Jane Horrocks and Rupert Graves shine in Pinter Five, featuring The Room, Victoria Station and Family Voices at the Harold Pinter Theatre
“You know where you are here”
“You know where you are here”
“I suppose I like both, but that’s okay isn’t it, that’s okay?”
Sometimes you look back at a cast you’ve seen and think wow, I’m glad I booked for that. The original Royal Court production of Mike Bartlett’s Cock – revived here at Chichester’s Minerva – had a cast that included no less than Katherine Parkinson, Andrew Scott and Ben Whishaw enclosed in the claustrophobic intimacy of Miriam Buether’s brilliant design. So no pressure for director Kate Hewitt to live up to, honest…
And it is pressure that she lives up to, mainly because Bartlett’s play remains as fresh as a daisy (chain) nearly 10 years after it was written. Its exploration of fluid sexuality feels ripped out of the frothing mouth of clickbait-muffin Piers Morgan, its rejection of conventional sexual identity labels still a key issue for many, the complication of the dating world in the 21st century as sharply pertinent as ever.
Continue reading “Review: Cock, Minerva”
The ensemble cast of The Inheritance at the Noël Coward Theatre is now confirmed and will include: Hugo Bolton, Robert Boulter, Andrew Burnap, Hubert Burton, John Benjamin Hickey, Paul Hilton, Samuel H Levine, Syrus Lowe, Michael Marcus, Vanessa Redgrave, Jack Riddiford, Kyle Soller and Michael Walters. The main change is that Jack Riddiford joins the company in place of Luke Thallon who is going to be appearing in Chichester’s revival of Mike Bartlett’s Cock instead.
I absolutely adored The Inheritance when I saw it at the Young Vic and am glad that the brave decision to transfer this major new work into the West End has been made. It certainly deserves a bigger audience and I sincerely hope that they come – and why wouldn’t they, when you look at this lovely set of blossom portraits of the new cast by Johan Persson.
“A chain of gay men helping each other, loving each other, hurting each other, understanding each other”
It would be easy to focus on the fact that The Inheritance is long and yes, its two parts total up to nearly seven hours in the thankfully comfortable seats of the Young Vic. But they also sum up to a brave and epic piece of new writing from Matthew Lopez, taking a scalpel to contemporary gay life in New York, asking what does it mean to be a gay man today and just how much of that is owed to an inherited (and neglected) cultural legacy.
Structurally, the play owes a curious debt to EM Forster’s Howard’s End, using it as a considerable inspiration for plot but also as a device to launch into its storytelling, which has an occasional tricksiness to it, pulling at the thread of the stories we wish we could tell rather than the ones we have to. That main story centres on Eric and Toby, a gay couple who have the foundations of their relationship rocked when the tenancy of their amazing apartment is terminated. As their lives reshape around new realities, new experiences, new challenges, they come to see how little of the world they really know. Continue reading “Review: The Inheritance, Young Vic”
“Holy shit, Meryl Streep is here?”
I’m just going to write the one review to cover both parts of the The Inheritance but I wanted to flag up that if, for some crazy reason, the full seven hours of Mathew Lopez’s epic didn’t appeal, then you could do worse than sticking with Part One. For though it may not have any Vanessa Redgrave, it does contain a moment of pure transcendent beauty that left me weeping on the bus journey home, and so how could you possibly now resist?! Continue reading “Not-really-a-Review: The Inheritance Part One, Young Vic”
The nominations for the 2017 London Evening Standard Theatre Awards have been released and naturally I have thoughts. Initially, they are:
“The fantasy that brings the reality into being”
As Mike Bartlett’s profile grows and grows, one can’t help but fear that his TV successes will lead to movie commissions but for the moment, he’s not forgotten where he started and with Albion, there’s a ferocious reminder of how theatrically skilled he is. Additionally, there’s one of the performances of the year from Victoria Hamilton so I’d hotfoot it to the Almeida now, there’s no guarantee this one will transfer.
Successful businesswoman Audrey has her world rocked when her son is killed on duty in the Middle East and so she decides to retreat to the countryside, rural Oxfordshire to be precise, where she buys the neglected home of her uncle, along with its once-impressive garden. But what first seems like a fun restoration project snowballs into chaos as her increasingly ambitious plans threaten to push everyone close to her away. Continue reading “Review: Albion, Almeida”