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!)
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”
“For whatever reason, he spared a hamster”
|Best Actress in a Play||Marianne Jean-Baptiste, The Amen Corner||Michelle Terry, A Midsummer Night's Dream (Globe)||Lucy Ellinson, Grounded
Stella Gonet/Fenella Woolgar, Handbagged
Lesley Manville, Ghosts (Almeida)
Shuna Snow, Iron
|Best Actor in a Play||Philip Duguid-McQuillan & Jamie Samuel, Jumpers for Goalposts||Al Weaver, The Pride||Brian Cox, The Weir
Hugo Koolschijn, Scenes from a Marriage (Toneelgroep Amsterdam)
Benedict Wong, Chimerica
|Best Supporting Actress in a Play||Linda Bassett, Roots||Deborah Findlay, Coriolanus||Anna Calder-Marshall, The Herd
Isabella Laughland, The Same Deep Water As Me
Hadewych Minis, Scenes from a Marriage (Toneelgroep Amsterdam)
Cecilia Noble, The Amen Corner
|Best Supporting Actor in a Play||Pearce Quigley, A Midsummer Night's Dream (Globe)||Roeland Fernhout, Scenes from a Marriage (Toneelgroep Amsterdam)||Richard McCabe, The Audience
Jeff Rawle, Handbagged
Andy Rush, Jumpers for Goalposts
Alexander Vlahos, Macbeth (MIF)
|Best Actress in a Musical||Rosalie Craig, The Light Princess||Cynthia Erivo, The Color Purple||Zrinka Cvitešić, Once the musical
Anita Dobson, Carnival of the Animals
Scarlett Strallen, A Chorus Line
Charlotte Wakefield, The Sound of Music
|Best Actor in a Musical||Kyle Scatliff, Scottsboro Boys||Declan Bennett, Once the musical||David Birrell, Sweeney Todd
Nick Hendrix, The Light Princess
Matt Smith, American Psycho
Michael Xavier, The Sound of Music
|Best Supporting Actress in a Musical||Leigh Zimmerman, A Chorus Line||Nicola Hughes, The Color Purple||Amy Booth-Steel, The Light Princess
Katie Brayben, American Psycho
Cassidy Janson, Candide
Sophia Nomvete, The Color Purple
|Best Supporting Actor in a Musical||Kit Orton, The Hired Man||Michael Matus, The Sound of Music||Ben Aldridge, American Psycho
Christian Dante White, Scottsboro Boys
Kane Oliver Parry, The Light Princess
Gary Wood, A Chorus Line
Best Supporting Actress in a Play
Linda Bassett, Roots
The Donmar proved a powerhouse for female performances this year and in Roots, it was Linda Bassett who took the honours as the rural mother, conveying decades of hardship, making do and a hard-won no-nonsense attitude almost entirely through the minutiae of managing the family home. A breath-taking performance of perfectly studied and understated detail.
Honourable mention: Deborah Findlay, Coriolanus
Tom Hiddleston may have been the big name in the Donmar’s Coriolanus but for me, it was Deborah Findlay’s Volumnia that was the biggest performance, scorching the earth before her as the militaristic mother driving her son’s career and then breath-takingly chastened as the tragic consequences are reaped.
Best Supporting Actress in a Musical
Leigh Zimmerman, A Chorus Line
She won the Olivier earlier this year and now she can add a fosterIAN to the list – her dry put-downs as the wise-cracking Sheila enlivened A Chorus Line no end, trying to shield herself a little from the reality of being one of the older members of the group and seeing her last shot at stardom slipping away.
Honourable mention: Nicola Hughes, The Color Purple
In a musical full of strong black women, Hughes proved herself one of the strongest with an extraordinary performance in The Color Purple as singer Shug Avery, utterly self-possessed and ultimately self-obsessed and never less than unmissable when onstage.
“I don’t know what my love looks like, and I can’t describe it. Most of the time I can’t feel it”
A bit of an ironic choice of quote as this production is one which made me feel so intensely that after sitting through its four hours on Thursday, I booked again for the Sunday. Toneelgroep Amsterdam’s far too short stay at the Barbican is an undoubted highlight of my year – their interpretation of Scenes from a Marriage proving to be a simply extraordinary piece of theatre that I knew I had to go and see again.
My review is here and I have little to add to it, it expresses everything I have to say for once. I am now looking at their programme over in Amsterdam to see what I can nip over and see in their surtitled selection, as I can’t wait for them to come to me again, it will just take too long!
Photo: Ivo van Hove
“It seems like you two are going through something of a rough patch”
Stripping away all the technical innovation that has characterised Toneelgroep Amsterdam’s last two visits to London, Ivo Van Hove’s take on Ingmar Bergman’s Scenes from a Marriage is not just an extraordinary reinterpretation of a seminal classic but also one of the most exhilarating pieces of theatre you could hope to have the privilege to see this year. Utterly reinventing the space of the Barbican’s main theatre and toying with conventional modes of story-telling, I spent most of the astonishing second half in a state of near constant goose bumps.
From the beginnings when we’re colour-coded by wristbands into three groups, it is clear something different is afoot. Jan Versweyveld’s design splits the stage into three rooms, connected by a central chamber into which we can occasionally peer, and the first half sees the audience progress through the areas, simultaneously witnessing a scene in each. Each scene features Johan and Marianne and the implosion of their picture-perfect marriage but van Hove has three different couples play the roles at different points in their relationship. Continue reading “Review: Scenes from a Marriage, Toneelgroep Amsterdam at the Barbican”
“Wie tegenwoordig voor mooie dingen geeft?”
Featuring the return of Toneelgroep Amsterdam to the Barbican, Antonioni Project is another multimedia extravaganza from the Dutch theatre company who blew many, including me, away with their six-hour Shakespeare epic, The Roman Tragedies. Under Ivo van Hove’s direction, they have built up a sterling reputation as one of the leading European companies with their innovative blending of film-making techniques into more traditional theatre and creating a whole new theatrical experience for the audience.
This work pulls together three of Michelangelo Antonioni’s 1960s films, L’Avventura, La Notte and L’Eclisse, with their common themes of couples struggling to reconcile notions of love with the reality of sex in a changing world that they feel estranged from due to their extreme materialism. The narratives of the three films are mixed, with characters from each interacting, I’d recommend reading the programme beforehand whether you know the films or not just to give you a bit of context that will prove invaluable. Continue reading “Review: Antonioni Project, Toneelgroep Amsterdam at the Barbican”
My intention is, honestly, to see less theatre this year and try and regain some semblance of a normal life again on the odd evening. But the curse of advance booking and grabbing cheap(er) tickets whilst you can has meant that there’s already an awful lot of theatre booked for 2011. Some have been booked without a huge deal of enthusiasm, but others have a dangerous amount of anticipation attached to them…and so I present to you, the shows I am most excited about seeing this year (so far).
The Roman Tragedies was hands down one of the most exhilarating and refreshing theatrical experiences of 2009 and possibly my life, I’m even headed to Amsterdam in May to see a surtitled production of their Angels in America. So when I heard that the same Dutch theatre company were returning to the Barbican in February, tickets were booked instantly and I am feverishly over-excited for this now! Continue reading “Shows I am looking forward to in 2011”
At first glance, this might not seem the easiest way to spend an evening: three Shakespeare plays back-to-back, lasting six hours and performed entirely in Dutch. However The Roman Tragedies is probably one of the most exhilarating theatrical experiences of the year. Presented here at the Barbican by Toneelgroep Amsterdam, the foremost Dutch theatre company, Coriolanus, Julius Caesar and Antony and Cleopatra are performed consecutively, as per their timelines which gives a pleasing flow to the evening: there’s a real sense of a grand narrative to the whole evening, of the developing nature of politics and democracy and how it is communicated to the masses.
It opens on a large stage with the cast spread over a number of sofas and ministages, and the play is delivered in a normal fashion with surtitles provided on a large screen above. Then as the first break approached, some consuls appeared in the middle of the audience to deliver their scene, giving you the first indication that this would be no ordinary production. During that first break (rather than normal intervals, the action is interspersed with short breaks), the audience were invited to come onto stage and watch from the sofas: there was also a bar where you could buy a drink and computers to check your email, you could really immerse yourself in the action and become part of the play, a citizen of Rome if you will, whilst the political debates of war and democracy rage around you. I particularly loved the scrolling news flashes which reminded us of the length of time until the deaths of each of the key characters, it was so witty I didn’t even mind that it was 295 minutes until Cleopatra’s death! Continue reading “Review: The Roman Tragedies, Toneelgroep Amsterdam at the Barbican”