Stars of stage and screen including Olivia Colman, Helena Bonham Carter, David Suchet, Dame Penelope Keith, Timothy West, Jamael Westman, Tobias Menzies, Aimee Lou Wood, Grace Saif, Dame Penelope Wilton, and Julie Hesmondhalgh have joined forces to perform Shakespeare’s 154 sonnets for Jermyn Street Theatre, a 70-seat studio in London’s West End.
The Sonnet Project launched on the theatre’s social media channels on 21 March, when Hannah Morrish performed Sonnet 1. One sonnet has appeared every day since then, with the cycle due to complete with Sonnet 154 in late August. David Suchet, star of Agatha Christie’s Poirot but also a veteran of numerous Royal Shakespeare Company productions, performed Sonnet 34 on Shakespeare’s birthday. Continue reading “News: stars come out to support the Jermyn Street Theatre”
It’s all change at Thames House as Series 3 of Spooks sees the original core team leave the security service one way or another
“We cannot have another Tom Quinn”
I’d forgotten just monumental this series of Spooks was, as first Matthew MacFadyen’s Tom took his leave after getting a conscience, then Keeley Hawes’ Zoe was shunted off to Chile to evade justice and then David Oyelowo’s Danny shuffled off this mortal coil thanks to bloody Fiona and an annoyed Iraqi terrorist. Rupert Penry-Jones was drafted in as Adam, a friendly MI6 type who fits the Tom mould perfectly, though we could have done without his wife (more of that anon).
But even besides all the personnel shifting, the writing is shit-hot in this season, especially when the focus is on the morality of security service actions. Targeted assassinations on North Sea ferries, honeytrapping members of the Turkish mafia, these are meaty issues with some real consequences for all concerned.
Now firmly established in the team, attention turns to her trying to get some, in the most Ruth-like possible way, ie stalking someone illegally and sharing a carbonara with a traitorous ex-colleague, this is prime Ruth territory. Continue reading “Lockdown TV Review: Spooks Series 3”
|(c) Manuel Harlan
The new cast of Harry Potter and the Cursed Child has been announced, showing one of the perils of its enormous sell-out success, that the cast playing when you book might not necessarily be the cast you get when you eventually get into the Palace Theatre. The received wisdom is that you shouldn’t be aggrieved at not seeing a particular performer but such a wholesale cast change in such a beloved and prize-garlanded company, I think people are allowed to feel disappointed, even if momentarily. Continue reading “New cast of Harry Potter and the Cursed Child announced”
“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”
“It’s because you love him too much”
So a slightly odd position to be in, as we saw Harry Potter and the Cursed Child Parts 1 and 2 nearly 7 weeks ago at their first previews. And with the #keepthesecrets campaign already in full force then, I didn’t write up a review, opting instead for this preview of sorts. And even now, I’m loathe to write too much about it, for it really is the kind of play, and production, that benefits from the multiple elements of surprise contained within.
And it really is packed full of them, from all aspects. Based on an original new story by JK Rowling, Jack Thorne and John Tiffany, Thorne’s play revels in the richness and full depth of the Harry Potter universe to the point where the named cast are described as playing “roles include…” so as not to spoil what’s to come. This does have the knock-on effect of making this a play not really suitable for newcomers but I can’t imagine too many of them will have booked! Continue reading “Review: Harry Potter and the Cursed Child, Palace – totes spoiler free!”
“How is that even possible?!”
Well it’s finally here, Harry Potter and the Cursed Child Parts 1 and 2 have landed at the Palace Theatre in a blaze of insane publicity and media coverage desperate for a touch of that JK Rowling magic to drive web traffic. In some ways, I’m no different (hence this post!) but in one crucial way I do have the advantage – I’m one of the lucky audience members who has now seen both shows, along with the one and only scene-stealing appearance of Sprocket the owl.
It’s no secret that Rowling is asking people to #KeepTheSecrets and there’s always an interesting tension about whether or not one should observe an embargo when you’ve paid for your ticket (a whole £10 per show too, we weren’t going crazy!). So for now, I’m leaving you with this little collection of teasers about some of my favourite things from the show and be warned, they do increase in mild spoilerishness (mostly about staging, the final E is the one to avoid if you’re not sure…forgive me JK!). Continue reading “Preview: Harry Potter and the Cursed Child, Palace”
“Everyone belongs to everyone else”
Depictions of dystopian near-future worlds are two-a-penny these days so what makes Aldous Huxley’s Brave New World so striking is that it was written in 1932. Its foretelling of a society dominated by technology, loveless sex and capitalist greed has obvious resonance today and so it makes sense for a stage adaptation, co-produced by Northampton’s Royal and Derngate and The Touring Consortium Theatre Company. Dawn King, she of the excellent Foxfinder, discreetly reshapes the narrative to its new form but doesn’t actually interfere too much with the source material.
Creatively, director James Dacre has gathered an excellent team around him who deliver great results in Naomi Dawson’s impressive retro-futuristic design Original music by These New Puritans mixes with George Dennis’ icy sound design to provide a vivid soundscape, and Colin Grenfell’s lighting complements Keith Skretch’s video work to create a strong visual aesthetic that probably errs to high-end contemporary rather than all-out futuristic, its targeted advertisements, corporate shininess and civil liberties-impinging data collection already a reality. Continue reading “Review: Brave New World, Royal and Derngate”
“If my uncle, thy banished father, had banished thy uncle, the duke my father…”
Against my better judgement, I bought the RSC’s As You Like It ages ago when a special offer came up for it but it has languished on my hard-drive ever since as I have serious AYLI fatigue and no real desire to watch it again. It is one of those Shakespeares that seems to pop up with unfailing regularity and I’ve grown tired of it to be honest – occasionally a production will surprise with a stunning central performance as did Cush Jumbo at the Royal Exchange but usually I’m left weary by the lack of inventiveness in productions which end up blurring into one another in my mind.
And that’s how I felt in the end about this 2010 Michael Boyd-directed production featuring the Long Ensemble. It is undoubtedly well-performed: Katy Stephens’ bright intelligence is perfectly suited to the determined Rosalind and well matched with Jonjo O’Neill’s passionate Orlando, Richard Katz’s wild-haired Touchstone is well observed and having become accustomed to this group of actors, I liked the smaller parts played by the likes of Christine Entwisle, Dyfan Dwyfor and Charles Aitken. Continue reading “Review: As You Like It, Digital Theatre”
“All these dreams of fire and steel in one little head”
The best of intentions always tend to go awry from time to time and so it is with theatre bookings. I would not normally have considered going to see Little Eagles, as Russian space history is not generally a subject I care that much about, at least not enough to pay money to see. But, as it was one of the new commissions by the RSC and being performed by the Ensemble, whom have grown into a fabulously cohesive unit and therefore pretty much making anything they do a must-see as they come into the final furlong of their time together.
Marking the 50th anniversary of Yuri Gagarin’s first manned orbit of the earth, Rona Munro’s play follows the development of the Soviet space programme by Sergei Korolyov, a former gulag inmate with the meagrest of resources who managed the incredible even in the face of great political pressure. But it is a slow, long play with little variation of tone or voice; there’s no attempt to question this version of events and even the joy of seeing these actors in fascinatingly different roles did not really mitigate against this. Continue reading “Review: Little Eagles, RSC at Hampstead”
“If love be rough with you, be rough with love”
So having managed to stand through King Lear and partake of a lovely dinner, the evening saw a second visit to Rupert Goold’s highly entertaining Romeo & Juliet. I haven’t got a huge amount to say about this that I didn’t already say in my original review, it really is as fresh and exciting an interpretation of this play that you will ever see, it feels like it could have been written yesterday, so persuasive is the pulsing heart of this production with its innovative immediacy.
I’d actually decided not to see the show again when it came to the Roundhouse in the winter as I thought I didn’t want my happy memories of seeing it at the Courtyard to be affected. But talking to people who did go persuaded me it might be a good thing and I am so glad that I did go again as I felt the production has matured into something richer and stronger. And knowing what the directorial flourishes were meant that I was able to focus more elsewhere, on the subtleties, the little touches that passed me by and enjoying the sheer quality of the performances, especially from the great seats we forked out for, on the front row of the circle facing the stage. Continue reading “Re-review: Romeo & Juliet, Royal Shakespeare Theatre”