An interesting set of nominations have been announced for the 2018 Laurence Olivier Awards. Perhaps predictably, the headline grabbers are Hamilton with their record 13 nominations, and The Ferryman which received 8. I’m pleased to see Follies and Angels in America represent a strong showing for the National with 10 and 6 respectively, and also lovely to see Everybody’s Talking About Jamie close behind with 5. Beyond delighted for The Revlon Girl too, my play of the year.
Naturally, not everything can get nominated and for me, it was most disappointing to see Barber Shop Chronicles miss out on any recognition. And with Hamilton crowding out the musicals categories, there was sadly no room for The Grinning Man, Romantics Anonymous and The Secret Diary of Adrian Mole (although I’m unsure of the Menier’s eligibility with regards to SOLT). And I think Victoria Hamilton (Albion). Philip Quast (Follies) and Louis Maskell and Julian Bleach (The Grinning Man) are entitled to be a bit miffed.
How do you feel about these nominations? And what do you think should have been nominated instead?
Continue reading “2018 Laurence Olivier Awards nominations”
“You can’t tell your mum the streets are full of psychos and it’s pure fluke you get home alive every night”
Strewth – Gary Owen’s Killology is a challenging watch – both structurally in its non-linear format and emotionally in its subject matter. Killology is a new gaming experience in which you score more points for the more ‘creative’ ways in which you torture and kill people and Owen’s play looks at the consequences of its success on Paul, who made it, and on father and son Alan and Davey.
As in his previous play here Violence and Son, Owen is very much concerned with father and son relationships and the way in which they are revealed and reshaped here is one of the more fascinating aspects of Killology. The relationships and inter-relationships between these men and unseen others in their lives are richly drawn and deeply moving as layer upon layer of guilt and revenge play out. Continue reading “Review: Killology, Royal Court”
“I’m not like that.
Even now, a week after I saw Gary Owen’s Violence and Son, I still don’t know what to say about it or more importantly, how to say it – it’s a rare thing for a play to stun me into such silence but a magnificent one too. Cai Dyfan’s circular set recalls the similar set-up for Mike Bartlett’s Cock but with its dirty white plastic chairs and drab demeanour, it speaks of something or somewhere more desperate – in this particular case, the isolation of the Welsh valleys but only a fool would say this story and its ramifications, as searchingly highlighted by director Hamish Pirie, are limited to that sole location.
Life is tough enough as a Doctor Who fan but 17-year-old Liam is suffering more than most after his mother’s death has meant to has to move Wales to live with the father who left before he was even born. Rick, whose nickname gives the show its title, claims to have last been sober when he was 14 and rage follows in his every footstep as he thinks nothing of battering everything and everyone around him. And as father and son get to know each other, Owen makes a powerful argument about the appalling toxicity of stereotypical notions of masculinity but also how difficult it is to shake a generational legacy. Continue reading “Review: Violence and Son, Royal Court”
“Oh it’s online? It’s an online thing? You should’ve said…”
Part of Watford Palace Theatre’s Ideal World Season, Gary Owen’s new play Perfect Match looks at the role that the internet has to play in our relationships – whether forming new ones through cast-iron guaranteed dating services or shaking up long-existing partnerships that may or may not have gone stale. Anna and Joe have been together for nine years and Lorna and Aaron six, but when a computer algorithm declares Anna and Aaron to be perfect soulmates, they meet up for a dirty sojourn in Stevenage, declare the connection is indeed real and decide to ditch their other halves and elope to Gretna Green.
Kelly Hotten’s Anna is a wonderful combination of sweetness and steel – caringly concerned that no-one is too upset but absolutely determined to get her own way. And Tom Berish is often hilarious as the dumbly delicious Aaron, most amusing in his blokish behaviour. But dumping someone else for your perfect match isn’t quite as easy as all that and the pair, in their vastly different ways have to extricate themselves from the lives of the people with whom they have spent years and Joe and Lorna are not about to make it easy for them. Eva Jane Willis’ professional debut is a vivid delight as the brutally blunt Lorna and Ken Nwosu’s Joe quietly captures the sympathetic centre of the story. Continue reading “Review: Perfect Match, Watford Palace Theatre”