2018 Best Supporting Actor in a Play + in a Musical

Best Supporting Actor in a Play

Paul Hilton, The Inheritance
How many times and in how many ways can the same man break your heart? Hilton is exquisitely, agonisingly, pitch-perfect in The Inheritance no matter who he is playing, a much needed voice of experience in among the tight, bright young things, an unforgettable, powerfully moving tribute to generations lost.

Honourable mention: Forbes Masson, Summer and Smoke
I’ve long been a fan of Masson’s, going back to seeing his hysterical musical Stiff! back in my uni days, so it was great to see him as such a vibrant and vital part of the ensemble in this Rebecca Frecknall production, standing out as a pair of patresfamilias.

Louis Bernard, Much Ado About Nothing (Antic Disposition)
Demetri Goritsas, ear for eye
Wil Johnson, Leave Taking
Nicky Priest, Jellyfish
Sam Troughton, Stories

8-10

Oliver Alvin-Wilson, Nine Night; Kevin Harvey, The Wild Duck; Samuel H Levine, The Inheritance

 

Best Supporting Actor in a Musical

Jonathan Bailey, Company
Done well, ‘Getting Married Today’ is a highlight of any production of Company but here, making Amy Jamie works an absolute treat in showing both how far we’ve come and how little there is between us all when it comes to gay marriage. Partnered perfectly with Alex Gaumond’s patiently lovestruck Paul, this vignette becomes even more heart-breakingly, soul-raisingly fantastic.

Honourable mention: André de Shields & Patrick Page, Hadestown
Between de Shields getting the party started with his twinkling charm and Page’s basso profundo doing all sorts of things to me, I couldn’t split these two on the way down to Hadestown

Alex Cardall, Sweet Charity (Watermill)
Alex James Ellison, The Secret Garden
Richard Fleeshman, Company
Matt Willis, Little Shop of Horrors

8-10
Maison Kelley, Brass the Musical; Sean Kingsley, Once; Jordan Shaw, It’s Only Life

Film Review: Lady Macbeth (2017)

Who needs Shakespeare when you have William Oldroyd and Alice Birch to give us a chillingly excellent Lady Macbeth

“I’d rather stop you breathing than have you doubt how I feel”

Based on the book Lady Macbeth of Mtsensk by Nikolai Leskov, William Oldroyd’s Lady Macbeth is a ferocious debut film and written by Alice Birch (no stranger to theatregoers but also making a feature debut here), it is a remarkably forward-thinking piece for that old hoary chestnut that is the British period drama.

Layering in intersectional notions of race and class, not shying away from domestic abuse and violence, it is probably safe to say it is unlike any other film you’ve seen that is set in 1865 England. Trapped into a stifling marriage with a disinterested man with a domineering father and a dour isolated estate in the North East, Katherine resolves not to let this be the sum total of her life. Continue reading “Film Review: Lady Macbeth (2017)”

2019 What’s On Stage Award nominations

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”

Review: The Inheritance, Noël Coward Theatre

After a scorching run at the Young Vic, Matthew Lopez’s The Inheritance makes a well-deserved transfer into the West End

“I couldn’t leave this place, not in my mind, not in my heart”

After a scorching run at the Young Vic, Matthew Lopez’s The Inheritance makes a well-deserved transfer into the West End. And though the seats (and some of the sightlines) at the Noël Coward Theatre make it a little bit more of an endurance test over its near-seven hours of drama, the experience remains a truly soul-enhancing, life-enrichening thing.

All but one of the original cast have returned (Jack Riddiford stepping in for Luke Thallon who has turned to alternative Cock in Chichester), but none of the production’s magic has been lost. Indeed, for those who have seen it before, it is almost better second time round as the exquisite agony of knowing what is to come deepens so much of the first part. Continue reading “Review: The Inheritance, Noël Coward Theatre”

News: Cast for the West End transfer of The Inheritance announced

All but one of the original cast of The Inheritance will make the transfer into the West End at the Noël Coward Theatre

The ensemble cast of The Inheritance at the Noël Coward Theatre is now confirmed and will include: Hugo Bolton, Robert Boulter, Andrew Burnap, Hubert Burton, John Benjamin Hickey, Paul Hilton, Samuel H Levine, Syrus Lowe, Michael Marcus, Vanessa Redgrave, Jack Riddiford, Kyle Soller and Michael Walters. The main change is that Jack Riddiford joins the company in place of Luke Thallon who is going to be appearing in Chichester’s revival of Mike Bartlett’s Cock instead.

I absolutely adored The Inheritance when I saw it at the Young Vic and am glad that the brave decision to transfer this major new work into the West End has been made. It certainly deserves a bigger audience and I sincerely hope that they come – and why wouldn’t they, when you look at this lovely set of blossom portraits of the new cast by Johan Persson.

 

All photography by Johan Persson

 

TV Review: A Very English Scandal

Hugh Grant delivers a career best performance in the hugely enjoyable A Very English Scandal. Just don’t mention your National Insurance card.

“Tell him not to talk. And not to write to my mother describing acts of anal sex under any circumstances whatsoever”

I don’t think I’ve ever been chilled quite so much by the end credits of anything like A Very English Scandal. You know, that bit when you find out what happened next to the people who you’ve just been watching. It helps of course that I knew nothing about the 1970s Jeremy Thorpe affair on which it was based but still, never have 11 dogs and a missing NI card seemed so ominous.

Written by Russell T Davies, adapted from John Preston’s book, and directed by Stephen Frears, A Very English Scandal is a complete breath of fresh air. Perhaps surprisingly for a true-life tale of sex, politics and attempted murder, it has a quirky, almost jolly tone that is hugely enjoyable, deftly comic as it negotiates the would-be Machiavellian moves of a politician desperate to save his skin. Continue reading “TV Review: A Very English Scandal”

Review: The Inheritance, Young Vic

An epic gay play for the 21st century – Matthew Lopez’s The Inheritance is a must-see at the Young Vic

“A chain of gay men helping each other, loving each other, hurting each other, understanding each other”

It would be easy to focus on the fact that The Inheritance is long and yes, its two parts total up to nearly seven hours in the thankfully comfortable seats of the Young Vic. But they also sum up to a brave and epic piece of new writing from Matthew Lopez, taking a scalpel to contemporary gay life in New York, asking what does it mean to be a gay man today and just how much of that is owed to an inherited (and neglected) cultural legacy.  

Structurally, the play owes a curious debt to EM Forster’s Howard’s End, using it as a considerable inspiration for plot but also as a device to launch into its storytelling, which has an occasional tricksiness to it, pulling at the thread of the stories we wish we could tell rather than the ones we have to. That main story centres on Eric and Toby, a gay couple who have the foundations of their relationship rocked when the tenancy of their amazing apartment is terminated. As their lives reshape around new realities, new experiences, new challenges, they come to see how little of the world they really know. Continue reading “Review: The Inheritance, Young Vic”

Not-really-a-Review: The Inheritance Part One, Young Vic

“Holy shit, Meryl Streep is here?”

I’m just going to write the one review to cover both parts of the The Inheritance but I wanted to flag up that if, for some crazy reason, the full seven hours of Mathew Lopez’s epic didn’t appeal, then you could do worse than sticking with Part One. For though it may not have any Vanessa Redgrave, it does contain a moment of pure transcendent beauty that left me weeping on the bus journey home, and so how could you possibly now resist?! Continue reading “Not-really-a-Review: The Inheritance Part One, Young Vic”

Review: Mosquitoes, National Theatre

“I can be anything I want. 
I can be a Hufflepuff if I want.”

Just a quickie for this as it closes this week (I had the unfortunate accident of being in Vienna for its press night). Lucy Kirkwood’s Mosquitoes has been a sell-out success for the National, packing out the Dorfman perhaps initially for its deluxe casting of two Olivias – Colman and Williams – but latterly due to some superb word of mouth as well. And given that this is largely a play about two sisters who can’t help but bicker all their lives, it is brilliantly well cast.

Williams is Alice, a scientist working at the Large Hadron Collider at CERN and Colman is Jenny, a medical sales rep living in Luton. Nominally, the former is a success, the latter a fuckup, an idea reinforced by Jenny arriving in Geneva to recuperate from a devastating personal loss. But Kirkwood’s writing is far too nuanced to let that be all, she thoroughly interrogates our preconceptions as she whirls through a universe-ful of ideas including anti-vaxxers, revenge porn, society’s inherent misogyny, science and religion and much more besides. Continue reading “Review: Mosquitoes, National Theatre”