I look ahead to some of the 2020 shows exciting me most with an emphasis away from the West End, looking mostly instead at the London fringe and across the UK
Sure, there’s all sorts of big ticket shows coming to London in 2020 (with big ticket prices too to go with their big names), like Sunday in the Park with George with Jake Gyllenhaal, Sister Act with Whoopi Goldberg, A Doll’s House with Jessica Chastain. But there’s so much more to discover if you venture away from Shaftesbury Avenue…
1 The Glass Menagerie, Odéon–Théâtre de l’Europe at the Barbican
Not that I want to be predictable at all but Isabelle Huppert! Acting in French! Right in front of you! I understand that van Hove-fatigue might be setting in for people but only a FOOL would pass up the chance to see one of our greatest living actors. A FOOL!
2 The Glass Menagerie, Royal Exchange
And if you wanted to do a direct compare and contrast, Atri Banerjee’s revival for the Royal Exchange will be worth checking out too for an alternative perspective.
3 The Wicker Husband, Watermill
Even before Benjamin Button tore my heart apart, I was excited for the arrival of this new musical by Rhys Jennings and Darren Clark but now, the bar has been raised even higher. And the gorgeous intimacy of the Watermill feels like a perfect fit.
4 Children of Nora, Internationaal Theater Amsterdam
Me: “I don’t need any more Ibsen in my life”
Also me: Robert Icke revisiting the world of A Doll’s House through the eyes of the next generation? Yes please.
5 Romantics Anonymous, Bristol Old Vic
I don’t think I thought this delicious Koomin and Dimond musical would ever actually return, so this short run in the UK ahead of a US tour feels like a real blessing. Now where did I put my badge? Continue reading “20 shows to look forward to in 2020”
Jessie Buckley and Josh O’Connor headline a new production of Romeo and Juliet, while Callum Scott Howells and Rosie Sheehy star in Gary Owen’s Romeo and Julie, among other big news from the National Theatre
Simon Godwin returns to the National Theatre to direct Shakespeare’s ROMEO & JULIET following his critically-acclaimed productions of Antony and Cleopatra and Twelfth Night in the Olivier Theatre. Set in modern Italy in a world where Catholic and secular values clash, Jessie Buckley (Wild Rose, Judy) and Josh O’Connor (The Crown, God’s Own Country) play the two young lovers who strive to transcend a world of violence and corruption. Fisayo Akinade (The Antipodes, Barber Shop Chronicles) is cast as Mercutio. The production will open in the Olivier Theatre in August 2020.
Set and costume design by Soutra Gilmour, lighting design by Lucy Carter, composition by Michael Bruce and sound design by Christopher Shutt. Continue reading “News: new productions and casting updates for the National Theatre”
This striking reinterpretation of Death of a Salesman raises the roof at the Piccadilly Theatre, it literally brings the house down…
“I don’t say he’s a great man…but he’s a human being”
Gonna be a bit cheeky with this, as I got to go the West End transfer of Death of a Salesman as a guest. And even though I loved it at the Young Vic, I didn’t particularly feel inclined to write about it again, in this slightly recast version co-directed by Marianne Elliott and Miranda Cromwell. So check back for that previous review and rest assured that it is a corking night at the theatre.
Running time: 3 hours (with interval)
Photos: Brinkhoff Mogenburg
Death of a Salesman is booking at the Piccadilly Theatre until 4th January
Tinkle, drizzle, bubble and gush! Alex Ramon, the man forever Boycotting Trends takes up the 10 questions challenge
My world, and the UK theatre blogging scene, has been all the poorer since Alex Ramon swapped London for Łódź. We first bonded over Avenue Q, he introduced me to Propeller and encouraged me out to Richmond more times than is probably reasonable – there’s no-one I’d rather share a show and a Wetherspoons curry with. It is well worth keeping an eye on his ever-eloquent writing at Boycotting Trends.
So much goodness! The National Theatre have just announced details of productions stretching deep into 2020, and with writers like Lucy Kirkwood, Kate Tempest, Roy Williams and Tony Kushner, and actors like Lesley Manville, Maxine Peake, Conleth Hill, Cecilia Noble and Lesley Sharp, it is hard not to feel excited about what’s ahead.
Following a sell-out run at Rose Theatre Kingston, the acclaimed two-part adaptation of Elena Ferrante’s MY BRILLIANT FRIEND by April De Angelis is reworked for the Olivier stage by Melly Still (Coram Boy). When the most important person in her life goes missing without a trace, Lenu Greco, now a celebrated author, begins to recall a relationship of more than 60 years. Continue reading “News: the National Theatre announces 15 new productions for 2019 and 2020”
A brilliant cast shine in this striking revival of Arthur Miller’s Death of a Salesman at the Young Vic
“Attention, attention must finally be paid to such a person”
The American dream hasn’t often looked like this. Marianne Elliott and Miranda Cromwell’s re-imagining of Arthur Miller’s Death of a Salesman reaffirms the Young Vic as the place to go to shake up these American classics (qv A View from the Bridge) with a startling revival that seems destined to go far.
Elliott has recent form of course in reinterpretations and Cromwell was the Associate Director on Company too. And if Death… might not go quite as far, it still emerges as a thoughtful reconsideration with a decidedly psychological bent, trapping us as much as Willy in his troubled mind. Continue reading “Review: Death of a Salesman, Young Vic”
Simon Russell Beale and Leo Bill shine in Joe Hill-Gibbins’ perfectly reimagined The Tragedy of King Richard the Second at the Almeida Theatre
“Thus play I in one person many people”
It’s tempting to think of this production of Shakespeare’s Richard II as specifically designed to rile up Billington and sure enough, he fell into the trap and reviewed the show he wanted to see rather than what was presented to him. He sees what Shakespeare should be; here, Joe Hill-Gibbins shows us what Shakespeare can be.
The Tragedy of King Richard the Second is undoubtedly a consequential adaptation. Compressed to 100 minutes without interval, spoken at speed and set entirely within a grey-walled cell, it is disarming and disruptive. But it also works beautifully once you’re attuned to its rhythms as it makes the blind pursuit of power its central thesis, underscored by the desperation of the elite to cling onto their political influence. Continue reading “Review: The Tragedy of King Richard the Second, Almeida”
Ruth Wilson excels in the intriguing Mrs Wilson, a drama that couldn’t possibly be true…
“You know all you need to know”
Mrs Wilson begins with ‘the following is inspired by real events’ but the truth is even more than that, as main protagonist Alison Wilson is played by Ruth Wilson, who just happens to be her granddaughter. For the story is taken from the extraordinary revelations of her own family history and adapted into a three-part serial here, which is marvellously tense and beautifully filmed.
We begin on an ordinary day in the early 60s as Alison nips home from her job to make a lunch of cold cuts for her novelist husband Alec. He doesn’t make it down to the table though as he’s kicked the bucket and instantly, hints of mystery abound as she hides his wallet and makes a surreptitious phone call. What she doesn’t expect is the knock on the door a few days later from a woman who claim to be his wife. Continue reading “TV Review: Mrs Wilson”
“You have to want to care what’s going to happen to these characters”
There’s a sequence towards the end of Evening at the Talk House where a character says things along the lines of ‘I’m so bored’, ‘I’m ready to die’ and ‘please help me get out of here’ and never have truer words been spoken. That last one might have been an internal voice though as the grinding horror of this new Wallace Shawn play rolled inexorably on. In some ways, I have no excuse. The one and only time I’ve seen his work before saw indignities inflicted on none other than Miranda Richardson, left to pretend to be a cat licking Shawn’s bald head, and so I had fair warning of Shawn’s singular style.
But it’s a style that I find utterly baffling. As a thespy crowd meet for a long awaited reunion at their old members club, they reminisce and chat effusively and endlessly about this actor who used to be in that TV show or that actress in this TV show – all made up ones of course – to a point of mind-numbing inanity. And in this version of the world, there’s a dystopian state-sponsored execution programme wiping out enemies of the state (and plenty more besides) which is carried out by out-of-work actors like many of the crew here. They also get served canapés about which they chatter excitedly, which is nice I suppose. Continue reading “Review: Evening at the Talk House, National Theatre”
Responding to the work of Belarus Free Theatre, Connection is part of the continuing short film work that the Young Vic are producing in collaboration with the Guardian in response to their theatrical work. Written by Nicolai Khalezin and Laura Wade, it features Khalezin and Jude Law playing thinly veiled versions of themselves, both stuck at a London airport but for very different reasons. It’s an engaging, moving little tale and if the parallels that are drawn between the pair stick in the craw a little, Law’s ongoing work with BFT ought to silence any naysayers.
Continue reading “Short Film Review #33”