So many of the recommendations for shows to see next year focus on the West End. And for sure, I’m excited to catch big ticket numbers like All About Eve, Come From Away, and Waitress but I wanted to cast my eye a little further afield, so here’s my top tips for shows on the London fringe (plus one from the Barbican) and across the UK.
1 Medea, Internationaal Theater Amsterdam at the Barbican
Simon Stone’s sleekly contemporary recasting of Euripides is straight up amazing. Anchored by a storming performance from Marieke Heebink, it is as beautiful and brutal as they come. It’s also one of the few plays that has legit made me go ‘oh no’ out loud once a particular penny dropped. My review from 2014 is here but do yourself a favour and don’t read it until you’ve seen it.
2 Macbeth, Watermill Theatre
2018 saw some disappointing Macbeths and I was thus ready to swear off the play for 2019. But the Watermill Ensemble’s decision to tackle the play will certainly break that resolve, Paul Hart’s innovative direction of this spectacular actor-musician team will surely break the hoodoo…
3 Noughts and Crosses, Derby Theatre, and touring
Pilot Theatre follow on from their strong Brighton Rock with this Malory Blackman adaptation by Sabrina Mahfouz, a Young Adult story but one which promises to speak to us all. Continue reading “20 shows to look forward to in 2019”
Paying tribute to the NHS in its 70th year, the specially-commissioned monologues of The Greatest Wealth made for a great night at the Old Vic
“It’s a wonderful idea
It’s a marvellous idea
It’s such a very good idea”
It’s no exaggeration to say that I wouldn’t be here but for the NHS – it changed my life as a young boy, it saved my life as a teenager who didn’t look both ways. A story I imagine which finds resonance with so very many of us in the UK but as this venerable institution marks its 70th birthday, it finds itself under siege more than ever. So what better time to reflect on what has been, what is and what yet might be for our National Health Service.
Curated by Lolita Chakrabarti and directed by Adrian Lester, The Greatest Wealth took the form of a series of specially-commissioned world-premiere monologues, each responding to a particular decade of the NHS’s existence. Exploring the myriad ways in which it has become an integral part of the social and economic fabric of the nation, it proved a varied and thoughtful evening.
Continue reading “Review: The Greatest Wealth, Old Vic”
“It’s something about my appearance that I can control”
The Women on the Edge session of the Women Centre Stage: Power Play Festival featured three works that were commissioned and developed from the 2015 festival held at the National Theatre. This just happened to include one of my favourite pieces from across the entire day – Camilla Harding and Alexandra Sinclair’s Man Up! Deceptively simple in its format yet deliciously complex in its subject matter, the pair give the lie to conventional gender norms and make a fabulously compelling case for the importance of recognising gender fluidity in society.
Their stagecraft is ingenious too, transformations subtly worked so that they were halfway complete before you clock exactly what’s going on. Judith Jones and Beatrix Campbell’s Justice has no such ambiguity about it, an emotionally bruising look at the lasting impact of the Cleveland child abuse scandal and the trials its victims face in trying to escape its shadow, in search of a truth, a resolution that might somehow set them free. Directed by Ros Philips, Claire-Louise Cordwell’s damaged warrior of justice is a brilliantly thorny part and contrasted well with Kathryn O’Reilly’s softer but no less fierce budding campaigner. Continue reading “Review: Women Centre Stage: Power Play Festival – Women on the Edge”
“Being deaf isn’t being broken”
The middle session of Women Centre Stage: Power Play Festival saw our first trip into the Hampstead’s main house for PRIDE and Prejudice. Opening with What I Was Told I Could Be And What I’ve Become, a collection of new worldviews from Graeae’s female writers. Directed by Jenny Sealey, six scenes played out with increasingly intermingled with each other, different experiences of life as disabled women coalescing into a theatrical roar.
Full list of playlets
Boys on Bikes by Karen Featherstone starring Phillipa Cole,
Klutz by Amy Bethan Evans starring Kellan Frankland,
Kids by Jackie Hagan starring Ali Briggs,
Days of Our Lives by Rosaleen McDonagh starring Taharah Azam
Statuesque by Rebekkah Bowsher starring Nickie Wildin
Single by Matilda Ibini starring Vilma Jackson
Continue reading “Review: Women Centre Stage: Power Play Festival – PRIDE and Prejudice”