Good things come to those who wait! I hadn’t booked for Young Marx at the brand new Bridge Theatre for a couple of reasons. I was still hoping that I might get a response to my email to the PR and despite a cast that includes the splendid Nancy Carroll and the delicious Oliver Chris alongside lead Rory Kinnear, Richard Bean just really isn’t my cup of tea. ‘Don’t you love farce?’ Not much my dear…
So when an email popped into my inbox offering a sneak preview of the show and an opportunity to be the first ever audience in the theatre for a pre-preview test run of the new venue and its facilities, then I knew it was meant to be. Turns out I do love a farce, at £7.50 a ticket. Continue reading “Thoughts on a visit to the Bridge Theatre”
1850, and Europe’s most feared terrorist is hiding in Dean Street, Soho. Broke, restless and horny, the thirty-two-year-old revolutionary is a frothing combination of intellectual brilliance, invective, satiric wit, and child-like emotional illiteracy.
Creditors, spies, rival revolutionary factions and prospective seducers of his beautiful wife all circle like vultures. His writing blocked, his marriage dying, his friend Engels in despair at his wasted genius, his only hope is a job on the railway. But there’s still no one in the capital who can show you a better night on the piss than Karl Heinrich Marx. Continue reading “Full cast announced for Young Marx”
“There’s nowt so queer as folk”
Only about a week behind schedule, I wanted to round up my thoughts about the National’s Queer Theatre season – links to the reviews of the 5 readings I attended below the cut – and try a formulate a bit of a response to this piece by Alice Saville for Exeunt which rather took aim at the season alongside the Old Vic’s Queers (also I just want to point out too that there are two writers of colour involved – Tarell Alvin McCraney and Keith Jarrett). As a member of the ‘majority’ within this minority, I tread warily and aim to do sowith love and respect.
It feels important to recognise what the NT (and the Old Vic) were trying to achieve though. Queer Theatre looked “at how theatre has charted the LGBT+ experience through a series of rehearsed readings, exhibitions, talks and screenings” and if only one looked at lesbian women, two of the readings were written by women. Several of the post-show discussions at the NT talked specifically about this issue but in acknowledging it, also quite rightly pointed out that there just isn’t the historical body of work to draw from when it comes to wider LGBT+ representation. That’s where the talks and screenings came into their own, able to provide some of that alternative focus. Continue reading “Queer Theatre – a round-up”
#3 in the National Theatre’s Queer Theatre season of rehearsed readings
“Well join the radical wing of the movement where to be really queer you have, as it were, to nail your foreskin to the transgressive mast. Literally it seems, on occasion.”
I have to admit to not necessarily being the greatest fan of Peter Gill’s writing and seeing a reading of one of his plays after having partaken of a little of the Pride festivities on Saturday afternoon was definitely not one of my wiser moves. But I wanted the complete set of these readings and so I sat down for 2009’s Certain Young Men.
Following the lives of four gay couples and told predominantly in duologues, it had the slight sense of yet another version of La Ronde as established pairings disintegrate and new ones reform. It is more complex than that, as it seeks to present varied and various forms of gay personalities and relationships, resisting the easy definition of a gay community to present a heterogenous grouping of homosexual men with multiple and conflicting desires. Continue reading “Review: Queer Theatre – Certain Young Men, National”
2017 marks 50 years since the decriminalisation of homosexuality. The Sexual Offences Act of 1967 was an Act of Parliament that decriminalised homosexual acts in private between two men.
50 years later the lives of queer people are perceived to be very different – equal age of consent, equality law and equal marriage are all heralded as progressive markers in LGBTQIA* equality but has the UK become a queer friendly nation or are homophobic prejudices just as prevalent?
Belonging is a public debate with poncy performance chaired by Scottee. Together with a committee of prominent queers he will explore where queer people sit in our society. A boozy, loose-tongued version of Question Time with less middle aged, middle class white men. Come and mouth off on the eve of London Pride.
Continue reading “Round-up of news and treats and other interesting things – Pride special!”
“I ask no less than power to achieve my will in fair exchange for total service to the state”
Uneasy lies the head that waits for the crown. Mike Barlett’s King Charles III was a deserved award-winning success when it took the Almeida by storm in 2014, transferring into the West End and then Broadway, later touring the UK and Australia too. Its success lay in the conception of a Shakespearean future history play, written in verse but set in a world recognisably our own, where Prince George is nonchalantly eating croissants, Queen Elizabeth II has just passed and before he has even been crowned, Charles finds himself in a constitutional crisis of his own making. A bold but welcome move from the BBC to commission a version then.
Directed as it was onstage by Rupert Goold and adapted by Bartlett (the narrative has been telescoped down by over an hour), it re-emerges as a powerful, pacy drama, a fascinating look into how the relationship between monarchy and government could so easily shift at a time of transition, anchored by an achingly nuanced performance from Tim Pigott-Smith in the title role. The ache is of course deepened by the actor’s death last month but that sadness shouldn’t overshadow the quality of his work here, masterful in his command of the verse, mesmerising as a man trapped by history. Continue reading “TV Review: King Charles III, BBC2”
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 National Theatre last night hosted its biennial fundraising gala, Up Next, raising over a million pounds to support access to the arts for children and young people across the country. I think they forgot to invite me though… 😜
Performances commissioned especially for the event included a new piece by Poet Laureate Carol Ann Duffy, alongside performances by Sir Lenny Henry, Anne-Marie Duff and hundreds of talented young people from across London.
Continue reading “News (and photos): National Theatre gala (plus actors in suits!)”
“A little thing would make me tell them how much I lack of a man”
There’s nowt so queer as folk, at least not in Simon Godwin’s version of Illyria here. A gender-swapped Malvolia longs after her mistress Olivia, hipster-fop Sir Andrew Aguecheek is entirely smitten by a flirtatious Toby Belch, Antonio follows up his snog with Sebastian by inviting him to a rendez-vous at local drag bar The Elephant. And that’s before we’ve even dealt with the sexual confusion that Shakespeare himself engineered in Twelfth Night, as shipwreck survivor Viola disguises herself as her presumed drowned twin brother and wreaks havoc on the libidos of Olivia and Orsino alike.
It’s a mark of the success of Godwin’s production that it wears this all so lightly. It’s a modern-dress version for a modern sensibility (if not for the audience member who gasped audibly at the first gay kiss) and one that is rooted in a real sense of playfulness, as an expertly cast ensemble just have a huge amount of fun with it. Phoebe Fox’s delicious Olivia, who gives new life to the phrase ‘dance like nobody’s watching’; Oliver Chris’ Chelsea playboy of an Orsino, in the throes of a mid-life crisis having just turned 40; Tim McMullan’s swaggeringly confident Sir Toby ever accompanied by Niky Wardley’s spirited Maria and the comic masterpiece that is Daniel Rigby’s Sir Andrew. Continue reading “Review: Twelfth Night, National”
Somewhat appropriately in the week following International Men’s Day with its theme this year of male suicide, two shows tackling the subject open in London. Ella Hickson’s Boys gets a short revival at the LOST Theatre (read my review of the 2012 Soho Theatre production) and new musical Catch Me, written by Arnoud Breitbarth and Christian Czornyj, slots into the Above the Arts Theatre – I’ll be ‘catching’ it later in the week so watch this space for a review.
Continue reading “Round-up of news and treats and other interesting things”