I’m loving this deep dive in to Tristram Kenton’s archive, this time taking a turn into the many Chekhov productions he has been witness to. Highly recommended:
Photos: Tristram Kenton
Theatre Royal Stratford East to release audio play 846 in response to the death of George Floyd
On May 25th 2020, a police officer in Minneapolis killed George Floyd by kneeling on his neck for eight minutes and 46 seconds.
This brutal murder ignited a global surge of anger and pain. An ocean away, from the Windrush scandal to the Grenfell Tower tragedy, racist oppression is very much alive in the UK.
Acclaimed playwright Roy Williams brought together 14 writers to respond artistically to George Floyd’s murder and the Black Lives Matter Movement. From this came 846 – a collection of short pieces. Each is a standalone exploration of racial inequality and oppression, but together they form a powerful tapestry of voices. Continue reading “News: Theatre Royal Stratford East to release audio play 846 in response to the death of George Floyd”
Series 2 of Chewing Gum sees Michaela Coel nail the ‘two series and out’ trajectory of some of the best British sitcoms
“I’m not 17, I’m a grown-up woman. I just…regularly make childlike mistakes”
I belatedly came to Chewing Gum just now and watched both the first series and this second one in a single sitting each, their addictive nature and too-easily bingeable lengths giving me two fine nights in front of the TV.
Writer and creator Michaela Coel rarely let her imagination get in the way of the first six episodes but here, the expansion of Tracey’s world beyond her Tower Hamlets estate is quite simply fucking hilarious. Plus, the marvellous Sinéad Matthews appears in this series too. Continue reading “TV Review: Chewing Gum (Series 2)”
I get stuck into the first episodes of TV shows Van Der Valk, The Good Fight, Gangs of London and Penny Dreadful: City of Angels to see what my next must-see will be
“Who else was masturbating into plants?!”
I’m of course far too young to remember the original Van Der Valk – had I seen it before though, I might well have saved myself this couple of hours. Importing a British cast to play Dutch detectives in a crime serial set in Amsterdam seems like such a retrograde move, I still can’t get my head around it, especially in this day and age when so much quality foreign-language drama is readily available. Written by Chris Murray, this revival sees Marc Warren head up the cast as a maverick detective with a team who aid and abet his behaviour – there’s not a smack of originality about it, nor any real interest sadly…great locations though. Am already dreaming of my return to the city, but not sure I’ll be revisiting this show. Continue reading “New TV shows to get stuck into”
“The son is today what the father was yesterday”
I don’t have anything more to say about Three Sisters that I didn’t cover in my original review, apart from to tell you that I went back. And I enjoyed it even more.
Running time: 3 hours 20 minutes (with interval)
Photos: The Other Richard
Three Sisters is booking at the National Theatre until 19th February
Inua Ellams’ relocation of Chekhov’s Three Sisters to the Biafran Civil War proves devastatingly effective at the National Theatre
“I don’t understand all this suffering…when we die we will find out but I wish we knew now”
A cracking cast heralds the return of Uncle Vanya to the West End early next year but even with Conor McPherson and Ian Rickson on adaptation and directorial duties respectively, it’s hard to get too excited about what – on the face of it – looks to be a fairly conventional interpretation (I could well be proven wrong, and hope I am…). For me, there’s something much more appealing, and thrilling, about people willing to grab Chekhov by the scruff of the neck and yank him way out of the familiar. Robert Icke and Simon McBurney replanting The Cherry Orchard in the Netherlands, or Inua Ellams and Nadia Fall relocating Three Sisters to 1960s Nigeria.
In the latter case, the result is a challenging but exhilarating reworking, set against the backdrop of the Biafran Civil War but retaining much of the Chekhovian structure, so that we feel the weight of all the tragedy that has to come. The skill of Ellams’ writing – this is dubbed a new play, after Chekhov – is knowing when to dovetail with his source material and when to allow his own choices to flourish, bringing with them a raft of glinting surprises that break through the familiarity (that some of us have). Continue reading “Review: Three Sisters, National Theatre”
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”
Danai Gurira’s The Convert is a Christmas treat of a different order at the Young Vic Theatre
“Gracious to goodness”
There’s all sorts of lovely connections here. Danai Gurira’s play The Convert was first seen in the UK at the Gate last year, a theatre where her earlier drama Eclipsed was produced in 2015. That play starred Letitia Wright in an astonishing performance and Wright now appears in this new version of The Convert at the Young Vic – Wright and Gurira having starred in some little arthouse film called Black Panther in the meantime…
It’s a cracking good play too, worth the attention of this second production. Set in 1896 Rhodesia (modern day Zimbabwe), it looks at the ways in which colonial rulers sought to erase African cultural identities through any means they saw fit. Culturally, religiously, linguistically, their tools of ‘progress’ were wielded with considerable force and Gurira counts up the cost with a slow-building dramatic flair. Continue reading “Review: The Convert, Young Vic”
With a cast including Sarah Lancashire, Lucian Msamati and Lia Williams, how could Kiri be anything but good
“Stick a flake in it before you try and sell it to the tabloids will you”
Airing on Channel 4 at the beginning of the year, Jack Thorne’s Kiri was billed as a continuation of his National Treasure brand (I managed one episode of that first series…). But any fears I had of not liking it were assuaged by a cast led by Sarah Lancashire, Lucian Msamati and Lia Williams, plus this far down the line, I’d heard enough good things about it to finally get round to watching.
Set in Bristol, Kiri follows the abduction of a young black girl – Kiri – in the foster care system, as she is allowed a meeting with her birth grandparents in advance of her adoption by a white middle-class family. Her social worker Miriam has arranged this unorthodox meeting and sure enough, the proverbial hits the fan when she gets a phone call to say she has gone missing. Continue reading “TV Review: Kiri”
And now people are dying again and what the fuck are they doing about it”
Series 1 of Fortitude was one of those genuinely unexpected dramas which unveiled its genre-spanning ways with some proper jaw-dropping moments, so Sky Atlantic’s decision to commission a second series wasn’t entirely unexpected (though you do wonder what viewing figures are like over there). Though having revealed itself as a sci-fi/horror/psychological thriller/serial killer murder mystery with political and environmental themes thrown in for a good measure, creator Simon Donald was faced with a decision about which way to go to continue the story.
Or, as it turned out, he didn’t make the decision but rather decided to pursue them all once again. And as is proving a recurring theme with shows I’ve been catching up on (Fearless, The Halcyon), the desire to develop multi-stranded complex dramas falls short once again with the writing ending up serving a jack of all trades and master of none. There’s just so much going on in so many of the episodes that it becomes increasingly hard to keep track of exactly what is what, who knows what, who is doing what to whom, and where we are in any of the stories. Continue reading “TV Review: Fortitude Series 2”