Simon Annand’s Time To Act is a beautiful book of photos capturing actors in the minutes before they go on stage
Tackling the constraints of the pandemic in its own way, Simon Annand’s fantastic new book of photos Time To Act has launched a virtual exhibition of some of the photographs which has now been extended to until Christmas. It’s an ingenious way of sharing some of the hundreds of images from the book and should surely whet the appetite for either just buying it now or putting on your list for Santa to collect soon.
Continue reading “Book review: Time To Act – Simon Annand”
“Donna Noble has left the library. Donna Noble has been saved”
And here we are, my favourite series of Doctor Who. So much huge wonderfulness and even its less good moments are still more than halfway decent. Key to the series’ success is Catherine Tate’s Donna Noble – gobby and one-dimensional in her introductory episode the Christmas special The Runaway Bride, her character journey throughout this season is magisterially constructed, a true awakening of self (with thankfully no romantic inclinations towards our Time Lord) and one given unbearable poignancy due to its frustratingly tragic end.
It’s also one of the best constructed series in terms of its over-arching season arc, its warnings and clues layered meaningfully into several stories and building into a momentous and properly climactic finale, which lands just about the right level of grandiosity. There’s also the first companion-lite episode (the superbly creepy Midnight) to go with the Doctor-lite one (the achingly beautiful dystopian Turn Left); a typically brilliant Moffat double-header in Silence in the Library and Forest of the Dead with gorgeous work from Alex Kingston as the soon-to-be-hugely-significant River Song; and if the return of Rose undoes some of the emotional impact of the Series 2 finale, Billie Piper’s work is spikily powerful. These are episodes I can, and have, watched over and over again.
Continue reading “Countdown to new Who: Doctor Who Series 4”
Best Actor in a Play
O-T Fagbenle, Ma Rainey’s Black Bottom
Full of potent rage but rendered impotent by the race politics of 1920s America, Fagbenle’s powder-keg of a performance is etched on my mind in all its revolutionary rage and the punch in the stomach of the finale proved one of those moments I don’t think I’ll ever forget. Truly superb.
Honourable mention: Lucian Msamati, Ma Rainey’s Black Bottom
I ummed and aahed over whether to categorise this as a lead or supporting performance but ultimately there’s no denying how pivotal a role Toledo is. And how powerful Msamati was in it, starting off a superlative year for him in which he’s taken the National by storm.
Phil Dunster, Pink Mist
Paapa Essiedu, Hamlet
Rhys Isaac-Jones, Jess and Joe Forever
Lucian Msamati, Amadeus
Danny Sapani, Les Blancs
Gregory Ashton, Two Short Plays About Gays; Hans Kesting, Kings of War; Michael Socha, This Is Living
Best Actor in a Musical
Louis Maskell, The Grinning Man
As damaged soul Grinpayne, Maskell had the unenviable task of conveying the deep emotions of his character with much of his face obscured but through his sensitive acting and gorgeous vocal work, he perfectly captured the bittersweetly romantic tone of this Gothic hero. Surely, surely, we haven’t seen the last of this show.
Honourable mention: Ako Mitchell, Ragtime
The fact that Ragtime straddled the US presidential election only heightened the power of its message and at its heart, Mitchell’s Coalhouse Walker Jnr on his journey of aspiration destroyed by intolerance felt like a beacon for so much more than Ahrens and Flaherty could ever have dreamed.
Declan Bennett, Jesus Christ Superstar
Dex Lee, Grease
Hugh Maynard, Sweeney Todd
Charlie Stemp, Half A Sixpence
Mark Umbers, She Loves Me
Fra Fee. The Wind in the Willows; Ashley Robinson, Floyd Collins; Michael Xavier, Sunset Boulevard
It’s that time of year again when I am publicly shallow in my appreciation of the men that grace our stages and given the hit counts I get on these annual posts, you’re all just as thirsty as me!
Continue reading “Leading Man of the Year 2016”
Sir Kenneth Branagh The Entertainer, Garrick Theatre
O-T Fagbenle Ma Rainey’s Black Bottom, National Theatre, Lyttelton
Ralph Fiennes The Master Builder/Richard III, Old Vic/Almeida Theatre
James McArdle Platonov, Chichester Festival Theatre/National Theatre, Olivier
Ian McKellen No Man’s Land, Wyndham’s Theatre
Natasha Richardson Award for best actress
Noma Dumezweni Linda, Royal Court, Jerwood Downstairs
Helen McCrory The Deep Blue Sea, National Theatre, Lyttelton
Sophie Melville Iphigenia In Splott, National Theatre, Temporary Theatre (a Sherman Theatre production)
Billie Piper Yerma, Young Vic
Glenn Close in Sunset Boulevard Continue reading “The 2016 London Evening Standard Theatre Awards”
“This is an empty world without the blues“
The title might be something of a misnomer in that there ain’t a whole lot of Ma Rainey in this play but that shouldn’t detract from the extraordinary power of Ma Rainey’s Black Bottom, part of August Wilson’s Pittsburgh Cycle of plays examining each decade of the twentieth century African American experience. And Dominic Cooke’s production for the National Theatre loses nothing of its urgency, it may have been written in 1984 about 1927 but its incendiary racial politics are sadly just as pertinent in 2016.
Rainey was one of the first professional singers of the blues and among the first to be recorded but the play opens with the ‘Mother of The Blues’ singular in her absence. Her manager and studio manager, both white, are fretting about her lateness and how financially dependent on her records they are and downstairs in the rehearsal basement, the four black men who make up her band are shooting the breeze as they gear up for some music-making. But as the wait grows longer, patience wears thinner and long-ingrained injustices start to bubble to the fore. Continue reading “Review: Ma Rainey’s Black Bottom, National”
Eclipse Theatre’s 10by10 project was a series of short films “exploding the myth of a homogenised Black British culture”, all directed by Dawn Walton but written by and starring a wide range of some of our most exciting writers and performers. Filmed in 10 different cities across the UK, the hometowns of the playwrights in fact, and each shot in a single day, these make a fascinating insight into a wider cross-section of British society that perhaps is normally seen. Part 2 of 2.
Music in the Bones
Yusra Warsama’s Music in the Bones begins with Wunmi Mosaku’s Somaliwoman Amina running through a Manchester backstreet and quickly moves into flashback mode to tell us why. Mosaku has a beautifully modulated voice which is perfect for the narration here, aching with longing and loss and confusion and compassion. Beautiful.
Starring the impossibly handsome O-T Fagbenle as the titular character, Maurice Bessman’s Omar follows a guy who goes to Amsterdam for his stag weekend but before he’s even toked down on his first indulgence of the trip, a brutal attack and a case of serious mistaken identity shakes his world upside down and then some. Dawn Walton’s direction never quite hits the necessary ambivalent darkness to make this as disturbingly disorientating as it should be but the film does get there eventually, mainly through Fagbenle’s slow awakening to the direness of his situation.
The delight that is Middlesborough’s shopping centre features heavily in Ishy Din’s Perfume as brothers Sham and Nad run a scam in order to make some cash in order to buy some ganja. Naturally, things aren’t quite what they seem (a running theme in these films)
A Blues for Nia
Representing Bristol, Chino Odimba’s A Blue for Nia sees Sharon Duncan-Brewster’s Nia stride with purpose through St Pauls with her 5 year old son, striding with a purpose of which she gradually informs us as she vents her spleen.
Susan Hunter Downer’s Babydoll takes place in Sheffield’s city centre as Everal A Walsh’s tramp hunts for treasure amongst the bins and is taken by surprise when he finds a suitcase that he can’t open that he just knows will contain something good. Just what that is, well you’ll have to watch!
There are so many short films out there featuring so many actors that I like that I found it impossible choose my favourites…so here’s a second set for your delectations, there may well be more to come!
The main reason I started looking at short films was after having been sent this little beauty which was a finalist in the 2010 Electric Shorts competition. I Do stars both Julian Ovenden and Aden Gillett so it should be clear why someone thought it relevant to my interests, but it is actually a really well put together little film by Duncan Cargill. It looks good, it is sexy and fresh and wittily clever all within less than three minutes. If you only watch one of these films, I’d make it this one! Continue reading “Short film reviews #2”