Just a quick flag-up for this brilliant visual project from photographer Helen Murray. Her set of portraits entitled Widening the Lens is in partnership with Act for Change. So many absolute faves looking stunning here: see the whole set on Murray’s website.
Lucy Kirkwood returns to the National Theatre with The Welkin, starring a brilliant ensemble led by Maxine Peake
“Nobody blames God when there’s a woman can be blamed instead”
There are moments in Lucy Kirkwood’s new play The Welkin that are just outstanding. The opening tableau of silhouetted women engaged in housework is one for the ages, the early montage of women being empanelled onto a jury is as compelling a piece of social history as has ever been committed to the stage as well as looking stunning, and the final scene is equally full of iconic imagery (that veil, that walk, that ribbon, that realisation!).
Set on the Norfolk/Suffolk borders in 1759, the play focuses on a quirk of English justice at the time. A child has died and Sally Poppy has been sentenced for the crime (by men) but as she is claiming to be pregnant – something which if true, would commute her sentence from death to transportation – a “jury of matrons” must decide if she is telling the truth. Thus 12 local woman are summoned and locked in a room to determine her fate. Continue reading “Review: The Welkin, National Theatre”
The nominations for the 20th Annual WhatsOnStage Awards have been announced and I have a thought or two #justiceforAnneHathaway
As a publicly nominated affair, the What’s On Stage Awards always throw up an interesting set of nominations, as fanbases engage alongside theatregoers to produce an idiosyncratic reflection on the year. This year though, the nominees for the nine creative categories (Choreography, Costume Design, Direction, Graphic Design, Lighting Design, Musical Direction, Set Design, Sound Design and Video Design) have been decided by an independent panel of industry experts appointed, which has resulted in some pleasing inclusions for the likes of Equus and Small Island.
Acting-wise, the focus does land a little heavily on the more famous names (plus ça change) and that Supporting Actress in a Musical category is super-crowded (the Dear Evan Hansen mothers would have been a shoo-in for me there). My only real point of issue comes with the categorisation for the & Juliet players – are you really going to nominate Oliver Tompsett as a lead and then put Cassidy Janson in the supporting category? Did you not see the show, or get any of its message at all?!
Voting for the winners is open now and closes on 27th January 2020, with the winners being revealed at a ceremony on 1st March 2020.
Best Actor in a Play, sponsored by Edwardian Hotels
Tom Hiddleston – Betrayal – Harold Pinter Theatre
Andrew Scott – Present Laughter – The Old Vic
Matt Smith – Lungs – The Old Vic
Wendell Pierce – Death of a Salesman – Young Vic / Piccadilly Theatre
Laurie Kynaston – The Son – Kiln Theatre / Duke of York’s Theatre
Best Actress in a Play, sponsored by Tonic Theatre
Claire Foy – Lungs – The Old Vic
Zawe Ashton – Betrayal – Harold Pinter Theatre
Hayley Atwell – Rosmersholm – Duke of York’s Theatre
Sharon D Clarke – Death of a Salesman – Young Vic / Piccadilly Theatre
Juliet Stevenson – The Doctor – Almeida Theatre Continue reading “2020 What’s On Stage Award nominations”
Jessie Buckley and Josh O’Connor headline a new production of Romeo and Juliet, while Callum Scott Howells and Rosie Sheehy star in Gary Owen’s Romeo and Julie, among other big news from the National Theatre
Simon Godwin returns to the National Theatre to direct Shakespeare’s ROMEO & JULIET following his critically-acclaimed productions of Antony and Cleopatra and Twelfth Night in the Olivier Theatre. Set in modern Italy in a world where Catholic and secular values clash, Jessie Buckley (Wild Rose, Judy) and Josh O’Connor (The Crown, God’s Own Country) play the two young lovers who strive to transcend a world of violence and corruption. Fisayo Akinade (The Antipodes, Barber Shop Chronicles) is cast as Mercutio. The production will open in the Olivier Theatre in August 2020.
Set and costume design by Soutra Gilmour, lighting design by Lucy Carter, composition by Michael Bruce and sound design by Christopher Shutt. Continue reading “News: new productions and casting updates for the National Theatre”
I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in August.
Joseph and the Amazing Technicolor Dreamcoat, aka the Sheridan Smith show
Queen of the Mist, aka the surprisingly affecting one
Appropriate, aka all hail Monica Dolan
Waitress, aka ZZZZZZZOMGGGGG STUNT CASTING oh wait, Joe Suggs hasn’t started yet
The Doctor, aka all hail Juliet Stevenson
A Very Expensive Poison, aka it was a preview so I shouldn’t say anything
Blues in the Night, aka all hail Broadway-bound Sharon D Clarke (and Debbie Kurup, and Clive Rowe too)
The Night of the Iguana, aka justice for Skyler Continue reading “August theatre round-up”
So much goodness! The National Theatre have just announced details of productions stretching deep into 2020, and with writers like Lucy Kirkwood, Kate Tempest, Roy Williams and Tony Kushner, and actors like Lesley Manville, Maxine Peake, Conleth Hill, Cecilia Noble and Lesley Sharp, it is hard not to feel excited about what’s ahead.
Following a sell-out run at Rose Theatre Kingston, the acclaimed two-part adaptation of Elena Ferrante’s MY BRILLIANT FRIEND by April De Angelis is reworked for the Olivier stage by Melly Still (Coram Boy). When the most important person in her life goes missing without a trace, Lenu Greco, now a celebrated author, begins to recall a relationship of more than 60 years. Continue reading “News: the National Theatre announces 15 new productions for 2019 and 2020”
I loved Clare Barron’s Dance Nation at the Almeida but fear it might not get the audiences it deserves
“People don’t say they cry when they watch me dance.
When they watch Amina dance, they cry. I know.
Because I cry when I watch Amina dance.”
I saw a late preview of Dance Nation at the Almeida so I was going to hold off saying much about it. But the hypocrisy of Quentin Letts’ tweet about the show (search on Twitter if you must) roused me to action for it is a pretty damn fine piece of writing by US playwright Clare Barron, and a damn fine piece of theatre directed by Bijan Sheibani.
It uses the device of adults playing kids to delve into the world of competitive high school dance, investigating what it is like to be a 13 year old girl, to be caught up in the ferocity of cut-throat contest whilst also navigating the physical and emotional upheaval of becoming a teenager. It’s blistering, uncompromising stuff and so it is perhaps little surprise that it has ruffled the feathers of some terribly sensitive souls. Continue reading “Review: Dance Nation, Almeida”
“Just make them shag each other and sell all the littluns to rich people who want pets of something”
There’s something unremittingly bleak about Simon Longman’s Gundog that makes it a real challenge. It’s an impressively bold depiction of the complete decline of a way of life, the kind of rural farming that the Common Agricultural Policy hasn’t managed to reach and protect. None of the loneliness or impoverished desperation is spared in what can feel a tad like punishment by the end.
After the death of their parents, and with their grandfather’s illness and their brother’s listlessness, sisters Anna and Becky find themselves landed with the thankless task of looking after the remotest of farms in an area that can’t even sustain a local pub. The arrival of a foreigner with a nifty line in knitwear is a rare harkening of the potential of change but we’re never allowed to forget that times really are tough. Continue reading “Review: Gundog, Royal Court”
“A body without a head in a body bag just doesn’t turn me on”
Was no fan of Natal’ya Vorozhbit’s Bad Roads I’m afraid. Plays about war in the Ukraine will perhaps predictably be brutal but the experience of watching it doesn’t have to be the same way. Vicky Featherstone’s trailblazing at the Royal Court gets her a long way but it’s hard not to feel the programming has been decidedly mixed and something of a challenge. Too much, for me, in this case.
Running time: 23rd December
Booking until 95 minutes (without interval)
“You’re asking me all these questions and they’re all,
And it’s not –
It doesn’t mean anything”
True story – every time someone raves about Pomona, a new fan of Miss Saigon is born. The determination to force a new world order from the unlikely starting spot of the Orange Tree Theatre has meant that Alistair McDowall now has that unfortunate albatross of hype firmly attached to his neck and thus his new play X, opening at the Royal Court, comes burdened – a little unfairly – with the weight of expectation.
And I have to say for me, it’s hard to tell whether they’ll be met or not. Perhaps predictably, X is a curious, slippery beast that wilfully toys with notions of audience satisfaction, in that it really doesn’t care whether you ‘get’ it or not. Set on Pluto, the crew of a small research base have lost contact with Earth and are left waiting. For what exactly, they don’t know. And after two and a half hours or so of Vicky Featherstone’s production, neither do we. Continue reading “Review: X, Royal Court”