I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time taking a turn to the many David Hare productions he has been witness to. Highly recommended (the photos, not the Hare):
Photos: Tristram Kenton
A particularly gutting one this, as Francesca Martinez’s debut play All of Us would have marked a key moment for disabled voices at the National Theatre. À tout à l’heure…
Just look at them:
And just listen to her:
This is definitely a play that we have to make room for once things are up and running again.
For All of Us
You can follow the playwright Francesca Martinez on Twitter here or explore her website here
You can purchase the playtext from Nick Hern Books soon
And the show’s details can be found on the NT’s website here
For the National Theatre
You can follow the theatre on Twitter here
You can look at the different ways of supporting the NT here
And you can sign up to their mailing list here to get any announcements about future plans, once the dust finally settles
Photo: Spencer Murphy. Art direction and design by National Theatre Graphic Design Studio
A modern and moving take on Romeo and Juliet from the RSC at the Barbican
“I am too young. I pray you, pardon me”
It’s sometimes a little difficult to take seriously how old everyone is meant to be in Romeo and Juliet but Erica Whyman’s modern-day production for the RSC, playing in rep now at the Barbican, never lets you forget. She fills the stage with kids for a cacophonous prologue, Karen Fishwick’s Juliet rightfully feels like a child and in turn, Mariam Haque’s Lady Capulet (“I was your mother much upon these years that you are now a maid”) is a convincing 26, closer to her daughter in age than her husband, but emotionally distant from both.
It’s a pattern Juliet seizes the first chance to break when she meets Bally Gill’s charismatic Romeo, a young man very much still coming into his own. And you feel that it is the running away that appeals to her just as much as the running away together. For she’s all too aware that there are cycles of violence that the young’uns of this Verona can’t hope to escape – indeed what chance do they have when even all the adults around them carry and use knives to resolve even the smallest slight. Continue reading “Review: Romeo and Juliet, RSC at the Barbican”
Despite a cast including Christopher Eccleston and Niamh Cusack, this proves another disappointment of a Macbeth as the RSC start their Autumn residency at the Barbican
“Better health attend his majesty”
Its enduring popularity on school curricula means we will probably never be free of it but in a year when both the National Theatre and the RSC have swung and missed with modern takes on Macbeth, surely it is time to give it a rest. Rufus Norris’s post-apocalyptic production felt unmoored and lacklustre in the unforgiving Olivier and now taking up residency at the Barbican, Polly Findlay’s interpretation for the RSC similarly lacks clarity and intent.
There’s plenty of ambition here and it is tempting to see the influence of a certain Dutch auteur (barefeet actors, clocks counting down to deaths…). But the over-riding aspect of Findlay’s direction is its headlong speed as it hurtles through a cut-down version of the text. Too much has been sacrificed here in the name of accessibility with precious little time given to allow emotional beats to play out, for motivations to be understood, the hurly-burly rules. Continue reading “Review: Macbeth, RSC at the Barbican”
The full cast for the RSC’s upcoming production of Macbeth has been announced.
Christopher Eccleston, making his debut at Stratford-upon-Avon, as Macbeth and Niamh Cusack as Lady Macbeth had already been announced and will be joined by:
- David Acton (Duncan)
- Raphael Sowole (Banquo)
- Edward Bennett (Macduff)
- Bally Gill (Ross)
- Luke Newberry (Malcolm)
- Tim Samuels (Lennox)
- Mariam Haque (Lady MacDuff)
- Donna Banya (Donalbain/Gentlewoman)
- Stevie Basaula (Bloody Captain/Second Murderer),
- Katy Brittain (Doctor)
- Raif Clarke (Boy)
- Paul Dodds (Chamberlain 1)
- Michael Hodgson Porter)
- John Macaulay (Chamberlain/Lord)
- Tom Padley (First Murderer)
- Josh Finan (Company)
- Afolabi Alli (Company)
The production will be directed by Polly Findlay and runs at the Royal Shakespeare Theatre from 20 March to 18 September with previews from 13 March.
“I’m mad as hell, and I’m not going to take this anymore”
With Network, Lee Hall’s adaptation of Paddy Chayefsky’s 1976 film, Ivo van Hove re-asserts his place as one of the premier theatremakers working, anywhere. A satire that managed to predict just how powerful a tool populist anger can be when leveraged effectively, it is transformed into the immersive bustle of a TV studio, that of UBS Evening News where old hack Howard Beale – a transcendent performance by Bryan Cranston – has been handed his notice. Though initially appearing to accept it with good grace, he causes an almighty media stir when he declares, on air, that he’s going to kill himself, triggering a most unlikely rebirth as a truth-spilling ‘prophet’.
And as ever, van Hove and designer Jan Versweyveld challenge our notions of theatrical space and how it is used. An onstage restaurant puts (some) audience members right in the thick of the action, the fourth wall gets well and truly shattered, and the use of live video and big screens forces us into the role of active observers – as Beale goes live on air, do you watch Cranston himself, do you watch him onscreen, do you watch the team observing him from the producers’ box…the multiplicity of perspectives reminds us how easy it is to manipulate media, how there can always be other sides to the story. Continue reading “Review: Network, National Theatre”
“We’re gonna Jean Valjean the shit out of this”
PLAY – The Subterranean Season takes in plays 23-26 in their ever-growing programme of short plays, devised in just two weeks by a collaboration of writers, directors and actors up for the challenge of creating something sparklingly, spankingly, brand new and fresh. I saw PLAY Theatre Theatre Company for the first time at the VAULT Festival last year and fell for them hard, as is evident from the pull quote they’ve opted to use on their publicity this year (one for my scrapbook!).
As ever, the four PLAYs cover a wide range of themes and styles, from the deceptively whimsical to the psychologically acute, sometimes within the same 15 minutes. For me, Aisha Zia’s 24 and Miriam Battye’s 26 achieved this balance perfectly, the former (directed by Holly Race-Roughan) mixing hipsterish shenanigans with guitars and cardboard boxes with a darkening look at the desperation of flat-hunting in South London. And the latter’s portrayal of an intense friendship was breath-takingly good, Matt Harrison teasing some sensational work from Emily Stott and Jessica Clark. Continue reading “Review: PLAY – The Subterranean Season, VAULT Festival”
Established now as one of the major arts festivals in London, the VAULT Festival returns from 25th January to 5th March 2017 at its original home beneath Waterloo Station and, for the first time, at satellite venues Network Theatre (just to the side of Waterloo) and Morley College (a little further away past Lambeth North). As ever, the programme features an exciting selection of shows exploring many themes via many more mediums. Full information and tickets are available now via VAULTFestival.com.
I’m still working out exactly what and how much I am going to see but I have got a few selections of the things that have definitely caught my eye. Continue reading “Preview: VAULT 2017”
“I’m a decent bloke really”
On the ninth day of Christmas,Black Mirror gave to me…a skin-crawlingly dark episode
Even now, at the point where I’m trying to second-guess every episode of Black Mirror, Charlie Brooker is always two, three, four steps ahead of us. With co-writer William Bridges, Shut Up and Dance manages the trick of repeating the key theme of a previous instalment but twisting it just enough so that you never suspect and that the self-referencing doesn’t feel too cheeky a move.
Alex Lawther’s Kenny is a regular teenager, enjoying jerking off to porn on his laptop and getting enraged when his sister borrows said laptop without asking. When he gets it back with a virus on it, he attempts to clean his system but in doing so, unwittingly lets in a hacker who has secretly recorded Kenny’s exertions on his webcam and is threatening to release the vid unless he does exactly as he’s told. Continue reading “12 Days of Christmas – Black Mirror 3:3”
“I am Muslim, but my humanness is shared with anyone and everyone. If we choose to love one special person, does it mean that they are the only person worth loving? ‘To you, your religion, to me, mine’. ‘There is no obligation in religion’ – straight from the Quran. We cannot force our religion upon others.”
For all the gnashing of teeth about how ‘national’ Rufus Norris’ newly announced debut season as AD at the NT is or isn’t, there’s actually something much more significant happening right now as part of Nicholas Hytner’s finale. The press attention may be on Tom Stoppard’s return to the stage but over in the Lyttelton, the first South Asian play to run at this South Bank venue is doing that most idealised of theatrical practices – reaching out and engaging with new audiences.
I saw a late preview of Shahid Nadeem’s Dara and I was blown away at how mixed a crowd I was taking my seat with – there’s undoubtedly a more sophisticated debate to be had about people wanting to see stories they can directly connect with rather than being more adventurous but still, it felt like a significant enough matter that I wanted to make mention of. And as critics will be seeing the show with a more than likely traditional press night audience, it isn’t something they’ll necessarily pick up on. Continue reading “Review: Dara, National Theatre”