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
Created by playwright Ella Hickson (The Writer) and sound designers Ben and Max Ringham, ANNA is directed by Natalie Abrahami with real ingenuity, as individual audio headsets are used to give us a unique perspective on a play, directly from the viewpoint of Phoebe Fox’s Anna. It didn’t work for me.
Running time: 65 minutes (without interval)
Photos: Johan Persson
ANNA is booking at the National Theatre until 15th June
Playing with form, Ella Hickson’s The Writer is a bold new production from Blanche McIntyre at the Almeida. This review also plays with form…
“I want awe. I feel like I need blood. All the time. And anything less than that makes me feel desperate. It makes me feel like I want to die.”
Running time: 2 hours (without interval)
The Writer is booking at the Almeida Theatre until 26th May
PS: I did really enjoy, I’m just going to let other people do the heavy lifting in probing it apart!
No amount of prosthetics can stop this from being my…Darkest Hour
“The deadly danger here is this romantic fantasy of fighting to the end”
Eesh. The world already has too many Churchill films, never mind the fact that two big ones were released in the same year (Brian Cox’s Churchill was the lower profile one here). And for me, there’s nothing here in Joe Wright’s direction or Anthony McCarten’s writing that merits the retread over much-covered ground.
That is not the prevailing opinion obviously, as the film’s seven Oscar nominations testify, but it is what it is. No amount of latex makes Gary Oldman’s performance palatable (and isn’t it odd that he’s getting such acclaim for a role in which he is unrecognisable), and it is a crime in the ways in which the likes of Patsy Ferran and Faye Marsay are under-utilised, nay wasted. Continue reading “Oscar Week Film Review: Darkest Hour”
“On the dank and dirty ground…”
Joe Hill-Gibbins’ idiosyncratic 2015 take on Measure for Measure filled the Young Vic with inflatable sex dolls so it should come as little surprise that for his A Midsummer Night’s Dream, he and designer Johannes Schütz have transformed the stage into a muddy paddock. With just a mirrored back wall to add to the set, the scene is thus set for an exploration of the “subconscious” of this most oft-seen (particularly in the year gone by) of Shakespeare’s plays.
There’s some great work, delving into the murkiness of the relationships here. Far from spirits “of no common rate”, these royal fairies feel like a real married couple in the throes of having to work things out yet again, Michael Gould’s Oberon’s manipulations as much as anguished as angry, and Anastasia Hille’s Titania relishing the removal of the ball and chain as she plays sex games with Bottom, roleplaying the attending fairies in a witty twist. The intensity of their connection repeats itself later in another clever connection. Continue reading “Review: A Midsummer Night’s Dream, Young Vic”
Marianne Elliott wasted no time in making headlines twice over last week – after the announcenement of her departure from the National Theatre, it was officially been announced that she has teamed up with theatre producer Chris Harper to set up Elliott Harper Productions which will produce new work throughout 2017. The first play in the season will be Simon Stephens’ Heisenberg which will be directed by Elliott and run at a yet-to-be confirmed venue in Autumn 2017. This will be followed by Oedipus to Antigone in a new adaptation by Yael Farber who will also direct.
But the highlight of the season looks set to be a modern revival of Stephen Sondheim and George Furth’s musical Company which will see the glorious Rosalie Craig take on the role of Bobbie, in a gender-reversed version of the musical about a confirmed bachelor that has been specially approved by Sondheim, once again directed by Elliott.
Not much else is known about the production or even the season, but watch this space!
Continue reading “Round-up of news and treats and other interesting things”
“A good Labour woman…”
Not content with becoming a Dame Commander of the Order of the British Empire earlier this year, Kristin Scott Thomas was also awarded an upgraded Légion d’honneur (from chevalier to officer to be precise) in what has become something of a banner year for her. She’s also completing the not-inconsiderable feat of stepping into Helen Mirren’s award-winning shoes as Her Royal Highness Elizabeth II in Peter Morgan’s The Audience, whilst Dame Helen reprises the role and the award-winning on Broadway.
Morgan’s revival has updated the play a little from its first outing – Tony Blair is in, Jim Callaghan is out, the recent election gets its mention with a barbed Miliband joke, but essentially it remains the same non-confrontational easy-Sunday-evening –television style viewing. The parade of PMs mostly play off a sole predictable character note, the Queen gets an easy ride of it with a strange intimation of where her personal politics might lie, there’s not a dramatic surprise to be had in here nor anything truly arresting through all its luxuriousness. Continue reading “Review: The Audience, Apollo”
“Eddie Carbone. Eddie Carbone. Eddie Carbone.”
What more is there to say about a play that was my undoubted favourite production of 2014 (out of more than 380 lest you forget!) and which did more than I could have possibly imagined to finally introduce the spectacular creative force of Ivo van Hove to a wider audience. Not much as it turns out! The Young Vic’s extraordinarily successful A View From The Bridge has now transferred into the West End, setting up shop in the relative intimacy of the Wyndham’s and remains one of the most highly recommended shows that I could urge you to go and see.
My original review is here and I stand by everything in it, van Hove’s recasting of Arthur Miller’s classic still burns with its unstoppable, slow-building tragic force and even in this larger space, maintains the same level of punishing emotion. I hadn’t intended to revisit in all honesty, having seen the original run twice but the announcement of onstage seating – to replicate something of the feel of Jan Versweyveld’s original staging – hooked me back in. When the pricing was finally announced, I balked but the simultaneous release of a new date, complete with tickets for the front row of the balcony (one of the best West End bargains for my money), meant I was helpless to resist. Continue reading “Review: A View From The Bridge, Wyndhams”
“I must speak or burst”
Short and sweet cos it is in the last week and I’m running out of time… the Globe’s production of John Ford’s ‘Tis Pity She’s A Whore
got the kind of publicity money can’t buy when TfL banned their posters for being overtly sexual (in a way that David Gandy’s underwear ads are apparently not) but it was sufficiently good a piece of theatre that one imagines it would most likely have sold out the candlelit atmosphere of the Sam Wanamaker Playhouse regardless.
Michael Longhurst navigates the complex plot expertly to give us a clear-sighted view of what is going on but completely free from judgement, even as the goings-on are pretty scandalous. Annabella and Giovanni are fiercely in love, a passion that gets her pregnant – only small catch is that they are siblings with varying motivation. And the society around them that bubbles with hypocrisy and sexuality also has its complexity portrayed – there’s good and evil in us all, it’s just about what you can resist.
Continue reading “Review: ‘Tis Pity She’s A Whore, Sam Wanamaker”