Lots of exciting news coming out of the National Theatre today, including actors Nicola Walker, Giles Terera and Kristin Scott Thomas, directors Simon Stone, Lynette Linton and Nicole Charles, and returns for Small Island, Beginningand The Ocean at the End of the Lane
The National Theatre has today announced nine productions that will play on the South Bank in 2020-2021 alongside previouslyannounced shows. These run alongside their international touring productions, three plays that will tour to multiple venues across the UK and a West End transfer. The NT also announces today that it will increase the quantity of low-price tickets on the South Bank by 25%, with 250,000 available across the year at £20 or less.
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.
I round up some of the recent casting news, including Queen Margaret at the Royal Exchange, Wasted at the Southwark Playhouse, Measure for Measure at the Donmar and The Woods at the Royal Court.
Shakespeare wrote more lines for Queen Margaret than he did for King Lear yet we know very little of her. Jeanie O’Hare re-acquaints us with one of Shakespeare’s major but rarely performed characters in her new play Queen Margaret. In a production that draws on original language from Shakespeare, director Elizabeth Freestone and Jade Anouka as Margaret, retell an iconic moment in British History through the eyes of the extraordinary Margaret of Anjou. This captivating exploration of The Wars of the Roses seen through the eyes of this astonishing, dangerous and thrilling woman opens the Royal Exchange’s Autumn Winter 2018/19 Season.
Anouka is joined by Islam Bouakkaz (Prince Edward/Rutland), Lorraine Bruce (York), Samuel Edward-Cook (Suffolk/Clifford), Dexter Flanders (Edward IV), Helena Lymbery (Hume), Lucy Mangan (Joan of Arc), Roger Morlidge (Gloucester), Kwami Odoom (Somerset/Richard), Bridgitta Roy (Warwick) and Max Runham (Henry VI). Continue reading “Casting news aplenty!”
“Donna Noble has left the library. Donna Noble has been saved”
And here we are, my favourite series of Doctor Who. So much huge wonderfulness and even its less good moments are still more than halfway decent. Key to the series’ success is Catherine Tate’s Donna Noble – gobby and one-dimensional in her introductory episode the Christmas special The Runaway Bride, her character journey throughout this season is magisterially constructed, a true awakening of self (with thankfully no romantic inclinations towards our Time Lord) and one given unbearable poignancy due to its frustratingly tragic end.
It’s also one of the best constructed series in terms of its over-arching season arc, its warnings and clues layered meaningfully into several stories and building into a momentous and properly climactic finale, which lands just about the right level of grandiosity. There’s also the first companion-lite episode (the superbly creepy Midnight) to go with the Doctor-lite one (the achingly beautiful dystopian Turn Left); a typically brilliant Moffat double-header in Silence in the Library andForest of the Dead with gorgeous work from Alex Kingston as the soon-to-be-hugely-significant River Song; and if the return of Rose undoes some of the emotional impact of the Series 2 finale, Billie Piper’s work is spikily powerful. These are episodes I can, and have, watched over and over again.
Manchester’s Royal Exchange have announced the details for their production of Twelfth Night which arrives this spring. It is directed by the award-winning Jo Davies who makes her Royal Exchange debut with Shakespeare’s whirlwind comedy. Faith Omole, Kevin Harvey and Mina Anwar return to the Exchange as Viola, Orsino and Maria, Kate Kennedy takes on the role of Olivia and Anthony Calf is Malvolio.
And in its own spin on the gender, identity and love issues at the heart of the play, award-winning Manchester-based transgender artist and activist Kate O’Donnell makes her Royal Exchange debut in the role of Feste, the wise observer in this foolish, lovesick kingdom. Live music from the critically acclaimed folk musician Kate Young and lap-tap guitarist Joe Gravil adds to the complexity of this intricate comedy which probes gender-politics and ideas of belonging. The play runs from 13 April – 20 May.
The cast is completed by Aaron Anthony, Simon Armstrong, Harry Attwell, Daniel Francis-Swaby, Tarek Merchant and Jill Myers. The creative team includes Designer Leslie Travers, Lighting Designer Jack Knowles, Sound Designer Pete Malkin and Composer Alex Baranowski.
Typical really, the first series of Scott & Baileythat I actually get to watch live on air and it’s the first one that disappointed me. I caught up quickly with the first three over the last few weeks so that I would be up to speed with Series 4 but all in all, I didn’t feel like it was up to the standard. No real overarching story emerged across the eight episodes and without the heightened drama that would have added, this just felt like a retread of some of the same old plot points.
An ill-advised affair with a colleague, a promotion not taken due to personal circumstances, Janet’s kids playing up, tough but tender relations with Gill…it does feel like we’ve been here before. And though there are new twists, none of them really took flight – Rachel’s step up to sergeant never really foregrounded, a hint of romance for Janet left until the very end. The individual cases that came up maintained the usual level of interest but something was lacking in the end. Continue reading “TV Review: Scott and Bailey Series 4”
“You went to live with a fella in Wigan, I assume he had a roof”
As with so many television programmes these days, it has taken me an inexplicably long time to get around to watching Scott and Bailey and sure enough once I started, I found myself mainlining all three series in advance of the new series starting on ITV. And sure enough, I loved it. Sally Wainwright is one of our best writers of television without a shadow of a doubt and no matter what she turns her hand to, she barely puts a foot wrong, all the while pushing the boundaries of conventional drama to become infinitely more inclusive, whether through the older characters of Last Tango in Halifax or the fierce and flawed policewomen of Happy Valleyand Scott and Bailey.
Scott and Bailey grew out of an original idea by Suranne Jones and Sally Lindsay which Wainwright has written up into three (plus one to come) series of fantastic television. Janet Scott and Rachel Bailey are both DCs in the Manchester Metropolitan Police, part of the MIT team that deals with serious crime. And though it may seem trivial to say it, it is just so brilliantly and so casually feminist. The vast majority of the major roles in the police force just happen to be taken by women – Amelia Bullmore’s DCI Murray heads up the team, Pippa Haywood’s DSI Dodson is the next later up, the main pathologist goes by the name of Scary Mary…and none of it is ever an issue.