportunities for participation. So as the titular Prince of Tyre is forced on a character-building journey for the ages, Tarsus becomes a land of kazoos and cheerleaders, Pentapolis rain macs and wry humour (“it’s a man-fish” ‘or a fish-man, it’s unclear’), Mytilene a party island presided over by a drag queen.  Continue reading “Review: Pericles, National Theatre”

News: National Theatre Season: July 2018 – January 2019

So much goodness announced here in the National Theatre’s near future – particularly excited for Nine Night’s transfer, what looks like a leading role for Siân Brooke and the prospect of Joanna Riding’s ‘Losing My Mind’. 

National Theatre Season: July 2018 – January 2019

Nine Night, Natasha Gordon’s critically acclaimed debut play transfers to the West End following a sold-out run at the NT

Further cast announced for Antony and Cleopatra alongside Ralph Fiennes and Sophie Okonedo, playing from September

Cast confirmed for world premiere of David Hare’s new play I’m Not Running, including Siân Brooke, Alex Hassell and Joshua McGuire

Peter Brook returns to direct at the National Theatre for the first time in 50 years with The Prisoner, co-directed with Marie-Hélène Estienne

Following the acclaimed Consent, Nina Raine returns to the NT with her new play Stories starring Claudie Blakley

Anthony Neilson makes his NT debut with new play The Tell-Tale Heart, based on the short story by Edgar Allan Poe

Alexander Hanson and Joanna Riding to join the cast of Follies alongside Janie Dee and Peter Forbes, returning to the Olivier Theatre in February 2019

War Horse returns to the NT marking the centenary of Armistice Day

Antony and Cleopatra and I’m Not Running to  broadcast to 65 countries worldwide as part of NT Live

To mark the 100th anniversary of the first women in the UK gaining the right to vote, the NT stages Courage Everywhere; a series of rehearsed readings, talks and screenings Continue reading “News: National Theatre Season: July 2018 – January 2019”