Louise Jameson in The Diva Drag at The Hope
Lydia Larson in Skin A Cat at The Bunker
Sarah Ridgeway in Fury at Soho Theatre
Jenna Russell in Grey Gardens at Southwark Playhouse
Best Supporting Female
Lynette Clarke in Karagula at The Styx
Joanna Hickman in Ragtime at Charing Cross Theatre
Sasha Waddell in After October at The Finborough
Fiston Barek in The Rolling Stone at The Orange Tree
Phil Dunster in Pink Mist at The Bush
Paul Keating in Kenny Morgan at The Arcola
John Ramm in Sheppey at The Orange Tree Continue reading “2017 Offie Award Finalists”
“All we can do is what feels right”
There’s been something really quite moving about the second series of Humans, the Sam Vincent and Jonathan Brackley Channel 4 drama which has just wound to a close. In a world that started off examining the diametrically opposed differences between humans and synths (series 1 review), the stark black and white palette of the show has moved markedly to a murky shade of grey on both sides, complicating the actions of both parties to make us really appreciate the difficulties in deciding right and wrong.
So where the renegade synth Niska (a brilliant Emily Berrington) has decided to subject herself to human justice in order to try and find some common ground, newly awakened Hester goes fully rogue in defining humans as the absolute enemy, to brutal effect in a chilling performance from Sonya Cassidy. And questions of identity are no less complex on the human side, as the show toys with ideas of humans opting to live life as a synth and experimenting even further with technology. Continue reading “TV Review: Humans Series 2”
“Say what you like but there’s been a crime committed. More than one I should say–”
As Helen McCrory scorches the earth beneath her with a transcendental take on Hester Collyer, the lead part in Terence Rattigan’s The Deep Blue Sea, the time felt right to then take in Mike Poulton’s Kenny Morgan. In this play, Poulton draws back the veil that society demanded Rattigan draw over his intended original subject, dramatising the real events that inspired the deep tragedy of his writing.
For Rattigan drew directly from his own life – a ten year relationship with a man named Kenny Morgan ended due to his lover’s depression and as he ricocheted into a destructive new relationship, Rattigan had to look on helplessly as Morgan spiralled ever deeper into tragedy. At a time when both suicide and homosexuality were illegal, it is no wonder the playwright opted to code The Deep Blue Sea. Continue reading “Review: Kenny Morgan, Arcola”
“Give me hope
Give me all your love”
Everything is better with Frances Barber in it, it’s kind of a mantra for life. The Union Theatre’s recent production of Closer to Heaven shifted its entire allocation of tickets before it had even started but I wonder if that would have been the case if people had had a sneak preview of it. Despite its hard-working cast, it didn’t quite hit all the bases that would have warranted a sell-out success from after press night but you can’t begrudge them for that, the producers clearly tapped into a desire to see the show revived.
Its original run at the Arts Theatre was not a runaway hit, being curtailed after lacklustre sales (blamed in part on 9/11 affecting tourism) but an original cast recording of the soundtrack, featuring studio versions of the songs, was released, helping the show to maintain and even build on its cult status. And listening to the album, you can see why people were keen for it to return. Shorn of most of Jonathan Harvey’s lumpen book, the focus falls squarely on the cracking score by Neil Tennant and Chris Lowe and the real depth of feeling that the cast bring to the material. Continue reading “Album Review: Closer to Heaven (Original Cast Recording)”
“And my head I’d be scratchin’ while my thoughts were busy hatchin’
I could have quite happily given The Wizard of Oz a miss, it wasn’t ever really on my list of shows to see but the combined news of a visit from a family member who wanted to see it and Hannah Waddingham’s imminent departure from the ensemble meant that I found myself there on a Saturday evening… There’s something a little odd about its choice as Andrew Lloyd-Webber’s third reality casting show, Over the Rainbow, as the show is not really a fully-fledged musical, no matter how famous some of the songs but he persevered nonetheless. What is even odder is his assembly of a strong musical theatre cast around the eventual winner, Danielle Hope, given the paucity of many of the roles around Dorothy.
Lloyd-Webber’s way around this has been to write new songs, with long-standing lyricist Tim Rice, to beef up the roles of characters like the Wizard and the Wicked Witch of the West and justify the casting of Michael Crawford and Hannah Waddingham respectively. But despite looking a picture with some tricksy staging and wirework, the end result is curiously banal, exceedingly bland and one which rarely excited me. The focus is so much on the stagecraft that the heart of the story is rarely engaged: Hope’s Dorothy is sweet but rarely interesting, there’s little of the ‘star quality’ evident this evening but then the role is not one that really encourages it; Michael Crawford made very little impact either as the Wizard or the cameos as Ozians and so it went, emotion taking second-place to spectacle. Continue reading “Review: The Wizard of Oz, Palladium”
“How could this be the ending of our story?”
The Great British Musical was a showcase event at the Criterion Theatre, put together by the production company Perfect Pitch to celebrate British musical theatre both new and old through the performances of a cracking company of West End stars both established and upcoming. It was compered by Stephen Fry, the evening was led by Paul Herbert’s musical direction and supported by young performers from the MTA.
We were treated to songs from shows that are currently open: George Stiles and Anthony Drewe gave us a mini comedy routine before launching into a medley from Betty Blue Eyes including the title song which worked and ‘Nobody’ which I wasn’t too sure about (I’m still longing to hear the promised version by Liza); Steven Webb and Jack Shalloo gave us their ‘Long Sunday Afternoon/That Guy’ from Blood Brothers and Lloyd-Webber was well-represented too, especially by Stuart Matthew Price’s ‘Heaven On Their Minds’ from Jesus Christ Superstar. Continue reading “Review: The Great British Musical, Criterion”
The second musical in the Notes from New York mini-season at the Duchess Theatre is tick…tick…BOOM! Written by Jonathan Larson who also penned Rent, the play is a three-hander, focussing on Jon, a scarcely disguised autobiographical wannabe composer of musicals and his girlfriend Susan, a dancer and room-mate Michael, a former actor who now has a successful City job. Jon is just about to turn 30 and anxious about his lack of success, especially as he is about to premiere his latest musical, a piece called Superbia, and feels under pressure from both his friend and girlfriend to change his path and abandon chasing his dream.
tick…tick…BOOM! was originally produced as a monologue and was only reconceived as a three-hander after Larson’s death. I do not know if this was ever his intention, or wheter it was a decision made by others, but I do believe that this is where the major weakness of this play lies. The secondary characters of Susan and Michael are very sketchily drawn and have very little opportunity to really engage with the audience, a problem exacerbated by the fact that the actors playing these two roles also have to cover all the other minor characters as well. Continue reading “Review: tick…tick…BOOM!, Duchess”
Starting off at the Menier Chocolate Factory and transferring to the West End at the Duke of York’s, Little Shop of Horrors now has its third home in London at the Ambassadors and I have finally gotten round to seeing it. And boy am I glad that I did.
It is a very sweetly composed story, straddling that not-so-well-trodden boundary between sci-fi and romance. Seymour, a down-on-his-luck orphan just scraping by in grim urban Skid Row, finds a special plant which happens to appear during a solar eclipse and suddenly everything in his life starts to improve. The flower shop where he works becomes more successful, he sees a way to rescue the girl he loves from afar from a violent relationship, but as always, there’s a downside to all of this and in this case, it is that the plant is a living, carnivorous one with a particular yen for human blood. Continue reading “Review: Little Shop of Horrors, Ambassadors”
Taking up residency on Shaftesbury Avenue, this production of Don Carlos directed by Michael Grandage was originated at the Crucible in Sheffield last year and received rave reviews. It is one of Schiller’s less performed works apparently, but I have to admit this was the first time I had seen any his plays (or indeed heard of him, eek!) so a new experience for me.
Don Carlos is passionately in love with Elizabeth, the French Princess to whom he was once betrothed. Carlos’ tyrannical father, King Philip II of Spain, decides to marry Elizabeth himself. The young prince’s hatred for his cold and distant parent knows no bounds. He enlists his oldest friend the Marquis of Posa to act as go-between. But Posa decides to convert Carlos and Elizabeth’s youthful passion into a full scale rebellion against King Philip’s oppressive and bloody regime. Continue reading “Review: Don Carlos, Gielgud Theatre”