Simon Annand’s Time To Act is a beautiful book of photos capturing actors in the minutes before they go on stage
Tackling the constraints of the pandemic in its own way, Simon Annand’s fantastic new book of photos Time To Act has launched a virtual exhibition of some of the photographs which has now been extended to until Christmas. It’s an ingenious way of sharing some of the hundreds of images from the book and should surely whet the appetite for either just buying it now or putting on your list for Santa to collect soon.
Continue reading “Book review: Time To Act – Simon Annand”
Autumn de Wilder offers an Emma. with a contemporary sensibility but not much sense
“Mother, you MUST sample the tart!”
You don’t see Jane Austen much at the theatre. Her situation notwithstanding, over the years I think I’ve only seen a single Pride and Prejudice and a vibrant Persuasion (plus countless Austentatious inventions), adaptations of her work just don’t seem to pop up in theatres with much regularity at all. I wonder why that is for there’s certainly no lack of them on our screens.
I wasn’t much of a fan of the Gwyneth Paltrow-starring film but loved both the TV versions I’ve seen with Kate Beckinsdale and particularly with Romola Garai. This latest iteration of Emma., directed by Autumn de Wilde and adapted by Eleanor Catton, only hit cinemas recently but due to coronavirus restrictions, found its way pleasingly quickly onto on-demand services. Continue reading “Lockdown film review: Emma. (2020)”
Admissions, by Joshua Harmon, Lincoln Center Theater
Mary Jane, by Amy Herzog, New York Theatre Workshop
Miles for Mary, by The Mad Ones, Playwrights Horizons
People, Places & Things, by Duncan Macmillan, National Theatre/St. Ann’s Warehouse/Bryan Singer Productions/Headlong
School Girls; Or, The African Mean Girls Play, by Jocelyn Bioh, MCC Theater
Desperate Measures, The York Theatre Company
KPOP, Ars Nova/Ma-Yi Theatre Company/Woodshed Collective
Old Stock: A Refugee Love Story, 2b Theatre Company/59E59
SpongeBob SquarePants Continue reading “Nominations for the 2018 Drama Desk Awards”
Best Supporting Actor in a Play
John Simm, The Homecoming
Anyone who has seen Doctor Who knows Simm can do menacing but it has never been as appealing as it is here, giving Lenny a directly sexual charge that fair flew off the stage. I’m no big fan of Pinter but I could watch this performance over and over.
Honourable mention: David Moorst, Violence and Son
If it’s good enough for the Oscars (Alicia Vikander as Best Supporting Actress for The Danish Girl, gurl?!), it’s good enough for me. As the younger half of the titular pair, Moorst was heartbreaking, and horrific in the same moment, a thoroughly complex performance for a thoroughly complex part.
Harm Duco Schut, Glazen Speelgoed
Johnny Flynn, Hangmen
James Garnon, As You Like It (Globe)
David Sturzaker, Nell Gwynn
Jolyon Coy, Creditors; David Mumeni, Lela & Co.; Pearce Quigley, The Beaux’ Stratagem; Luke Thompson, Oresteia
Best Supporting Actor in a Musical
Emmanuel Kojo, Show Boat
You may think that you know the song ‘Ol’ Man River’ but Kojo’s incandescent rendition(s) of this standard imbue it with an extraordinary power that is just memerising. Don’t wait for a transfer which hasn’t been confirmed yet, get to Sheffield while you still can!
Honourable mention: Ako Mitchell, Little Shop of Horrors
‘Here he is folks, the leader of the plaque!’ I’ve seen Mitchell in a range of roles but as dastardly dentist Orin Scrivello DDS, he really unleashed his devilishly fun side with memorable results.
Matthew Malthouse, Mrs Henderson Presents
Ian McIntosh, Beautiful – The Carole King Musical
Jamie Parker, High Society
George Rae, Grand Hotel
Paul Harwood, Singin’ In The Rain; Stephen Matthews, Anything Goes ; Sam O’Rourke, The Smallest Show on Earth; Renato Paris, Close To You
Best Actor In A Play Sponsored By Radisson Blu Edwardian:
Benedict Cumberbatch, Hamlet
James McAvoy, The Ruling Class
Bradley Cooper, The Elephant Man
Mark Rylance, Farinelli and the King
Alex Hassell, Henry V
Best Actress In A Play Sponsored By The Umbrella Rooms:
Nicole Kidman, Photograph 51
Denise Gough, People, Places and Things
Lia Williams, Oresteia
Rosalie Craig, As You Like It
Harriet Walter, Death of a Salesman Continue reading “2016 What’s On Stage Award nominations”
“Don’t worry. I may have my quirks but I’m not an animal. Or am I? One for the courts to discuss.”
The term ‘dark comedy’ is much abused but there really is no better descriptor for Hangmen, Martin McDonagh’s long-awaited return to theatrical writing. Set (mostly) within the tobacco-stained walls of a proper boozer in Oldham in the 1960s on the day that Britain has abolished the death penalty, landlord Harry’s (the excellent David Morrissey) past comes back to haunt him in a big way. For he was the last hangman in the country, as evinced by a cracking prologue (that isn’t for the squeamish) that sees him and his assistant Syd go about their business.
The arrival of enigmatic Londoner Mooney (Johnny Flynn never better) is the catalyst for the plot, as Harry’s disaffected daughter becomes easy prey to his professed affections and disappears with him, round about the same time Syd reappears in Harry’s life to say something rum is going on with a serial killer who has a Southern accent. But the real joy is in the motley crew of grizzled regulars who gather in the pub and the cracking dialogue McDonagh gives them as they dance around the morbid curiosity that has called them to this pub rather than any others. Continue reading “Review: Hangmen, Royal Court”
“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”
“You won’t make it”
I should probably start this off with a full disclosure notice – I invested in this film! Well, it was peanuts really as sadly I don’t have enough money to be investing here and there but given how much I enjoyed the theatrical productions of Chris Dunkley’s Smallholding (at the Nuffield and then at the Soho), I was intrigued to see how it would turn out as a film and so joined my first ever Kickstarter campaign. And I have to say it was fascinating, I loved the updates that we got, lending a real insight into the lengthy film-making process and the unique pressures it brings with it so if you see a project you like the look of, I’d recommend digging as deep as you can.
But back to A Smallholding as it has been retitled here, the film adapted by playwright Chris Dunkley and director Chris New who starred in the original productions but has moved behind the camera here (he was a busy boy indeed as he directed, shot, edited, graded and mixed it). and what a beautiful thing it is. I’m well-disposed to the piece already but it really does flourish in the new medium, its location in deepest rural Northamptonshire allowing scenes to be played out in the vast emptiness and quiet, really emphasising the totality of the seclusion that Andy and Jen originally sought for their sanity and seeing how it soon curdles into oppressive isolation. Continue reading “Film Review: A Smallholding”
Ashley Zhangazha, for Ross in Macbeth (Crucible Theatre, Sheffield)
Amy Morgan, for Margery Pinchwife in The Country Wife (Royal Exchange Theatre, Manchester)
Lara Rossi, for Dol Common in The Alchemist (Liverpool Playhouse)
Jade Anouka, for Calpurnia, Metellus Cimber, and Pindarus in Julius Caesar (Donmar Warehouse)
Alys Daroy, for Yelena in The Wood Demon (Theatre Collection)
Holly Earl, for Bertha in The Father (Belgrade Theatre, Coventry)
Kurt Egyiawan, for Arsace in Berenice (Donmar Warehouse)
Paapa Essiedu, for Fenton in The Merry Wives of Windsor (Royal Shakespeare Company)
Johnny Flynn, for Viola in Twelfth Night (Globe Theatre and West End)
Aysha Kala, for Maid in Much Ado About Nothing (Royal Shakespeare Company)
Vanessa Kirby, for Masha in Three Sisters (Young Vic)
Simon Manyonda, for Lucius in Julius Caesar (Royal Shakespeare Company)
Luke Norris, for The Soldier in Antigone (National Theatre)
Ailish Symons, for Cecily in The Importance of Being Earnest (Lyric Theatre, Belfast)
Ellie Turner, for Fanny Hawthorn in Hindle Wakes (Finborough Theatre)