2019 Laurence Olivier Awards nominations

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”

Review: Quiz, Noël Coward

Whether you get to make your West End debut or not, James Graham’s Quiz is great fun at the Noël Coward Theatre

“It’s a 50:50 – guilty or not-guilty”

It’s taken me a little while to get around to seeing James Graham’s Quiz but it proved more than worth it as this particular matinée was undoubtedly enhanced by the West End debut of…me and my Aunty Jean! Treading the boards of the Noël Coward Theatre was an unexpected bonus to a highly enjoyable afternoon, and I look forward to the next role that Mr Graham creates for me…

But back to the matter at hand. Transferring over from Chichester, Quiz takes a cock-eyed look at the world of light entertainment, and the way in which ‘constructed reality’ has bled into the larger narrative not just of our television, but of our society. Using the ‘coughing major’ scandal of Who Wants To Be A Millionaire as a jump-off point, we dive into meaty notions of truth and justice in a media-dominated age. Continue reading “Review: Quiz, Noël Coward”

Round-up of news and treats and other interesting things

© Trevor Leighton
Given how she’s doing such amazing work in Follies at the minute, it’s kinda gobsmacking to discover that Janie Dee has not one but two cabaret shows lined up for the beginning of October. Returning to Live at Zédel, fans have the pick of Janie Dee at the BBC – album launch or Janie Dee – Off the Record… or you can do both on the same night for a couple of dates if you’re that way inclined! I’m seriously tempted!


One of the highlights of Bat out of Hell was Sharon Sexton’s pneumatic performance so I’m gutted that I can’t make Sucked, which is trailed as a sitcom-style musical comedy and features Sexton with Riona O’Connor. Move quickly though, one of their two shows has already sold out.


Theatre Royal Bath has announced full casting for Christmas Eve, which today begins rehearsals. Niamh Cusack will play philosophy professor Judith and Patrick Baladi will play police officer Thomas. The new thriller is the latest play from multi-award winning writer Daniel Kehlmann and will be directed by Laurence Boswell, in a translation by Christopher Hampton. The production will run at the Ustinov Studio from Thursday 19 October to Saturday 18 November.


On Christmas Eve 2017, a philosophy professor is on her way to celebrate Christmas when she is bundled into police headquarters and an interrogation room. Opposite her the senior officer is cynical, smart and relentless. Played out in real time, two powerful antagonists are pitted head to head against each other. Both think they are saving their country but only one of them will win…


The London Horror Festival is back for a 7th terrifying year to thrill and chill audiences for 3 jam packed weeks this Halloween season. The UK’s original and largest festival of live horror performance returns to the Old Red Lion Theatre following the great success of 2016.
With official sponsorship from Hobgoblin, ‘the unofficial beer of Halloween’, and horror artist Jessica F. Holt, this annual celebration of the horror genre is going strong and 2017 is their biggest line-up yet with an eclectic programme of 23 different shows on offer.
The London Horror Festival works to promote new and innovative work in the arts, support London fringe theatre and is dedicated to providing a platform for artists and companies working in the horror genre. This year promises a mix of theatre, puppetry, cabaret, spoken word, body horror, clowning and comedy, featuring satanic cults, mummies, zombies, ghosts, vampires and the bodies of Frankenstein!
Shows to look forward to include 5 star horror comedy Curse of the Mummy from Last Chance Saloon, fresh from their Edinburgh triumph, fellow 5 star fringe successes The Twins Macabre, The Underground Clown Club returning with the 5 star Knock Knock followed by their new show Who’s There?, and reworkings of classic tales including a comic adaptation H.P. Lovecraft’s The Shadow Over Innsmouth by Hidden Basement Productions and a gender-switched version of Edgar Allan Poe’s The Raven by critically-acclaimed Evcol Entertainment.
For something different after dark, stay up late for an exclusive midnight performance of Felix Le Freak’s Shockbuster Video presented by the folks behind the wildly popular PopHorror cabaret club nights, then party the night away with their very own DJ until 3am.



Not content with taking over two-thirds of the theatres on St Martins Lane (with Ink and Labour of Love), James Graham’s reach is also stretching out to the regions. His new play Quiz, which opens at Chichester Festival Theatre in November, has now had its cast revealed.

Gavin Spokes plays Charles Ingram, the Who Wants To Be A Millionaire? fraudster and Stephanie Street joins him as his wife Diana. The company is completed by Nadia Albina, Paul Bazely, Keir Charles, Greg Haiste, Mark Meadows, Henry Pettigrew, Jay Villiers, Lizzie Winkler and Sarah Woodward.

Directed by CFT’s artistic director Daniel Evans, Quiz will have designs by Robert Jones, with lighting by Tim Lutkin, music and sound by Ben and Max Ringham, video by Tim Reid and movement by Naomi Said. Quiz plays in the Minerva Theatre from 10 November to 9 December.

TV Review: The Moorside Episode 2

“You haven’t lost your faith in people, have you?”

The problem with using superlatives is that it is so easy to get carried away. And having declared the second series of Unforgotten to be sure of being one of the best pieces of television we’ll see this year, I’m now having to add The Moorside to that same category. The first episode blew me away and the second, directed by Paul Whittington and written by Neil McKay, confirmed the show as a devastating tour de force.

Occupying the slightly hazy ground of docudrama, where real-life events are augmented with highly researched dramatised scenes, The Moorside nevertheless smacks of the ring of truth from start to finish. The second instalment picks up with Shannon Matthews having been found by the police and whilst the community who came together so dramatically to search for her celebrate, questions about Karen Matthews’ involvement in the disappearance of her daughter hang ominously in the air. Continue reading “TV Review: The Moorside Episode 2”

Review: A Christmas Carol, Noël Coward

 
“Bah humbug”

Thing with resolutions is that it is terribly easy to break them. And having resolved to see no Christmas shows this year, Jim Broadbent only went and decided to do A Christmas Carol in the West End. Not having seen him on stage before, I decided to take the plunge just before heading back up north for the 25th and truth be told, I probably should have left it. 

This adaptation (for there are many around) is by Patrick Barlow, him of The 39 Steps, and has much of the same knockabout energy of that recently departed show. And in Tom Pye’s set of a miniature Victorian theatre in which the play is a play-within-a-play, puppets fly in and out and a genteel atmosphere of old-fashioned fun reigns, overseen by the indubitable twinkle in Broadbent’s eye.  Continue reading “Review: A Christmas Carol, Noël Coward”

Review: The White Devil, Swan

“Sum up my faults, I pray”

It feels a bit of a shame that one of the centrepieces of the RSC’s Roaring Girls season is a play that doesn’t manage gender parity in its cast, even with some cross-gender casting. This may speak of the nature of Jacobean Theatre, for it is Webster’s The White Devil of which we speak here, but Maria Aberg’s reputation precedes her and so it was a little disappointing to see that the opportunity hasn’t been seized here – if not now, then when?
 

And though I’d heard such great things about this production, I couldn’t help but feel a little disappointed here. Part of lies in the play itself – I can’t deny that I just don’t really like it and though it is updated to the debauchery of the 1980s Rome club scene here, the messy chaos of the pursuit of naked self-interest that proves Aberg’s main focus dominates too much and often to the detriment of the storytelling. Continue reading “Review: The White Devil, Swan”

Review: The Winter’s Tale, Crucible

 “There’s some ill planet reigns”

Sheffield’s autumnal Shakespeares have become something of a yearly institution and a regular fixture in my theatregoing diary. This year sees The Winter’s Tale arrive at the Crucible with something of a less starry cast than in previous years (although Barbara Marten and Claire Price were both strong draws for us) and the return of director Paul Miller to the series, after his Hamlet back in 2010. Sad to say though, this was not for me – the atmosphere hampered by a sadly sparse matinée audience but the production also full of choices that just didn’t appeal.

Shakespeare’s late play relies on the careful balancing of two halves – Sicilia’s dark tragedy and Bohemia’s pastoral vibrancy, the pain of simmering jealousy against the freshness of new love. But though they must complement each other, they need to effectively stand alone as well and Miller struggles with his opening act. The sparseness of Simon Daw’s design places the focus strictly on the interactions of his actors, but his preferred method of placing them at some distance from each other on the large stage estranges them too much, both from each other and from the audience. Continue reading “Review: The Winter’s Tale, Crucible”

Review: Mydidae, Soho Theatre

“Sometimes I look at you and you don’t look the way I hoped”

When new writing theatre company DryWrite commissioned Jack Thorne to create a new play, they gave him the challenge of setting it solely in a bathroom. The result is Mydidae, newly opened in the heated closeness of the Soho Theatre Upstairs, and far from festive fare as over the course of a single day, a couple’s interactions in this fully-plumbed (in Amy Jane Cook’s design) bathroom redefine themselves and their reactions in the face of the anniversary of a terrible event. 

The setting of the bathroom emerges as an inspired choice, allowing Thorne to explore a more intimate yet mundane side of relationships in an environment where perhaps we let our guard down the most with those with whom we live. The sharing of space with someone whilst going through daily ablutions speaks of a different kind of closeness, a more intense connection and so it transpires with Marian and David. They’re both still reeling from a shared tragedy event: her pain seemingly internalised and leaving her isolated, his deferred by a greater pragmatism and an important pitch at work, but it is in the moments around and then in the freestanding bath-tub that see a searing honesty come pouring forth.  Continue reading “Review: Mydidae, Soho Theatre”