Review: One Hand Tied Behind Us, Old Vic

A stirring and compelling evening of monologues exploring women’s rights – Maxine Peake curates One Hand Tied Behind Us at the Old Vic Theatre in London

“No cause can be won between dinner and tea, and most of us who were married had to work with one hand tied behind us”

That quote comes from English suffragette Hannah Mitchell, from The Hard Way Up: The Autobiography of a Suffragette, and provided the titular inspiration for One Hand Tied Behind Us, an evening of monologues at the Old Vic curated by Maxine Peake and conceived by Matthew Warchus. 

Using the centenary of the 1918 Representation of the People Act as a springboard – and acknowledging that while it granted the first women in Britain the right to vote, many more remained disenfranchised – five writers were commissioned to respond to the anniversary, to take stock of the journey so far, where we are now, how much further there still is to go. Continue reading “Review: One Hand Tied Behind Us, Old Vic”

TV Review: Humans Series 1

“You’re just a stupid machine aren’t you”

I wasn’t going to write Humans up but I’ve spoken so enthusiastically about it with several people since I watched the whole thing in three days and so thought I’d better recommend it even further. If there’s any justice in the world, Gemma Chan will win all sorts of awards for her performance as Anita (later Mia), the Synth or human-like android that has become the must-have accessory for domestic service in this parallel present-day universe. 

Anita is bought by the Hawkins family who soon start to twig that something isn’t right in the way she is behaving and as Sam Vincent and Jonathan Brackley’s drama continues over its 8 episodes, we come to see that the lines between human and machine have been considerably blurred by technological advancement and its potential to be exploited identified as a key priority for the nefarious powers-that-be.

Continue reading “TV Review: Humans Series 1”

Album Review: Legally Blonde (2010 Original London Cast)

“You must admit that Elle Woods should join the chosen few”

Part of the fun of delving back into these soundtracks, so many of which I’ve had for a while, is challenging the preconceptions that I’ve allowed to build up in my mind. Sister Act the musical is the perfect example, mentally I didn’t rate it so hadn’t listened to it for an age but upon taking the time, I discovered it to be better than I remembered. That works both ways though and I’ve long rated the Legally Blonde the Musical soundtrack on this basis, even though it really stems from me having my favourite four tracks from it on my most listened to playlist.

So yes, ‘Omigod You Guys’ and ‘What You Want’ are two brilliant songs and I’ll fight anyone who says otherwise. Their glossy joie de vivre setting the scene perfectly for this camp-as-tits show and book-ended by the highly amusing ‘There, Right There!’ and the emotive title track which segues from its gorgeous ballad treatment into an energetic 11 o’clock number, there are some cracking musical moments in this show and with national-treasure-in-the-making Sheridan Smith at its helm as the determined Elle Woods, how could it be otherwise. Continue reading “Album Review: Legally Blonde (2010 Original London Cast)”

TV Review: Lightfields

“I feel like I’ve been running my whole life from this”

Cohu’s biggest TV show of recent times is probably Lightfields, conceived as a follow-up to the rather successful Marchlands of a couple of years ago, and occupying very similar ground of supernatural phenomena haunting the same property through different time periods. A remote farmhouse in Suffolk is the setting, the building named Lightfields, and as a young woman dies in mysterious circumstances in a wartorn 1944, the repercussions are felt by a mother and daughter who stay there for the summer in 1975 and also by the family who are running it as a bed and breakfast in 2012. The ghosts of the past weigh heavily on all concerned as in all three eras, the search for the truth as to what happened puts several people in danger.

I really enjoyed Marchlands so I was a little sceptical to hear that a sequel of sorts had been planned one which seemed to repeat the same format. And though it was mostly enjoyable to watch, I did find it to be not quite on the same level as its predecessor. For a start, it had far too many characters in the 1944 slot alone, I couldn’t get a bearing on who was who even when they were right in front of me, never mind when older versions of them appeared in the later time periods – I felt like I needed to write down a list of everyone as it always felt overly cluttered, with too many story strands feeding into both the 1944 and 2012 slots and leaving the overall feel of the programme as rather confused. Continue reading “TV Review: Lightfields”

2013 What’s On Stage Award nominations

THE DIGITAL THEATRE BEST ACTRESS IN A PLAY

Sheridan Smith – Hedda Gabler at the Old Vic
Billie Piper – The Effect, Headlong at the National, Cottesloe
Hattie Morahan – A Doll’s House at the Young Vic
Jill Halfpenny – Abigail’s Party at the Menier Chocolate Factory & Wyndham’s
Julie Walters – The Last of the Haussmans at the National, Lyttelton
Sally Hawkins – Constellations at the Royal Court Upstairs & Duke of York’s

THE DIGITAL THEATRE BEST ACTOR IN A PLAY

Rupert Everett – The Judas Kiss at Hampstead
Adrian Lester – Red Velvet at the Tricycle
David Haig – The Madness of George III at the Apollo
David Suchet – Long Day’s Journey into Night at the Apollo
Luke Treadaway – The Curious Incident of the Dog in the Night-time at the National, Cottesloe
Mark Rylance – Twelfth Night & Richard III at Shakespeare’s Globe & the Apollo Continue reading “2013 What’s On Stage Award nominations”

Re-review: Abigail’s Party, Wyndhams

“Our nation’s culture. Not something you can actually read, of course.”

There’s something mildly amusing about the above quote, which refers to Shakespeare by the way, given the Bardathon currently going on at the Globe and beyond and it is one that I didn’t pick up the first time I saw Abigail’s Party. I’d never seen it before despite the Alison Steadman version being a cult classic and so the whole show was a revelation to me, especially in how dark it was given I’d assumed it was more of a comedy. That original review from this production’s original run at the Menier Chocolate Factory can be read here but it has now made the leap into the West End at the Wyndhams where it will run for the summer after it sold out at the Menier.

I don’t really have much more to add about the show second time round, except to say that the Wyndhams is a great fit for it, the sense of intimacy is still there as Beverly’s living room occupies a letterbox set on the larger stage and has brought with it all the beautifully observed period details. Performances remain sharp across the board, Natalie Casey really is excellent as the gin-soaked Ange, Andy Nyman oozes unreconstructed machismo as Laurence and Jill Halfpenny sweeps all before her as the acidic Beverly. Continue reading “Re-review: Abigail’s Party, Wyndhams”

Review: Abigail’s Party, Menier Chocolate Factory

“We’ve got whiskey, gin, vodka, whatever you like”

Whisper it quietly, but I’ve never actually seen Abigail’s Party. I came to Mike Leigh rather late and carrying so much cultural baggage and expectation with it, it’s never been a film I’ve felt a particular inclination to take in. So when the Menier Chocolate Factory announced it was producing a revival of the play, it didn’t really register on my radar of things that I needed to see. But excellent word-of-mouth and general expressions of shock that I’d never seen it before encouraged me to book a ticket when a chance visit to the theatre’s website offered up a return for sale.

Jill Halfpenny takes on Beverly, the role iconically made famous by Alison Steadman (I know that much at least) and though it is her outrageous ‘fantasticness’ that forms a large part of the play and the excruciating comedy it contains, it remains thoroughly a Mike Leigh piece at heart. So painful marital discord abounds and if the prevailing tone is comedic, it is piercingly dark and cutting. For someone watching it for the first time, I didn’t find it half as funny as nearly everyone around me. Continue reading “Review: Abigail’s Party, Menier Chocolate Factory”

2011 Laurence Olivier Awards winners

Best New Play 
Clybourne Park by Bruce Norris – Royal Court
End of the Rainbow by Peter Quilter – Trafalgar Studios
Sucker Punch by Roy Williams – Royal Court
The Little Dog Laughed by Douglas Carter Beane – Garrick
Tribes by Nina Raine – Royal Court

Best New Musical
Legally Blonde – Savoy
Fela – National Theatre Olivier
Love Never Dies – Adelphi
Love Story – Duchess

Best Revival 
After the Dance – National Theatre Lyttelton
All My Sons – Apollo
King Lear – Donmar Warehouse
When We Are Married – Garrick Continue reading “2011 Laurence Olivier Awards winners”

2011 Laurence Olivier Awards nominations

Best New Play 
Clybourne Park by Bruce Norris – Royal Court
End of the Rainbow by Peter Quilter – Trafalgar Studios
Sucker Punch by Roy Williams – Royal Court
The Little Dog Laughed by Douglas Carter Beane – Garrick
Tribes by Nina Raine – Royal Court

Best New Musical
Fela – National Theatre Olivier
Legally Blonde – Savoy
Love Never Dies – Adelphi
Love Story – Duchess

Best Revival 
After the Dance – National Theatre Lyttelton
All My Sons – Apollo
King Lear – Donmar Warehouse
When We Are Married – Garrick Continue reading “2011 Laurence Olivier Awards nominations”

Winners of the 2011 What’s On Stage Awards

THE SPOTLIGHT BEST ACTRESS IN A PLAY
WINNER – Zoe Wanamaker – All My Sons at the Apollo (31.2%)
Helen McCrory – The Late Middle Classes at the Donmar Warehouse (7.9%)
Jenny Jules – Ruined at the Almeida (8.5%)
Kim Cattrall – Private Lives at the Vaudeville (21.7%)
Nancy Carroll – After the Dance at the National, Lyttelton (10.3%)
Tracie Bennett – End of the Rainbow at Trafalgar Studios (20.4%)

THE SPOTLIGHT BEST ACTOR IN A PLAY
WINNER – David Suchet – All My Sons at the Apollo (23.2%)
Benedict Cumberbatch – After the Dance at the National, Lyttelton (21.4%)
Matthew Macfadyen – Private Lives at the Vaudeville (13.7%)
Rory Kinnear – Hamlet at the National, Olivier & Measure for Measure at the Almeida (14.4%)
Simon Russell Beale – Deathtrap at the Noel Coward & London Assurance at the National, Olivier (16.7%)
Toby Stephens – The Real Thing at the Old Vic (10.6%)
Continue reading “Winners of the 2011 What’s On Stage Awards”