Review: Pinter Four, Harold Pinter Theatre

Pinter Four serves up something of a difficult double bill at the Harold Pinter Theatre, but Bríd Brennan and Janie Dee are there to help us through the dark times

“Rationality went down the drain donkey’s years ago and hasn’t been seen since”

Thing about blogging is you can’t hide from the past, or your past opinions, so the fact that the first time I saw Harold Pinter’s Moonlight was one of the most torturous hours I’d spent in a theatre up until then is no secret. So the fact that it was included along with Night School in the double bill that makes up Pinter Four gave me significant – Pinteresque even…  pause.

But that was seven years ago, people change, as do tastes, and the luxury casting of the Pinter at the Pinter season made it an attractive enough proposition to revisit. And am I a now Moonlight convert? Not exactly, but it did prove a less painful experience, even if it does still maintain a power to elongate time which is exacerbated by its coolly distant demeanour. Continue reading “Review: Pinter Four, Harold Pinter Theatre”

Album reviews: Working / Bat out of Hell / 42nd Street

A trio of West End cast recordings (well, one’s off-West-End…) show that it is sometimes hard to recapture the stage magic 

© Robert Workman

Starting off with the best of this bunch, the Southwark Playhouse’s production of Working might not have seemed like the obvious choice for a cast recording but maybe the lure of a couple of new Lin-Manuel Miranda tracks was a real sweetener.

Truth is, it is the quality of the cast’s performances that make this a fantastic addition to the list of albums you need to hear. From Siubhan Harrison’s impassioned ‘Millwork’ to Dean Chisnall’s gleeful ‘Brother Trucker’, and the highly charismatic Liam Tamne nails both of Miranda’s contributions – the wilful ‘Delivery’ and a corking duet (with Harrison) on ‘A Very Good Day’.

Experience pays though, as Gillian Bevan and Peter Polycarpou take the honours with some scintillating work. The latter’s ‘Joe’ is beautifully judged, as is the former’s ‘Nobody Tells Me How’, both demonstrating the uncertainty that can come at the end of a long career, when retirement doesn’t necessarily hold the joyful promise it once did. Highly recommended.  Continue reading “Album reviews: Working / Bat out of Hell / 42nd Street”

2018 Laurence Olivier Awards nominations

An interesting set of nominations have been announced for the 2018 Laurence Olivier Awards. Perhaps predictably, the headline grabbers are Hamilton with their record 13 nominations, and The Ferryman which received 8. I’m pleased to see Follies and Angels in America represent a strong showing for the National with 10 and 6 respectively, and also lovely to see Everybody’s Talking About Jamie close behind with 5. Beyond delighted for The Revlon Girl too, my play of the year.

Naturally, not everything can get nominated and for me, it was most disappointing to see Barber Shop Chronicles miss out on any recognition. And with Hamilton crowding out the musicals categories, there was sadly no room for The Grinning Man, Romantics Anonymous and The Secret Diary of Adrian Mole (although I’m unsure of the Menier’s eligibility with regards to SOLT). And I think Victoria Hamilton (Albion). Philip Quast (Follies) and Louis Maskell and Julian Bleach (The Grinning Man)  are entitled to be a bit miffed.

How do you feel about these nominations? And what do you think should have been nominated instead?

Continue reading “2018 Laurence Olivier Awards nominations”

The 2017 Clarence Derwent Awards

UK – Best male in a supporting role (recognising supporting performances from 2016 and 2017) 
Peter Polycarpou in Oslo at the National Theatre and West End
and
Jonjo O’Neill for Unreachable at the Royal Court and Cymbeline at the Sam Wanamaker Playhouse.

UK – Best female in a supporting role (recognising supporting performances from 2016 and 2017) 
Sheila Atim for the Donmar’s all-female The Tempest and Les Blancs at the National Theatre
and
Kate O’Flynn for her portrayal of Laura in The Glass Menagerie.

US – Most promising male
Will Pullen for Sweat

US – Most promising female
Katrina Lenk for The Band’s Visit

The finalists of The Offies 2018

The finalists of the The Offies 2018 have been announced and as ever, there’s much of interest there, in the choices made and the breadth of Off West End theatre celebrated. Play-wise, I’m delighted at the love for The Revlon Girl and An Octoroon here, nice to see the Bunker’s Eyes Closed Ears Covered rewarded too, plus Will Pinchin’s work in Frankenstein.
 
With the musicals, I’m not down with the love for Promises Promises, an ill-judged revival that added nothing to the conversation (and even less in these #MeToo times) and I’m disappointed that none of the boys of Yank! were recognised. The rest of the Southwark Playhouse’s spectacular year does get the appropriate plaudits though, with Superhero, The Life and Working all getting multiple nominations.
 
And lastly, at times it can seem like all you have to do is sing in your bathroom and you get an Offie nomination 😉 so it is interesting to see how the numbers break down, albeit somewhat vaguely. These 80 or so finalists have apparently been whittled down from over 350 nominations from over 190 shows – there’s clearly just a lot of Offies love to share. Should you wish to join in said sharing at the IRL award ceremony on Sunday 4th March at The Albany, Deptford, you can buy tickets here.

Continue reading “The finalists of The Offies 2018”

2018 What’s On Stage Award nominations

 

It’s that time of year again and getting in early with the announcement of their nominees is What’s on Stage. Voted for by the public, they’re often skewed a little towards the bigger ‘names’ but this year’s set of nominations are relatively controversy-free. There’s something a little odd about the way that regional theatre has its own separate category but its actors appear in the main ones – I feel like regional theatre productions should either be considered entirely in or out, rather than this halfway house.

Naturally, big shows rule the roost – 42nd Street and Bat out of Hell lead the lists with 8 nominations apiece – and they’ve even found a way to shoehorn in Hamilton by nominating it for the two new categories of Best Cast Recording (which somehow includes Les Mis??) and Best Show Poster, thus being able to get round it not actually being open yet and grabbing the requisite headlines once it does, inevitably, win.

 
 
BEST ACTOR IN A PLAY SPONSORED BY RADISSON BLU EDWARDIAN
Andrew Garfield, Angels in America
Andrew Scott, Hamlet
Bryan Cranston, Network
David Tennant, Don Juan in Soho
Martin Freeman, Labour of Love

BEST ACTRESS IN A PLAY
Eve Best, Love in Idleness
Imelda Staunton, Who’s Afraid of Virginia Woolf?
Olivia Colman, Mosquitoes
Natalie Dormer, Venus in Fur
Tamsin Greig, Labour of Love Continue reading “2018 What’s On Stage Award nominations”

Review: Oslo, National Theatre

“The Americans cannot stand it when others take the lead”

What does it take to get peace in the Middle East? Some determined Norwegians and a plate or two of tasty waffles apparently… At a leisurely three hours in length and set around the Oslo Peace Accords, JT Rogers’ Oslo might not on the face of it seem like theatrical gold but it won a Tony on Broadway and such was the confidence in this production that a West End run was booked in to follow its short engagement at the National before a ticket had even been sold.

And it is a confidence that has paid off handsomely. Bartlett Sher’s direction has an epic sweep to its depiction of world affairs but Rogers’ writing shines through its focus on the intimate detail, on the personal struggle, sacrifice and success of the individuals who managed to break the Israeli-Palestinian deadlock and work towards the unimaginable – a lasting peace. History has shown us the reality of that, something acknowledged in a coda here, but it is still thrilling to watch. Continue reading “Review: Oslo, National Theatre”

A whole load of Friday casting news

I want to be able to resist anything to do with Alan Ayckbourn but the cast and creatives for Chichester’s production of The Norman Conquests is making it very hard indeed. Wunderkind director Blanche McIntyre is at the helm of a company for the trilogy of plays that consists of Jonathan Broadbent, Trystan Gravelle, Sarah Hadland, John Hollingworth, Hattie Ladbury and Jemima Rooper. Best get booking then…


The National Theatre today announced Toby Stephens in the role of social-scientist Terje Rød-Larsen, with Lydia Leonard as his wife, diplomat Mona Juul and Peter Polycarpou plays Ahmed Qurie, theformer Prime Minister of the Palestinian National Authority. The Lincoln Center Theater’s critically acclaimed production of OSLO,begins performances at the National Theatre on 5 September and later transfers to the Harold Pinter Theatre (2 October – 30 December 2017).

Oslo tells the true story of how one young Norwegian couple Mona Juul (Lydia Leonard) and her husband,Terje Rød-Larsen (Toby Stephens) planned and orchestrated top-secret, high-level meetings between the State of Israel and the Palestine Liberation Organisation, which culminated in the signing of the historic 1993 Oslo Accords. Featuring dozens of characters and set in locations across the globe,Oslo is both a political thriller and the personal story of a small band of women and men struggling together – and fighting each other – as they seek to change the world. (Mona Juul is currently the Norwegian Ambassador to the UK – the first woman to occupy the role).

Joining Leonard, Stephens and Polycarpou is Geraldine Alexander, Philip Arditti, Thomas Arnold, Nabil Elouahabi , Paul Herzberg. Karoline Gable, Anthony Shuster, Daniel Stewart and Howard Ward. Further casting will be announced


(c) Paul Nicholas Dyke

Doubt, A Parable, directed by Ché Walker, is to get its first London revival in 10 years at Southwark Playhouse from Wednesday 6 September to Saturday 30 September, and features Stella Gonet in the epic role of Sister Aloysius Beauvier.

She’s joined by Clare Latham, Jo Martin and Jonathan Chambers in what looks to be a production to look forward to in the autumn..

“What do you do when you’re not sure?” asks Father Flynn, the progressive and beloved priest at the St. Nicholas Church School in the Bronx, in his sermon. It’s 1964, and things are changing, to the chagrin of rigid principal Sister Aloysius. However, when an unconscionable accusation is levelled against the Father, Sister Aloysius realises that the only way to get justice is to create it herself. And as for the truth of the matter? As Father Flynn says, “Doubt can be a bond as powerful and sustaining as certainty.” In stunning prose, John Patrick Shanley delves into the murky shadows of moral certainty, his characters always balancing on the thin line between truth and consequences.

Doubt, A Parable is an exquisite, potent drama that raises questions and answer none, leaving the audience to grapple with the discomfort of their uncertainties.

The 2016 fosterIAN awards

Pleasures were few and far between in 2016…

Round-up of the 2016 fosterIANs

Best Actress in a Play
Juliet Stevenson/Lia Williams, Mary Stuart

Best Actress in a Musical
Jenna Russell, Grey Gardens

Best Actor in a Play
O-T Fagbenle, Ma Rainey’s Black Bottom

Best Actor in a Musical
Louis Maskell, The Grinning Man

Best Supporting Actress in a Play
Jade Anouka, The Tempest

Best Supporting Actress in a Musical
Jennifer Saayeng, Ragtime

Best Supporting Actor in a Play
Peter Polycarpou, Scenes from 68* Years

Best Supporting Actor in a Musical
Julian Bleach, The Grinning Man

And my top 10 plays of the year:

1 Mary Stuart
2 Ma Rainey’s Black Bottom
3 Minefield
4 Escaped Alone
5 A Raisin in the Sun
6 Pink Mist
7 Steel Magnolias
8 The Grinning Man
9 Jess and Joe Forever
10 BU21