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”
The clocks have gone back and so it’s time to start reflecting on the year gone by. And first out of the gate in terms of the major theatre awards, the London Evening Standard Theatre Awards have released their shortlist. Winners to be announced on Sunday 18th November at the Theatre Royal, Drury Lane, London.
The expansion to five nominees feels like a good thing, making the lists feel a little less random, but I remain piqued at the differentiation between best actor/actress in a play and best musical performance, not least since it means no-one from Hamilton or Everybody’s Talking About Jamie is up for an individual nod, and Patti LuPone and Jonny Bailey end up robbed!
But that’s the joy of these things, they’re entirely subjective even when your panel consists of Henry Hitchings, Baz Bamigboye, Mark Lawson, Sarah Crompton and Matt Wolf. And I’m liking the love for Nine Night and The Prime of Miss Jean Brodie, wondering whether I should have made the effort to see Translations, and pondering whether I should be re-booking for Caroline or Change.
EVENING STANDARD THEATRE AWARDS 2018 – SHORTLIST
BEST ACTOR in partnership with Ambassador Theatre Group
Bryan Cranston Network, National Theatre (Lyttelton)
Ralph Fiennes Antony and Cleopatra, National Theatre (Olivier)
Ian McKellen King Lear, Minerva Chichester & Duke of York’s
Colin Morgan Translations, National Theatre (Olivier)
Kyle Soller The Inheritance, Young Vic & Noël Coward Theatre
NATASHA RICHARDSON AWARD FOR BEST ACTRESS in partnership with Christian Louboutin
Laura Linney My Name Is Lucy Barton, Bridge Theatre
Carey Mulligan Girls and Boys, Royal Court
Cecilia Noble Nine Night, National Theatre (Dorfman)
Sophie Okonedo Antony and Cleopatra, National Theatre (Olivier)
Lia Williams The Prime of Miss Jean Brodie, Donmar Warehouse Continue reading “The 2018 London Evening Standard Theatre Awards – Shortlist announced”
Beginning with a burst of confetti and ending in a sombre drop of petals, Pinter One is the far darker side of Pinter at the Pinter
“They don’t like you either, my darling”
I found myself enjoying Pinter Two much more than expected and so momentarily forgetting that I’d sworn off the whole thing, I rashly decided to book in for Pinter One, which proves to be an entirely different kind of affair. Not just thematically – it’s an overtly political collection of works and thus considerably darker – but structurally, gathering together no less than nine short pieces, eight of which run together to make the first half.
They’re Press Conference / Precisely / The New World Order / Mountain Language / American Football / The Pres and an Officer / Death / and One for the Road (all directed by Jamie Lloyd) with Ashes to Ashes (directed by the Lia Williams) following after the interval. And so ultimately it feels a bit more like a showcase of Pinter which brings with it some challenges, alongside the interest value in unearthing some lesser-seen works, including a world premiere. Continue reading “Review: Pinter One, Harold Pinter Theatre”
– Tom Hiddleston, Kristin Scott Thomas, Kit Harington, Simon Russell Beale, Indira Varma, Zawe Ashton and many more announced
– Happy Birthday, Harold will take place on what would have been the Nobel Prize winning playwright’s 88th birthday on October 10th
– Charity event will raise money for Amnesty International and Chance to Shine
– Tickets are on sale now
Continue reading “The Jamie Lloyd Company announces cast for charity gala to celebrate Harold Pinter’s birthday”
Featuring the prime of the most excellent Lia Williams, The Prime of Miss Jean Brodie is an undoubted success for the Donmar Warehouse
“Miss Mackay thinks to intimidate me with quarter-hours”
Everyone has that teacher that they never forget. Sometimes it’s because they were brilliant, sometimes it’s because they bent the rules, sometimes it’s because they were so bloody-minded that they remain so unforgettable. For the selected few pupils of Edinburgh’s Marcia Blaine School for Girls who found themselves in the orbit of the entirely charismatic Miss Jean Brodie, it’s all three reasons at the same time that are destined to make her such an iconic figure in their schooling.
Based on the novel by Muriel Sparks, David Harrower’s new stage adaptation of The Prime of Miss Jean Brodie not only marks the 100th anniversary year of Spark’s birth but provides a scorchingly fantastic opportunity for Lia Williams to inhabit the title role so fully as to sit proudly aside Maggie Smith’s Oscar-winning performance in the 1969 film. It’s a stunning piece of acting – elevated by stunning wig and costume work – that captures so much of that beguiling power that a teacher can possess. Continue reading “Review: The Prime of Miss Jean Brodie, Donmar”
The Jamie Lloyd Company, Ambassador Theatre Group, Benjamin Lowy Productions, Gavin Kalin Productions and Glass Half Full Productions present an extraordinary season of Harold Pinter’s one-act plays on the tenth anniversary of the Nobel Prize winner’s death, performed in the theatre that bears his name.
Pinter at the Pinter is a unique event featuring all twenty short plays written by the greatest British playwright of the 20thCentury. They have never been performed together in a season of this kind. Continue reading “Pinter at the Pinter”
It looks like Josie Rourke is getting a little demob happy at the Donmar, as her penultimate season as artistic director sees a fresh twist on gender swapping that feels like a genuine first. Hayley Atwell and Jack Lowden will star in a new production of Shakespeare’s Measure for Measure in which they will alternate the roles of Isabella and Angelo, midway through the show. Heaven knows how it will work but Lord knows I can’t wait to find out.
Brian Friel’s Aristocrats, directed by Lyndsey Turner, is also added to the slate, and this will be Turner’s fourth staging of a Friel play after Faith Healer, Philadelphia, Here I Come! and Fathers and Sons. The cast includes Elaine Cassidy, Daniel Dawson, David Ganley, Emmet Kirwan, Aisling Loftus, Ciaran McIntyre and Eileen Walsh. Continue reading “News: Casting for 2018 Donmar season”
The full cast has been announced for the West End transfer of Robert Icke’s new adaptation of Mary Stuart. Following a critically acclaimed, sold out season at the Almeida Theatre in 2016-17, the production will open at the Duke of York’s Theatre from 15 January for a limited run before visiting
Theatre Royal Bath, Salford Lowry and Cambridge Arts Theatre.
As previously announced, Juliet Stevenson and Lia Williams reprise the play’s central roles. Also reprising their roles are Rudi Dharmalingam (Mortimer), David Jonsson (Davison), John Light (Leicester), Carmen Munroe (Kennedy), Eileen Nicholas (Melville) and Daniel Rabin (Kent).
Joining the cast are Michael Byrne (Talbot), Christopher Colquhoun (Paulet), Calum Finlay (Aubespine) and Elliot Levey (Burleigh).
Two queens. One in power. One in prison. It’s all in the execution.
Schiller’s political tragedy takes us behind the scenes of some of British history’s most crucial days. Playing both Elizabeth I and Mary Stuart, Juliet Stevenson (Hamlet) and Lia Williams (Oresteia) trade the play’s central roles, decided at each performance by the toss of a coin.
Get your tickets here and have a read of my review from the Almeida here.