Nominees have been announced for the 2017 Ian Charleson Awards:
Ellie Bamber for Hilde in The Lady from the Sea, Donmar Warehouse
Daniel Ezra for Sebastian in Twelfth Night, National Theatre
Tamara Lawrance for Viola in Twelfth Night, National Theatre
Rebecca Lee for Friar Laurence in Romeo and Juliet, Watermill, Newbury
James Corrigan for Mark Antony in Julius Caesar, Shakespeare Royal Shakespeare Company
Ned Derrington for Lysander in A Midsummer Night’s Dream, Shakespeare’s Globe
Sope Dirisu for Coriolanus in Coriolanus, Royal Shakespeare Company
Arthur Hughes for Lucius in Julius Caesar, Crucible, Sheffield
Douggie McMeekin for Snug in A Midsummer Night’s Dream, Young Vic
Natalie Simpson for Duchess Rosaura in The Cardinal, Southwark Playhouse
Hannah Morrish for Lavinia in Titus Andronicus, Royal Shakespeare Company
The focus of the award is on roles in classical theatre – yours Ibsens, your Chehkovs, your overwhelming number of Shakespeares – but you do wonder whether there’s something about the kudos automatically granted here. Though there is diversity in the names selected here, the very notion of ‘classical’ as determined by the theatrical establishment seems to work against its actual ecology, at least as it relates to modern Britain.
I mean to not at all dishonour the legacy of Ian Charleson, but I do wonder whether the awards that bear his name recognise the bias that its limitations impose. If the Quentin Letts farrago shows us anything, it shows us how entrenched some of these attitudes are. But it also serves as a reminder that actors of colour (and women to some of the same extent) are ill-served by the ‘canon’.
I’m all for celebrating and highlighting the work of great young actors but I want all of them to be included. And yes, that makes the scope considerably wider but surely its time to acknowledge that there’re amazing actors who have never performed Shakespeare, and might never do Chekhov, but who are more than worthy of the kind of recognition offered here.
The Ian Charleson Awards are theatrical awards that reward the best classical stage performances in Britain by actors under age 30. The awards are named in memory of the renowned British actor Ian Charleson, and are run by the Sunday Times newspaper and the National Theatre.
The nominees for 2016 have been announced and the winners will be announced on 5th June:
Paapa Essiedu, for Hamlet; and Edmund, King Lear (RSC)
Jessica Brown Findlay, for Sonya, Uncle Vanya (Almeida)
Fisayo Akinade, for The Dauphin, Saint Joan (Donmar)
James Corrigan, for Palamon, The Two Noble Kinsmen (RSC)
Emma Curtis, for The Lady, Comus (Globe)
Marcus Griffiths, for Laertes, Hamlet (RSC)
Felicity Huxley-Miners, for Elena Popova, The Bear (London Theatre, New Cross)
Francesca Mills, for Maria, The Government Inspector (Ramps on the Moon/Birmingham Rep)
Natalie Simpson, for Cordelia, King Lear; Ophelia, Hamlet; and Guideria, Cymbeline (RSC)
Ewan Somers, for Claudio, Much Ado About Nothing (Dundee Rep)
Marli Siu, for Hero, Much Ado About Nothing (Dundee Rep)
Joanna Vanderham, for Queen Anne, Richard III (Almeida)
Paksie Vernon, for Sylvia Craven, The Philanderer (Orange Tree Theatre)
“Tell me where is fancy bred”
This was actually the first time I’ve been to the cinema to see some theatre, this being a rare example of the production in question being one that I hadn’t seen. Polly Findlay’s production of The Merchant of Venice for the RSC suffered a little by following a most striking one at the Globe and the reviews said as much. But with a little distance, the comparison was much less fresh in my mind and the novelty of this screening – cabaret tables, a bar, interval food from Wagamama – made it a rather fun experience.
Findlay adjusts the balance of her interpretation so that Antonio becomes its centre as well as its titular character, his presence dominates the stage at the beginning and end, his relationship with Jacob Fortune-Lloyd’s Bassanio so often merely homoerotic made explicitly homosexual. In the midst of Johannes Schütz’s anonymous golden-hued set, their passion is made manifest from the beginning and becomes a driver throughout, marriage to Portia and the commitments it entails take second place. Continue reading “Review: The Merchant of Venice, RSC at East WinterGarden”
“Don’t you think I should be wearing underwear for this?”
The major stresses and ongoing strife of family life in all its messiness is at the heart of Dan LeFranc’s The Big Meal, the sole US input into the main HighTide programme, which has already played a short run at Bath’s Ustinov theatre. Taking the idea that much of importance happens around the dinner table, LeFranc explores 80 years of a couple’s life through five generations of a family in an ambitiously sprawling framework which sees time following an anything-but-linear path, swathes of dialogue overlapping noisily with each other and a ton of food. And through the cacophony, it does manage to become something rather exhilarating.
It’s a dizzying experience though, and Michael Boyd’s direction manages to somehow embrace the audience into this strange world but keep us discombobulated within it. Sam and Nicole are the couple whose initial meeting in a diner is swiftly followed by the ‘ding’ that indicates passage of time and we see that they’re married with kids and so on and so forth, each ‘ding’ changing something which further complicates the ever-growing family and their troubled dynamic, which essentially boils down to life’s a bitch and then you die, during a silent Last Supper montage. Oh and yes, you will end up like your mother. Continue reading “Review: The Big Meal, HighTide”