Full casting for Michael Boyd’s much anticipated production of The Cherry Orchard is announced today as rehearsals begin for the Bristol Old Vic and Royal Exchange Theatre co-production. Rory Mullarkey’s brand-new translation will be directed by Boyd, celebrated former Artistic Director of the Royal Shakespeare Company (RSC). Having studied Russian and trained as a director in Moscow, extraordinarily, he will be directing Chekhov – the literary love of his life – for the first time. Continue reading “Full cast announced for Michael Boyd’s The Cherry Orchard”
“Sod ‘name in lights’, you’re an app now my brother”
On the sixth day of Christmas, Black Mirror gave to me…the always welcome Tobias Menzies
It’s little surprise that Black Mirror returns to the world of politics in The Waldo Moment given how effectively it skewered its contemporary shallowness in The National Anthem. Here, the focus is larger than just the Prime Minister, centring on a protest vote movement that builds up around Waldo, a profane animated bear who interviews celebrities disarmingly in an Ali G-like manner.
Waldo’s latest victim is Tobias Menzies’ insidious prospective Tory MP Liam Monroe and when an encounter between the pair goes viral, the powers-that-be behind the cartoon decide to enter him into the by-election. But the man who voices and plays Waldo via motion capture technology is far less convinced, failed comedian Jamie (Daniel Rigby) has no confidence in himself and as the public get thoroughly behind this new anti-establishment candidate, he finds it harder and harder to disentangle himself. Continue reading “12 Days of Christmas – Black Mirror 2:3”
“Though I look old…I am strong and lusty”
From the minute Michelle Terry’s Rosalind launches into an actual tizzy at the sight of Orlando’s ripped body (an inordinately but irresistibly muscular Simon Harrison), the warmly joyous spirit of Blanche McIntyre’s As You Like It is never in doubt. The contrasting textures of Shakespeare’s elegant yet complex comedy are well balanced, its musical elements pushed to the forefront with a folkish score from Johnny Flynn but above all, there’s a sense of intelligent fun that delights in taking its time to reveal itself.
Terry has been establishing herself as one of our leading Shakespeareans and this energetic and impulsive take on Rosalind is an absolute privilege to watch. Constantly on the edge of her emotions, she skips from the giddy heights of love at first sight to the crushing pain of banishment in the blink of an eye. And as she explores the nature of love and the heart, her heart in particular, her deftly comedic manner whilst disguised as Ganymede is just glorious, her continual delight at what she is discovering a constant joy. Continue reading “Review: As You Like It, Shakespeare’s Globe”
“Will you just shut up about your blimmin’ horse”
Those of you that know me, or have read a few reviews on here, will know that I have something of an aversion to puppets, specifically puppetry that tries to be realistic in its portrayal – Avenue Q’s fluffy monsters are fine in that respect – but something about the mimicry of ‘real life’ has never been something I have enjoyed watching and indeed freaks me out a little bit. Throw into the mix horses, an animal of which I am not keen, and it is perhaps unsurprising that I have never been to see War Horse. Nor had I ever intended to, but I made the mistake of saying that the only way I would go was if someone bought me a ticket for my birthday…and lo, guess what happened…
Adapted by Nick Stafford from Michael Morpurgo’s children’s book, War Horse has been one of the biggest theatrical success stories of recent years: originally playing at the National Theatre in 2007, then returning for a revival the next year and then transferring into the West End in March 2009 where it has become one of the best selling shows in town, a genuine fixture at the tucked-away New London Theatre where its success shows no signs of abating, especially in the reflected glow of its award-winning sister production on Broadway. Quite why this is, I have to say still eludes me having seen the show, I couldn’t tell you what the magic ingredient is in here that has led to its enduring achievements aside from offering one of the most overly sentimental theatrical experiences possible. Continue reading “Review: War Horse, New London Theatre”