Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!)
Extraordinary Public Acts for a National Theatre
The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions. A truly joyous and momentous occasion.
Full casting for Michael Boyd’s much anticipated production of The Cherry Orchard is announced today as rehearsals begin for the Bristol Old Vic and Royal Exchange Theatre co-production. Rory Mullarkey’s brand-new translation will be directed by Boyd, celebrated former Artistic Director of the Royal Shakespeare Company (RSC). Having studied Russian and trained as a director in Moscow, extraordinarily, he will be directing Chekhov – the literary love of his life – for the first time. Continue reading “Full cast announced for Michael Boyd’s The Cherry Orchard”
There’s all sorts of big productions arriving in the months to come (Long Day’s Journey Into Night, the return of Amadeus, PATTI LUPONE!) but I’m using this spot to highlight some of the shows on the London fringe and around the UK (and Amsterdam…) that have piqued my interest and which I hope to get to review.
As I wrote when the full cast was first announced, “the world is hardly crying for more productions ofKing Lear but if you’re going to put it on, you might as well go balls out on some amazing casting”. And now that the time has come to trek over to Chichester Festival Theatre to catch Ian McKellen revisiting a role he has already been most renowned for playing, you’re left in awe once again at the luxuries casting director Anne McNulty has brought to bear in Jonathan Munby’s modern-dress and modern-spirited production.
Chief among them is Sinéad Cusack’s Kent. It’s a casting decision that deserves the emphasis for Chichester has long been a venue where female representation has struggled across the board and though it is still early days yet for Daniel Evans’ tenure here, any steps are welcome. Tamara Lawrance as Cordelia is another example and a powerful contrast too. Where Cusack brings all her experience to bear as a superbly nuanced Kent (whose disguising gains real resonance), Lawrance brings a freshness of spirit to her most compassionate reading of Lear’s youngest daughter.
The world is hardly crying for more productions of King Lear but if you’re going to put it on, you might as well go balls out on some amazing casting (all credit to casting director Anne McNulty here). Jonathan Munby’s production had already announced Ian McKellen as part of the ensemble (teasing an interesting casting breakdown that didn’t actually come to anything) but that’s a small niggle in what is otherwise some excellent news.
Sinéad Cusack as Kent
Dervla Kirwan, Kirsty Bushell and Tamara Lawrance as Goneril, Regan and Cordelia
Jonathan Bailey and Damien Molony as Edgar and Edmund
Sinéad Cusack as Kent
Michael Matus (Oswald), Dominic Mafham (Albany) and Patrick Robinson (Cornwall) in there as well
Danny Webb as Gloucester
Did I mention Sinéad Cusack as Kent?
I can take or leave Phil Daniels as the Fool but he may well surprise.
It’s something of a shame that the shadow of Emma Rice’s torrid experience as AD of the Globe looms large over her second (and final) season there. The opening production in the ‘Summer of Love’ is Daniel Kramer’s Romeo and Julietand following Rice’s lead, it is bold and brash, full of light and sound, and the kind of ferocious energy that you can easily imagine raising the hackles once again of those influential precious few.
And as such, it’s a production that encapsulates the wide-ranging issues of such a radical approach. With its YMCA dance routines and clown make-up, dinosaur costumes and middle-aged lovers, Kramer clearly has no problem in roughing up Shakespeare. And it’s no secret that the Bard can take it, one of the smartest innovations here is to run scenes in parallel – the marriage is intercut with the deaths that doom it, action and reaction played out simultaneously. Continue reading “Review: Romeo and Juliet, Shakespeare’s Globe”
With over 100 cast, writers, directors and crew, and 25 plays (none of which were by Agatha Christie!) spread over 7 programmes, Sphinx Theatre’s Women Centre Stage: Power Play Festivalwas a full-on day indeed for those of us who stayed the course from midday to nearly 10pm, with scarcely time to imbibe yet another coffee as we moved from rehearsal room to studio to main house. But though I was 90% caffeine by the end, the buzz I was experiencing was one of delight at the sheer breadth and quality of the theatre we’d been privileged to witness.
The Women Centre Stage Festival was initiated by Sphinx to bring together artists, venues, commissioners and funders in expanding the range of women’s roles and this it has done in a number of different ways. Workshops ran throughout the week at the Actors Centre, a panel discussion broached the larger question of how to improve gender equality in theatre and the plays that were presented throughout the festival’s performance day ranged from works commissioned and developed from the 2105 festival, to the fruits of Sphinx Writers Group, to rapid responses to this week’s headlines. Continue reading “Review: Women Centre Stage: Power Play Festival, Hampstead”
The Sphinx Theatre Writers Group have been developing new ideas for six months now and the penultimate session of the Women Centre Stage: Power Play Festivalallowed us to peep at the fruits of their labour. First up was Jessica Siân’s White Lead directed by Chelsea Walker (the pair reuniting after their incendiary work on Klippieslast year). Circling around ideas of artistic legacy, both genetic and physical, with a healthy dose of lesbian angst and same-sex parenting thrown in for good measure, Sian’s writing was undoubtedly elevated by fearsomely committed performances from the glorious Kirsty Bushell and Karen Bryson and definitely left me wanting more.
Bunchby Catriona Kerridge, directed by Holly Race Roughan took an interesting route into the world of its mystery, first up contrasting the nature of public and private grief through the all-too-real loss suffered by two young women and the almost manic behaviour of a professional mourner, relishing the shared emotions released by high profile deaths be it Princess Di or the victims of the Soham murders. Bunch took a little while to get going for me but once it did, delivering a hell of a twist, I was again hungry for a continuation. Sara Huxley, Natasha Rickman and Miranda Bell starred in that one. Continue reading “Review: Women Centre Stage: Power Play Festival – Sphinx Writers Group”
Not for the first time, Ultz’s design disarms you. You enter the Jerwood Theatre Upstairs to find it done up like a community centre, a circle of functional, grey plastic chairs in the middle of the room, a tea and coffee station off to the side. So begins Nathaniel Martello-White’s new play Tornand as Adelle Leonce’s Angel opens up the family meeting that she has called to work through some particularly pressing issues, you think you’ve got a handle on it.
You haven’t. For though it is stripped back, Torn is a fantastically knotty and complex piece of writing: full of fragmented flashbacks; verbose, overlapping dialogue; actors switching characters, sometimes mid-scene. It’s clear Martello-White has been using his time as a writer on attachment at the Royal Court well, for this is brave and ambitious work, both thoughtfully demanding and thought-provoking, it digs deep into the lengths families will go to to protect their own. Continue reading “Review: Torn, Royal Court”
“How do you enter a man’s world when you’ve got a vagina?”
The Bush Theatre may have closed its door as it undergoes a year-long renovation project to improve its accessibility and sustainability but in the meantime, it is stretching out its branches locally. And first up is Melissa Bubnic’sBoys Will Be Boys, playing a few minutes further down the Uxbridge Road at Bush Hall, an atmospheric Edwardian dance hall which has served time as a WWII soup kitchen and a bingo hall before transforming into an established music and cabaret venue.
Such an illustrious history seems ideal for this Headlong co-production, which blends in its own elements of cabaret and choreography alongside brilliant pianist Jennifer Whyte’s musical accompaniment. Which makes for a fascinating backdrop for Bubnic’s play about women in the City in which all the roles are played by women. So there’s women playing women, women playing men, and women playing women playing men at their own game. Continue reading “Review: Boys Will Be Boys, Bush Hall”