TV Review: Unprecedented, Episode 2

The use of real-life couples makes Episode 2 of Unprecedented a very strong entry – superb work from Gemma Arterton, Arthur Darvill and Cecilia Noble among others

“I can be there for you, even from here”

Episode 2 of Unprecedented, Headlong and Century FIlm’s creative rapid-response to coronavirus definitely managed to take advantage of acting households, as husbands and wives abounded (Arthur Darvill and Inès De Clercq, Gemma Arterton and Rory Keenan, Olivia Williams and Rhashan Stone), offering up a different texture than just the single person shots that dominated the first episode. 

Tim Price’s Romantic Distancing, directed by Jeremy Herrin, was really rather swooningly lovely. Darvill and De Clercq playing a couple who’ve only been together for a couple of months and trying to work out if staying together, whilst isolating apart, is worth it. The switch into Once-style balladry worked beautifully for me and it’s kinda hard not to root for this pair. Continue reading “TV Review: Unprecedented, Episode 2”

News: cast announced for Unprecedented: Theatre from a State of Isolation

Headlong and Century Films have today announced a cast of over 50 UK actors taking part in Unprecedented: Theatre from the State of Isolation. A series of new digital plays written in response to the current Covid-19 Pandemic, Unprecedented will be broadcast across the nation during lockdown as part of BBC Arts’ Culture in Quarantine initiative.

Written by celebrated playwrights and curated by Headlong, Century Films and BBC Arts, Unprecedented explores our rapidly evolving world, responding to how our understanding and experiences of community, education, work, relationships, family, culture, climate and capitalism are evolving on an unprecedented scale. The series will ask how we got here and what the enduring legacy of this historic episode might be. Continue reading “News: cast announced for Unprecedented: Theatre from a State of Isolation”

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”

Film Review: Vita and Virginia (2018)

Written by Eileen Atkins, Vita and Virginia doesn’t quite capture the intensity of this iconic love affair

“When was the moment of your greatest disillusionment?
‘The first time I saw a penis'”

I didn’t know that Eileen Atkins had written a play about Vita Sackville-West and Virginia Woolf but given that it dates back to 1992 and hasn’t been much – if at all – revived, I could perhaps be forgiven. It is that play Vita and Virginia that she has adapted for the screen with Chanya Button, who also directs, and something of its theatrical nature remains.

Based on their copious letters to each others, Vita and Virginia is perhaps inevitably wordy and this isn’t always a great thing in a film. Set as it is in 1920s bohemian London, you might expect the vibe of a decadent whirl and for a while at least, thanks in large part to Isobel Waller-Bridge’s effectively anachronistic score, this is a most seductive party. Continue reading “Film Review: Vita and Virginia (2018)”

Film Review: Their Finest

“He is an actor. Unless you have reviewed him, had intercourse with him, or done both simultaneously, he won’t remember you”

With Gemma Arterton doing a Welsh accent and some wistful crying, Rachael Stirling as a fearsome, elegant-trouser-wearing lesbian with a fabulous line in repartee, Bill Nighy being Bill Nighy, and the subject being women working in wartime, Their Finest is pretty much tailor-made for my interests, it even has bonus Helen McCrory in it for God’s sake! But even without all that box-ticking, it is a gently, most enjoyable film.

Adapted by Gaby Chiappe from Lissa Evans’s novel Their Finest Hour and a Half, and directed by Lone Scherfig, the story follows a British Ministry of Information film team making a morale-boosting film about the Dunkirk evacuation during the Battle of Britain and the London Blitz. So it’s a film about making films, the romance and realities of the business, with the added spin of it being set in wartime. Continue reading “Film Review: Their Finest”

fosterIAN awards 2016

 WinnerRunner-upOther nominees
Best Actress in a PlayJuliet Stevenson/Lia Williams, Mary StuartUzo Aduba/Zawe Ashton, The MaidsGemma Arterton Nell Gwynn,
Linda Bassett, Escaped Alone
Helen McCrory, The Deep Blue Sea
Maxine Peake, A Streetcar Named Desire
Harriet Walter, The Tempest
Best Actor in a PlayO-T Fagbenle, Ma Rainey's Black BottomLucian Msamati, Ma Rainey's Black BottomPhil Dunster, Pink Mist
Paapa Essiedu, Hamlet
Rhys Isaac-Jones, Jess and Joe Forever
Lucian Msamati, Amadeus
Danny Sapani, Les Blancs
Best Supporting Actress in a PlayJade Anouka, The TempestLizzy Connolly/Amanda Lawrence, Once in a LifetimeNadine Marshall, Father Comes Home From The War (Parts 1, 2, and 3)
Tanya Moodie, Hamlet
Siân Phillips, Les Blancs
Rachael Stirling, The Winter's Tale
Susan Wokoma, A Raisin In The Sun
Best Supporting Actor in a PlayPeter Polycarpou, Scenes from 68* YearsAnthony Boyle, Harry Potter and the Cursed ChildRudi Dharmalingham, Mary Stuart
Dex Lee, Father Comes Home From The War (Parts 1, 2, and 3)
Nick Fletcher, The Deep Blue Sea
Jonjo O'Neill, Unreachable
Alan Williams, Mary Stuart
Best Actress in a MusicalJenna Russell, Grey GardensClare Burt, Flowers for Mrs HarrisSamantha Barks, The Last 5 Years
Glenn Close, Sunset Boulevard
Kaisa Hammarlund, Sweet Charity
Cassidy Janson, Beautiful
Landi Oshinowo, I'm Getting My Act Together...
Best Actor in a MusicalLouis Maskell, The Grinning ManAko Mitchell, RagtimeDeclan Bennett, Jesus Christ Superstar
Dex Lee, Grease
Hugh Maynard, Sweeney Todd
Charlie Stemp, Half A Sixpence
Mark Umbers, She Loves Me
Best Supporting Actress in a MusicalJennifer Saayeng, RagtimeVictoria Hamilton-Barritt, Murder BalladJosie Benson, Sweet Charity
Sheila Hancock, Grey Gardens
Rachel John, The Bodyguard
Katherine Kingsley, She Loves Me
Gloria Onitiri, The Grinning Man
Best Supporting Actor in a MusicalJulian Bleach, The Grinning ManTyrone Huntley, Jesus Christ SuperstarAdam J Bernard, Dreamgirls
Daniel Crossley, Sweet Charity
Stuart Neal, The Grinning Man
Dominic Tighe, She Loves Me
Gary Tushaw, Ragtime

2016 Best Actress in a Play + in a Musical

Best Actress in a Play

Juliet Stevenson/Lia Williams, Mary Stuart
It couldn’t really be anyone else could it. Mary Stuart was my play of the year and the stellar combination of Stevenson and Williams was a huge part in that, a pair of extraordinary performances (or should that be a quartet…) that burst with life from the circular stage of the Almeida. I’ve seen it twice and I’m definitely thinking about going again.

Honourable mention: Uzo Aduba/Zawe Ashton, The Maids
As murderous sisters Claire and Solange, I simply adored this pairing and am a little surprised they – and the production – haven’t received more love in the end-of-year lists and awards season. Fiercely uncompromising with every sweep of the broom, I couldn’t split them if I tried either.

Gemma Arterton, Nell Gwynn
Linda Bassett, Escaped Alone
Helen McCrory, The Deep Blue Sea
Maxine Peake, A Streetcar Named Desire
Harriet Walter, The Tempest

8-10
Kirsty Bushell/Ruth Wilson, Hedda Gabler/Hedda Gabler, Lesley Manville, Long Day’s Journey Into Night; Billie Piper, Yerma

 

Best Actress in a Musical

Jenna Russell, Grey Gardens
One of the first shows I saw in 2016 and from the moment Russell opened the second act with the hysterical ‘The Revolutionary Costume for Today’, I knew that this category was a lockdown. Her casting in as Michelle Fowler in Eastenders came as a surprise and I can’t help but be gutted that we’ve lost her to the world of television but hopefully it won’t be too long before she’s gracing our stages once more. STAUNCH!

Honourable mention: Clare Burt, Flowers for Mrs Harris
Whereas the likes of Amber Riley gets notices for belting the house down, there’s an entirely different skill-set being masterfully used by the likes of Burt that is equally emotionally devastating. A performance full of gorgeous restraint and natural charm that hopefully we’ll get to see again.

Samantha Barks, The Last 5 Years
Glenn Close, Sunset Boulevard
Kaisa Hammarlund, Sweet Charity
Cassidy Janson, Beautiful
Landi Oshinowo, I’m Getting My Act Together…

8-10
Beverley Knight, The Bodyguard; Anoushka Lucas, Jesus Christ Superstar; Scarlett Strallen, She Loves Me

Review: Saint Joan, Donmar

“Must a Christ perish in every age to save those that have no imagination”

This
 is Bernard Shaw’s Saint Joan but very much via Josie Rourke, as the medieval piety of the pre-show entertainment gives way to the uber-modernity of this interpretation with the opening flourish of a tablecloth being whipped away (more impressive than it sounds!). The gods being worshipped here are high finance and business as scenes are set in companies like Vaucouleur Commodities Brokerage and Dauphin Holdings, Evan Davies and Bloomberg news tickers give us regular updates and it is in the midst of all this that Gemma Arterton’s Joan arrives, the sole figure in period dress. 

Dealing with an amusing take on the egg crisis of the first scene, and using Skype to correctly identify Fisayo Akinade’s spoiled manchild heir of a Dauphin in the next, the modern take is clever but there’s a strange tension that never quite resolves. The text has been cut but not completely modernised, so talk of battles and forts sit alongside the rise and fall of stocks and shares and it doesn’t settle into an interpretation that didn’t leave me going ‘you what now’ until it starts to play the drama straight as in the English plot to bring about the downfall of the woman uniting the French against them. Continue reading “Review: Saint Joan, Donmar”

The Complete Walk, from the comfort of your sofa #7

Love’s Labour’s Lost

Gemma Arterton and Michelle Terry (almost) in the same play, how my heart doth beat. Sam Yates’ Love’s Labour’s Lost combines Arterton and David Dawson dashing delightfully through the corridors of the Royal Palace of Olite of Navarre, Spain as Berowne and Rosaline, whilst drawing in elements from the gorgeous 2009 production at the Globe – one of my favourite clips from the whole Complete Walk.
Measure for Measure

Queer as Folk hits Austria (I suppose I’m showing my age, the more contemporary reference would be Game of Thrones) as Aidan Gillen takes on Measure for Measure at Vienna’s Burg Liechtenstein. Last year’s production at the Globe gets a look in too and reminds me that I think it was much maligned for trying a more comic take on the play for once. 

The Two Gentleman of Verona

A slightly different take from Christopher Haydon here as he has location footage – filmed at the Scaligero di Torri, Verona with Meera Syal and Tamara Lawrance – but opts to explore the play’s dramatic links to the rest of the canon. So we get clips of 10 of Shakespeare’s other plays and are shown how devices and plots are reused time and time again. 

Othello

Possibly one of my most favourite potential productions in the making here, as James Dacre takes David Harewood and John Heffernan to Othello’s Tower in Famagusta, Cyprus where they nail it. Please make this happen somehow.
Timon of Athens

Timon of Athens sees Dromgoole go for the similar star wattage of Dominic West in Coriolanus, opting to focus on Simon Russell Beale wandering through atmospheric parts of Athens with no other actors or productions to distract. And it works wonders again, even if I’m not sure I need to see the play again in a hurry. 

2016 Laurence Olivier Awards nominations

Best New Play 
Farinelli and the King by Claire van Kampen – Duke of York’s
Hangmen by Martin McDonagh – Jerwood Downstairs, Royal Court / Wyndham’s
People, Places and Things by Duncan MacMillan – National Theatre Dorfman
The Father by Florian Zeller, translated by Christopher Hampton – Wyndham’s

Best New Musical
Bend It Like Beckham – Phoenix
In the Heights – King’s Cross
Kinky Boots – Adelphi
Mrs Henderson Presents – Noël Coward

Best Revival 
Hamlet – Barbican
Les liaisons dangereuses – Donmar Warehouse
Ma Rainey’s Black Bottom – National Theatre Lyttelton
The Winter’s Tale – Garrick Continue reading “2016 Laurence Olivier Awards nominations”