As we move towards the year end, so award season gets into full swing and What’s On Stage have now revealed their nominations celebrating everyone who works in theatre apart from sound designers and musical directors. As ever, these awards tend to work around which fanbase can weaponise the strongest and so there’s lots of love for shows which might not necessarily be troubling many other shortlists…
Still, am liking the recognition for Milly Thomas and Dust, Es Devlin’s luminous set work for Girls & Boys, and Six and The Grinning Man getting into the cast recording category (though can’t quite work out how Come From Away fits into there as well…). And it’s a bit sad that the way their eligibility period works means that Hamilton comes up against Company, making the supporting actress/actor categories ridiculously difficult to choose between.
You can vote here until 31st January, and winners will be announced on 3rd March.
Continue reading “2019 What’s On Stage Award nominations”
“He thinks too much – such men are dangerous”
Though it is billed as ‘a promenade staging’ and the website refers to ‘mob tickets’ and ‘immersive ticket holders’, make no mistake that if you’re in the pit for Julius Caesar, you’re standing. For two hours. There’s a bit of movement, as in five paces that way or this when a new bit of the set has to wheeled into place but don’t be distracted into thinking there’s anything more on offer here than can be gotten further along the South Bank at the Globe (apart from a roof of course, which allows them to charge five times the price, or three times if you book your tickets via TodayTix).
And as with being a groundling, there are decided pros and cons to experiencing theatre this way. The first half of Shakespeare’s political thriller works extremely well under this modern-dress treatment from Nicholas Hytner. As you enter the Bridge’s auditorium, reconceived into the round here, the pit is filled with a rock gig, vendors sell beer and baseball caps, a febrile energy fills the space which carries through to the arrival of David Calder’s populist Caesar with his red cap and puerile slogan ‘Do this!’ (Contemporary allusions are clear but later on you may find the mind gets weirdly drawn to Murdoch more than Trump…).
Continue reading “Review: Julius Caesar, Bridge Theatre”
The full cast for the Bridge Theatre’s second production – a promenade version of Julius Caesar – has been announced and obviously the news that Adjoa Andoh will be playing Casca is the bee’s knees.
The company is: Adjoa Andoh (Casca), David Calder (Caesar), Leaphia Darko (ensemble), Rosie Ede (Marullus/ Artemidorus), Michelle Fairley (Cassius), Leila Farzad (Decius Brutus), Fred Fergus (Lucius/Cinna the Poet), Zachary Hart (ensemble), Wendy Kweh (Calpurnia), David Morrissey (Mark Antony), Mark Penfold (Caius Ligarius), Abraham Popoola (Trebonius), Sid Sagar (Flavius/Popilius Lena), Nick Sampson (Cinna), Hannah Stokely (Metellus Cimber), Ben Whishaw (Brutus) and Kit Young (Octavius).
“We all felt special but safe at the same time”
As somebody who grew up on the outskirts of a depressed Lancashire town in the 1980s, I wasn’t quite sure what to expect from the Royal Court’s revival of Jim Cartwright’s seminal debut play Road. I was only seven when the play was written (1986) and truth be told, we were far enough out of town to be on the right side of the road but still, there was a definite sense of intrigue to my anticipation.
Safe to say, the play did not reveal any biographical insight into the early life of Clowns (or anyone he went to school tbqh) but nor did it emerge as a revival with much to say to Britain today. This portrait of a society scarred by Thatcherite intervention remains very much that, contemporary allusions to a society once again divided and depressed remain unexplored, frustratingly so. Continue reading “Review: Road, Royal Court”
And now people are dying again and what the fuck are they doing about it”
Series 1 of Fortitude was one of those genuinely unexpected dramas which unveiled its genre-spanning ways with some proper jaw-dropping moments, so Sky Atlantic’s decision to commission a second series wasn’t entirely unexpected (though you do wonder what viewing figures are like over there). Though having revealed itself as a sci-fi/horror/psychological thriller/serial killer murder mystery with political and environmental themes thrown in for a good measure, creator Simon Donald was faced with a decision about which way to go to continue the story.
Or, as it turned out, he didn’t make the decision but rather decided to pursue them all once again. And as is proving a recurring theme with shows I’ve been catching up on (Fearless, The Halcyon), the desire to develop multi-stranded complex dramas falls short once again with the writing ending up serving a jack of all trades and master of none. There’s just so much going on in so many of the episodes that it becomes increasingly hard to keep track of exactly what is what, who knows what, who is doing what to whom, and where we are in any of the stories. Continue reading “TV Review: Fortitude Series 2”
“Why’s the world so tough? It’s like walking through meat in high heels.”
Michelle Fairley, Mark Hadfield, Faye Marsay, Mike Noble, Dan Parr, Lemn Sissay, June Watson, Liz White and Shane Zaza have been cast in Jim Cartwright’s game-changing play Road which originally opened at the Royal Court in 1986. Road is a seminal play gives expression to the inhabitants of an unnamed northern road in Eighties Britain and most importantly for me, it is on the list.
It is directed in a new production by Royal Court Associate Director John Tiffany, with design by Chloe Lamford, lighting by Lee Curran, sound by Gareth Fry and movement by Jonathan Watkins. Continue reading “Casting for Royal Court’s Road announced”
Nicholas Hytner and Nick Starr have announced the opening programme for their The Bridge Theatre venture – the 900-seat commercial venue near to Tower Bridge which marks their re-entry into the London theatre landscape. The first three productions, all booking now, are:
Continue reading “Bridge Theatre new season – excited by new writing or disappointed by lack of diversity?”
“The reason we can’t find the head in the snow is that someone has taken it away”
Just a quickie for this as I’m way behind (the series premiered at the end of January). I only caught up with Fortitude’s first season over New Year and I have to say I kinda loved the way it went from interestingly good to genuine batshit wtfuckery. It wasn’t necessarily calling out for a second series though and from the evidence of the first episode, it’s not immediately clear that it’s strictly necessary, even if you throw Dennis Quaid and Michelle Fairley in there as a new family.
A new crime has been committed hence layering in all sorts of new mystery but in a town where they’d previously boasted of never having had any crime, it kinda feels like overkill. And the writing feels caught between referencing previous events and starting completely anew, anthology-style, ie Luke Treadaway’s return for what appears to be a single episode versus the new Quaid/Fairley family unit. Sofie Gråbøl and Björn Hlynur Haraldsson’s chemistry as the first couple of Fortitude remains a thing of joy though (so is probably doomed) and I’m more than happy to give the show the benefit of the doubt, despite a slightly shaky start.
“If there’s a seam, tell her it’s usually where the anus was.”
An early play from Abi Morgan, Splendour premiered at Edinburgh in 2000 but is only now receiving its London debut at the Donmar Warehouse as part of a season of works by living playwrights. Directed by Robert Hastie who works such wonders on the all-male My Night With Reg, it also marks a nice rebalance with its all-female cast delivering four sensational performances as Morgan replays a single scene four times to allow us into the mind of each of the characters.
They’re in an unidentified dictatorship – perhaps redolent of somewhere in Eastern Europe, perhaps not – and as we come to realise, it is in its final days. And in the presidential palace, beautifully realised by Peter McKintosh, the president’s wife and her best friend are waiting increasingly apprehensively with a photojournalist and her interpreter. As time restarts and replays, Morgan expertly layers up a gripping story whilst exploring the fascinating inner lives of these women. Continue reading “Review: Splendour, Donmar Warehouse”
“We can get him online”
After watching The Nether at the Royal Court, a chat with a colleague about other plays that effectively depict the internet threw up Enda Walsh’s Chatroom which played at the National Theatre a few years back (and featured both Doctor Who (Matt Smith) and Spiderman (Andrew Garfield) in its cast. It was slightly before my time of insane theatre-going so I was glad to see that I could catch a film version, adapted by Walsh himself and directed by Japanese maestro Hideo Nakata.
The story concerns five teenagers in various states of unhappiness who find succour in online chatrooms. Disillusioned model Eva, anti-depressant taker Jim, unhappy daughter Emily and inappropriately flirtatious Mo are swept up by highly-functioning sociopath and self-harmer William in a room he’s created called Chelsea Teens! At first they just talk smack about those they don’t like but William soon manipulates them into acting on their feelings, with devastating consequences. Continue reading “DVD Review: Chatroom (2010)”