Episode 3 of Unprecedented proves a bleak and brutal one-two of hard-hitting Covid drama
“I don’t see what good it does to worry, sitting around panicking”
Due to the (presumably intentional) programming, Part 1 and Part 2 of Unprecedented – Headlong and Century Films’ creative response to Coronavirus – found a sense of balance in their collections of short plays, tragicomic probably being the watchword. Episode 3 however goes all in on the tragedy, making it a pretty bleak half hour.
First up is Duncan Macmillan’s Grounded, directed by Jeremy Herrin, which takes aim at the generation gap and how that has dictated people’s response to the crisis. Katherine Parkinson’s event planner is wracked with job worries and concerns over her ability to home-school. But what really drives her over the edge is the casualness with which her retired parents are taking the whole affair, screaming into the ether as they amble on as if life hasn’t changed but at all. Alison Steadman and Michael Elwyn are excellent as the slightly daffy, devoted couple belatedly coming round to the seriousness of it all. Continue reading “TV Review: Unprecedented, Episode 3”
Plays by writers including Mike Bartlett and EV Crowe that were forced to close early because of the pandemic will be revived on BBC Radio 3 and Radio 4 as part of a festival created by actor Bertie Carvel.
Lockdown Theatre Festival will feature actors including Katherine Parkinson, Rachael Stirling and Nicholas Burns, who will record their lines in isolation, to reimagine their performances for specially created radio versions of the plays.
The plays, which will be broadcast on June 13 and 14, are: The Mikvah Project by Josh Azouz, which had been running at the Orange Tree Theatre, the Lyric Hammermith Theatre’s Love Love Love by Bartlett, Winsome Pinnock’s Rockets and Blue Lights, from the Royal Exchange in Manchester, and Crowe’s Shoe Lady, which was being staged by the Royal Court in London. Continue reading “News: Lockdown Theatre Festival brings four cancelled shows to radio”
I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in July.
On Your Feet, aka the rhythm will get you, sometimes
the end of history…, aka how can you get cheese on toast so wrong
Equus, aka hell yes for Jessica Hung Han Yun’s lighting design
Games for Lovers, aka straight people be crazy
Captain Corelli’s Mandolin, aka the one that got my goat
The Girl on the Train, aka Philip McGinley in shorts
A Midsummer Night’s Dream, aka Another Dream? dream on
Uncle Vanya, aka I really need to stop booking for plays like this with casts like that
Jellyfish, aka justice for the second best play of last year
Sweat, aka Clare Perkins should always be on in the West End
Sue Townsend’s The Secret Diary of Adrian Mole Aged 13 3/4 The Musical, aka yay for lovely new musicals in the West End
The Light in the Piazza, aka Molly Lynch fricking nails it
Jesus Christ Superstar, aka was third time the charm?
Continue reading “July theatre round-up”
A return visit to Home, I’m Darling at the Duke of York’s Theatre just confirms how good a play this is and how exceptional Katherine Parkinson is
“You’re 38 and like cleaning behind cupboards”
I don’t think she’ll win but I reckon Katherine Parkinson deserves the Best Actress in a Play Olivier just for the way that she holds her head. The first act in particular is an absolute delight as she tells us crystal clear exactly how she is feeling just by the angle at which it is tilted – cringing at bad language, sussing out competition for her husband’s attention, listening to her mother…
Parkinson is far from the only reason to book for Laura Wade’s Home, I’m Darling, maintaining the National’s track record of leveraging sell-out runs in the Dorfman into West End transfers (Beginning, Nine Night…). Anna Fleischle’s design is a thing of wonder (and I liked getting to see it from above from the upper circle here as opposed to the Dorfman’s stalls) and every single detail is perfectly observed, right down to the milk bottle tops. Continue reading “Review: Home, I’m Darling, Duke of York’s Theatre”
BEST ACTOR IN A SUPPORTING ROLE IN A MUSICAL
Jonathan Bailey for Company at Gielgud Theatre
Clive Carter for Come From Away at Phoenix Theatre
Richard Fleeshman for Company at Gielgud Theatre
Robert Hands for Come From Away at Phoenix Theatre
BEST ACTRESS IN A SUPPORTING ROLE IN A MUSICAL
Patti LuPone for Company at Gielgud Theatre
Ruthie Ann Miles for The King And I at The London Palladium
“The Queens” – Aimie Atkinson, Alexia McIntosh, Millie O’Connell, Natalie Paris, Maiya Quansah-Breed and Jarneia Richard-Noel – for Six at Arts Theatre
Rachel Tucker for Come From Away at Phoenix Theatre Continue reading “2019 Laurence Olivier Awards nominations”
Despite that title, The Guernsey Literary and Potato Peel Pie Society proves unremarkable in its gentle cosiness
“Everyone lost someone in this war”
Directed by Mike Newell and written by Don Roos and Tom Bezucha from the novel of the same name by Mary Ann Shaffer and Annie Barrows, The Guernsey Literary and Potato Peel Pie Society really ought to have hit the spot for me. Women-heavy wartime story – check, a cast including Lily James and Katharine Parkinson – check, and a title you can’t help but misremember.
But it never really clicks into gear as greater than the sum of these parts, sticking at a tone of gently cosy which is never offensive, but rarely remarkable with it. Set just after the end of the Second World War in 1946, the plot follows a London-based writer who becomes fascinated by the experience of the residents on the island of Guernsey which, lest we forget, was under German occupation. Continue reading “DVD Review: The Guernsey Literary and Potato Peel Pie Society (2018)”
I can’t help but think Humans might have run its course as a uniquely intelligent and British sci-fi drama
“…the coming together of man and machine. You can change the course of history…”
I’ve enjoyed where Humans has taken us thus far, and the beginning of a third series seemed promising. But as I got to the end of this season and twist after twist pointed at where the story might well continue, it felt like I might have reached my expiration date with the show.
The human/synth baby that Mattie is carrying, Niska’s transformation into ur-Niska, V’s survival…it’s hard not to feel that any of these feel far less interesting than where Humans are trod thus far in its carefully balanced but uniquely British brand of sci-fi. Continue reading “TV Review: Humans Series 3”
As we move towards the year end, so award season gets into full swing and What’s On Stage have now revealed their nominations celebrating everyone who works in theatre apart from sound designers and musical directors. As ever, these awards tend to work around which fanbase can weaponise the strongest and so there’s lots of love for shows which might not necessarily be troubling many other shortlists…
Still, am liking the recognition for Milly Thomas and Dust, Es Devlin’s luminous set work for Girls & Boys, and Six and The Grinning Man getting into the cast recording category (though can’t quite work out how Come From Away fits into there as well…). And it’s a bit sad that the way their eligibility period works means that Hamilton comes up against Company, making the supporting actress/actor categories ridiculously difficult to choose between.
You can vote here until 31st January, and winners will be announced on 3rd March.
Continue reading “2019 What’s On Stage Award nominations”
Best Actor in a New Production of a Musical
Alex Wadham, The Full Monty: The Musical, Old Joint Stock Theatre, Birmingham
Giles Terera, Hamilton, Victoria Palace Theatre
Jamal Kane Crawford, Fame, UK Tour
Jamie Muscato, Heathers The Musical, The Other Palace/Theatre Royal Haymarket
Louis Maskell, The Grinning Man, Trafalgar Studios
Marc Antolin, Little Shop of Horrors, Regent’s Park Open Air Theatre
Best Actor in a New Production of a Play
Aidan Turner, The Lieutenant of Inishmore, Noël Coward Theatre
Ben Batt, The York Realist, Donmar Warehouse/Crucible Theatre, Sheffield
Ian McKellen, King Lear, Chichester Festival Theatre
Matthew Tennyson, A Monster Calls, Old Vic
Reed Birney, The Humans, Hampstead Theatre
Tyrone Huntley, Homos, Or Everyone in America, Finborough Theatre Continue reading “2018 BroadwayWorld UK Awards Shortlist”
Katharine Parkinson is simply superb in Laura Wade’s excellent new play Home, I’m Darling at the National Theatre
“That’s what a feminist looks like?”
What price a domestic goddess? When the chance of voluntary redundancy came up, finance worker Judy took it and with her husband Johnny, chose to indulge their mutual passion for all things 1950s by becoming a period-perfect housewife. She’s soon whipping up devilled eggs and chocolate chiffon cakes to have dinner on the table when he gets in, running his baths, pouring his drinks, getting his slippers, an idyllic picture of what marriage used to be like.
But pictures can conceal the truth and as Judy decants supermarket-bought milk into glass bottles, shoves letters into the cupboard under the sink and fixes a rictus grin on her face, it isn’t clear that picture-perfect doesn’t exist. Such is the world of Laura Wade’s new play Home, I’m Darling, a co-production between Theatr Clywd and the National Theatre, which probes incisively away at domestic politics, female choice and the wisdom of gin and lime. Continue reading “Review: Home, I’m Darling, National Theatre”