I round up some of the recent casting news, including Queen Margaret at the Royal Exchange, Wasted at the Southwark Playhouse, Measure for Measure at the Donmar and The Woods at the Royal Court.
Shakespeare wrote more lines for Queen Margaret than he did for King Lear yet we know very little of her. Jeanie O’Hare re-acquaints us with one of Shakespeare’s major but rarely performed characters in her new play Queen Margaret. In a production that draws on original language from Shakespeare, director Elizabeth Freestone and Jade Anouka as Margaret, retell an iconic moment in British History through the eyes of the extraordinary Margaret of Anjou. This captivating exploration of The Wars of the Roses seen through the eyes of this astonishing, dangerous and thrilling woman opens the Royal Exchange’s Autumn Winter 2018/19 Season.
Anouka is joined by Islam Bouakkaz (Prince Edward/Rutland), Lorraine Bruce (York), Samuel Edward-Cook (Suffolk/Clifford), Dexter Flanders (Edward IV), Helena Lymbery (Hume), Lucy Mangan (Joan of Arc), Roger Morlidge (Gloucester), Kwami Odoom (Somerset/Richard), Bridgitta Roy (Warwick) and Max Runham (Henry VI). Continue reading “Casting news aplenty!”
Paying tribute to the NHS in its 70th year, the specially-commissioned monologues of The Greatest Wealth made for a great night at the Old Vic
“It’s a wonderful idea
It’s a marvellous idea
It’s such a very good idea”
It’s no exaggeration to say that I wouldn’t be here but for the NHS – it changed my life as a young boy, it saved my life as a teenager who didn’t look both ways. A story I imagine which finds resonance with so very many of us in the UK but as this venerable institution marks its 70th birthday, it finds itself under siege more than ever. So what better time to reflect on what has been, what is and what yet might be for our National Health Service.
Curated by Lolita Chakrabarti and directed by Adrian Lester, The Greatest Wealth took the form of a series of specially-commissioned world-premiere monologues, each responding to a particular decade of the NHS’s existence. Exploring the myriad ways in which it has become an integral part of the social and economic fabric of the nation, it proved a varied and thoughtful evening.
An excellent Jade Anouka leads the cast of Ella Road’s debut play The Phlebotomist at the Hampstead Downstairs
“All these people are getting their dating profiles blood-verified. You know, shouldn’t we just go for the people we fancy?”
The Phlebotomist may be a little
but it’s also
in the way that it takes a scalpel to a near-future obsession with eugenics that is less dystopian than creepily credible.
Running time: 2 hours (with interval)
Photo: Johan Persson
The Phlebotomist is running at the Hampstead Downstairs until 19th May
“People fall through the world all the time”
Former Noah and the Whale front-man and songwriter Charlie Fink is no stranger to the Old Vic, having composed the rather lovely score for The Lorax, but his return takes a rather unconventional form in the shape of Cover My Tracks. It occupies that strange place of ‘play with songs’, or ‘live gig and modern folk tale’, or ‘night of live music and theatre’, anything but call it a musical apparently – that probably wouldn’t fit with the brand that the Old Vic are trying to establish with their Lates programme.
In the end, it doesn’t really matter what you call it, as the combination here is subtly beguiling. Reuniting with Lorax scribe David Greig, Fink plays Frank, a depressive young songwriter who has split with his band due to ‘artistic differences’ of a sort and Jade Anouka takes the role of Sarah, the hotel worker who intervenes in his life at a crucial moment, seemingly setting it on a new path. Frank though, is determined to find a uniquely 21st century route into rockstar immortality which involves disappearing completely. Continue reading “Review: Cover My Tracks, Old Vic”
A tempting looking trailer has been released for Late Company, the Finborough’s forthcoming drama
Canadian drama about restorative justice, online bullying & more #LateCompany comes to @finborough later this month https://t.co/4yPUh2BuUu pic.twitter.com/RyITRltJvH
— TheatreDotLondon (@TheatreDotLDN) April 13, 2017
“It is known that the Doctor requires companions”
Right – the first season that I haven’t rewatched any of at all. Things get a bit hectic here as once again, the series got split in two, accommodating the mid-season departure of Amy and Rory and the (re-)introduction of new companion Clara Oswald, plus a pair of specials respectively marking the 50th anniversary of Doctor Who and the end of Matt Smith’s tenure as Eleven. It all adds up to a bit of a bloated mess to be honest, though not without its high points.
Amy and Rory feel a little ill-served by their final five, the introduction of Mark Williams as Rory’s dad detracts from their screen-time (yet he doesn’t feature in their farewell?), though the return of the Weeping Angels gives their noirish NY-set exit episode some real heft. And though I admire Jenna Coleman’s confident take on Clara, she’s a hard companion to warm to without any contrasting humanity to go with her intelligence and intensity.
The ‘Impossible Girl’ arc didn’t really tick my box and the grandiosity of Moffatt’s writing for the finale of The Name of…, The Day of… and The Time of the Doctor doesn’t really help (I was curiously unmoved by all the fan-service second time round). Still, Gatiss knocks it out of the park with the superb Ice Warrior tale Cold War and bringing mother and daughter Dame Diana Rigg and Rachael Stirling together on screen for the first time. Continue reading “Countdown to new Who: Doctor Who Series 7”
|Best Actress in a Play||Juliet Stevenson/Lia Williams, Mary Stuart||Uzo Aduba/Zawe Ashton, The Maids||Gemma 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 Play||O-T Fagbenle, Ma Rainey's Black Bottom||Lucian Msamati, Ma Rainey's Black Bottom||Phil 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 Play||Jade Anouka, The Tempest||Lizzy Connolly/Amanda Lawrence, Once in a Lifetime||Nadine 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 Play||Peter Polycarpou, Scenes from 68* Years||Anthony Boyle, Harry Potter and the Cursed Child||Rudi 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 Musical||Jenna Russell, Grey Gardens||Clare Burt, Flowers for Mrs Harris||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...
|Best Actor in a Musical||Louis Maskell, The Grinning Man||Ako Mitchell, Ragtime||Declan 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 Musical||Jennifer Saayeng, Ragtime||Victoria Hamilton-Barritt, Murder Ballad||Josie 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 Musical||Julian Bleach, The Grinning Man||Tyrone Huntley, Jesus Christ Superstar||Adam J Bernard, Dreamgirls
Daniel Crossley, Sweet Charity
Stuart Neal, The Grinning Man
Dominic Tighe, She Loves Me
Gary Tushaw, Ragtime
|Pleasures were few and far between in 2016…|
Round-up of the 2016 fosterIANs
And my top 10 plays of the year:
Best Supporting Actress in a Play
Jade Anouka, The Tempest
After being somewhat underused in Doctor Faustus earlier in the year, it was extremely gratifying to see Anouka rise to the fore again in the cumulative triumph of the Donmar’s Shakespeare Trilogy. Striking as Hotspur in Henry IV, it was her street-smart Ariel that stood out most for me.
Honourable mention: Lizzy Connolly/Amanda Lawrence, Once in a Lifetime
Confession time. Both these women should really have been recognised last year – Connolly for Xanadu, Lawrence for Nell Gwynn – and so the fact that they appeared in the same show this year felt like a sign, Lawrence in particular proving she is a comedic tour-de-force wherever she goes.
Nadine 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 Actress in a Musical
Jennifer Saayeng, Ragtime
She may only figure [spoiler!] in the first half of the show but Sarah is an epic part with some epic songs, including two stone-cold classics in ‘Your Daddy’s Son’ and ‘Wheels of a Dream’, and Saayeng rose to the occasion magnificently both dramatically and musically. You totally believed she was someone Ako Mitchell’s Coalhouse would turn the world upside down to avenge.
Honourable mention: Victoria Hamilton-Barritt, Murder Ballad
I wasn’t necessarily the biggest fan of this show but Hamilton’Barritt’s performance kept me as thoroughly engaged as Ramin Karimloo’s abs did. She has that real gift of being able to transcend the material she’s given, to become scene-stealingly excellent even when she’s not the lead.