I look ahead to some of the 2020 shows exciting me most with an emphasis away from the West End, looking mostly instead at the London fringe and across the UK
Sure, there’s all sorts of big ticket shows coming to London in 2020 (with big ticket prices too to go with their big names), like Sunday in the Park with George with Jake Gyllenhaal, Sister Act with Whoopi Goldberg, A Doll’s House with Jessica Chastain. But there’s so much more to discover if you venture away from Shaftesbury Avenue…
1 The Glass Menagerie, Odéon–Théâtre de l’Europe at the Barbican
Not that I want to be predictable at all but Isabelle Huppert! Acting in French! Right in front of you! I understand that van Hove-fatigue might be setting in for people but only a FOOL would pass up the chance to see one of our greatest living actors. A FOOL!
2 The Glass Menagerie, Royal Exchange
And if you wanted to do a direct compare and contrast, Atri Banerjee’s revival for the Royal Exchange will be worth checking out too for an alternative perspective.
3 The Wicker Husband, Watermill
Even before Benjamin Button tore my heart apart, I was excited for the arrival of this new musical by Rhys Jennings and Darren Clark but now, the bar has been raised even higher. And the gorgeous intimacy of the Watermill feels like a perfect fit.
4 Children of Nora, Internationaal Theater Amsterdam
Me: “I don’t need any more Ibsen in my life”
Also me: Robert Icke revisiting the world of A Doll’s House through the eyes of the next generation? Yes please.
5 Romantics Anonymous, Bristol Old Vic
I don’t think I thought this delicious Koomin and Dimond musical would ever actually return, so this short run in the UK ahead of a US tour feels like a real blessing. Now where did I put my badge? Continue reading “20 shows to look forward to in 2020”
A superb cast including Roger Allam elevates a fine production of Rutherford and Son at the National Theatre
“There’s not a scrap of love in the whole house”
It’s grim up north. I can say this as an absent son of t’other side of the Watford Gap. But in Githa Sowerby’s Rutherford and Son, it really is tough-going. Roger Allam’s mightily bearded Rutherford is a ferociously brutal industrialist from the north-east of England who is fierce at home as in the glassworks he runs but down a generation, there’s a growing tendency towards not putting up with such levels of grimness.
One of his sons bogged off to London and has come back with a working class wife and child, the other wants to find God in Blackpool and his daughter has pretty much been the downtrodden whipping boy for 30-odd years. But it is the beginning of the twentieth century and change is afoot – political and personal, societal and sexual and writ large in the generational struggle here, it can be powerfully affecting. Continue reading “Review: Rutherford and Son, National Theatre”
All sorts of goodies were announced today for the upcoming slate of productions at the National Theatre, including Small Island, Peter Gynt, and Top Girls
Small Island, a new play adapted by Helen Edmundson from Andrea Levy’s Orange Prize-winning bestselling novel, will open in the Olivier Theatre in May. Directed by Rufus Norris, the play journeys from Jamaica to Britain through the Second World War to 1948, the year the HMT Empire Windrush docked at Tilbury. Small Island follows the intricately connected stories of Hortense, newly arrived in London, landlady Queenie and servicemen Gilbert and Bernard. Hope and humanity meet stubborn reality as, with epic sweep, the play uncovers the tangled history of Jamaica and the UK. Hundreds of tickets for every performance available at £15. Small Island will be broadcast live to cinemas worldwide as part of NT Live. Continue reading “News from the National Theatre Autumn 2018 Press Conference”
“The Labour Party is fucked”
I know a bit about a few things but for some reason, UK politics has never figured that highly on the list. So whilst Steve Waters’ new play Limehouse might well be familiar territory for the vast majority of the matinee audience I saw this with, for me it was a bit of a history lesson. It was also a bit of a challenge as I’d skipped lunch and the smell of the pasta bake being made onstage left me near-ravenous!
Limehouse follows a small group of Labour politicians as they despair at the militant leftwing direction their party is taking and try to decide what, if anything, they can do about it. Perhaps not accidentally, parallels can be drawn with the situation at the moment but this drama is set in 1981 and the quartet are Bill Rodgers, Shirley Williams, Roy Jenkins and David Owen – the Gang of Four who went on to form the SDP. Continue reading “Review: Limehouse, Donmar”
An amusing tidbit from Paul Chahidi’s Twitter takeover for the Donmar Warehouse, promoting his show Limehouse and the commitment its actors have to the art of the warm-up.
A bit of an odds and sods collection this one, I wasn’t much a fan of any of them tbh,
Julius Caesar from Villa dei Quintili, Rome
Troilus and Cressida from the ruins of Troy
Titus Andronicus from Ostia Antica, Rome
Henry IV, Part I from the gents at The George Inn, to begin at least!
Henry IV, Part II from Westminster Abbey
“I would you were as I would have you be”
Our journey along the Complete Walk, at our own speed and from the comfort of our own home, continues apace. Here’s my thoughts on the first suite of films
and now there’s four more for your delectation.
comes to us from Parham House, West Sussex, with the glorious Olivia Williams and Susannah Fielding playing Olivia and Viola/Cesario. And directed by Jessica Swale, it’s deliciously exciting and erotic as the former is utterly thunderstruck by the latter, both actors hitting the mark perfectly and suggesting that this would be a production for the ages were it ever to happen in full. It is spliced with Tim Carroll’s 2012 production
which saw Mark Rylance reprise his Olivia, a performance of which, in all honesty, I was no real fan back then and remain so now.
Interestingly, this was the first of the films that felt heavier on the Globe production rather than the new clip. In the atmospheric gloom of Glamis Castle, Adele Thomas directs a forcefully weird Joanna Scanlan as the Porter but the majority of the action comes from Eve Best’s 2013 production
, (sadly not the Elliot Cowan-starring one
from 2010) with Joseph Millson’s beautifully spoken M and Samantha Spiro’s vibrant Lady M. It was nice to see them again but the final result did thus feel a little unbalanced.
Now this one was good. Sheila Reid’s storytelling Gower, reprised from the Swanamaker production earlier this year
, enhanced by wordless excerpts from the National Theatre of Greece’s version from the Globe To Globe season and illustrated animation too, Dominic Dromgoole’s direction took Reid all around the Globe complex and beautifully so.
One of the cushier jobs in this series, Douglas Hodge’s achingly voiced Prospero finds himself marooned on Bermuda and shot gorgeously by Jessica Swale mostly in voiceover to beautiful effect, And it was nice to revisit Jeremy Herrin’s Roger Allam-starring version
for the Globe in 2013, even if I remain unconvinced by its Ferdinand and Miranda, a sterling combination of old and new.
“I am a spirit of no common rate”
The culmination of the BBC’s celebration of the 400th anniversary of Shakespeare’s death was the 2 and a half hours of Shakespeare Live, a veritable landslide of multidisciplinary performances of and responses to his work. From theatre to opera, jazz to ballet, hip-hop to musicals, the enormous scope of his influence was showcased in a very well put together (royal) variety show (Charles and Camilla were in attendance) at the Royal Shakespeare Theatre and hosted by David Tennant and Catherine Tate.
And like anything with variety, a selection box or tub of Quality Street, there are the ones you love, the ones you can tolerate and the ones that you really don’t care for (the Bounty, or the purple hazelnutty one). And I have to say as impressive as they were, the dance, jazz and opera sections really didn’t do it for me whether Berlioz or Duke Ellington. I was predictably much more interested in the theatrical side of things, particularly as such an august cast of performers was in the offing along with the thrilling thought of a Dench and McKellen reunion. Continue reading “TV Review: Shakespeare Live, Royal Shakespeare Theatre”
“But I do think it is their husbands’ faults if wives do fall”
There’s going to be a lot of Shakespearean content coming our way in the next couple of months as we approach the 400th anniversary of his death and the Guardian have got in early with the first part of their Shakespeare Solos. Six leading actors performing favourite monologues from the Bard, directed by Dan Susman, it’s all rather luxurious, especially when we get the delights of Eileen Atkins in beautifully conversational mode as Othello’s Emilia, Adrian Lester returning to Hamlet and Roger Allam whetting the appetite for a King Lear which will surely be one of the wonders of the modern world once it happens.
And if a couple of the choices here smack a little of sneaky advertising, then so what. Better to have opportunities for people to book and see more if they are so inspired by these clips. Atkins is reprising her solo show at the Sam Wanamaker Playhouse and Ayesha Dharker (here as Titania) will open in the RSC’s mammoth tour of A Midsummer Night’s Dream later this month. It might not be Hamlet but Adrian Lester can be seen being differently Shakespearean in Red Velvet and most tenuously of all though still thoroughly theatrical, David Morrissey (a hypnotic Richard III) can be seen for another month in Hangmen.
“The people of Tunbridge Wells seemed strangely indifferent to Parsifal”
Urgh. The presence of national treasures Nancy Carroll and Roger Allam meant that there was never any doubt about booking a ticket for The Moderate Soprano at the Hampstead Theatre. But sequestered in the salubrious surroundings of Swiss Cottage, David Hare’s tale of the life of John Christie – the founder of the Glyndebourne opera festival – has the feel of ultimate #firstworldproblems with zero theatrical imperative behind it, unless of course you’re the ones dropping £200 plus for tickets there.
The very fact that Glyndebourne were involved in the commissioning of the play tells you what level we’re operating on, a self-congratulatory tome of rose-tinted biography and operatic in-jokes but even that makes it sound more interesting than it actually is. Jeremy Herrin’s production is extraordinarily, fatally, lacking in anything resembling drama for a large proportion of its running time, its staid storytelling quickening no pulses, its static staging troubling no snoozers. Continue reading “Review: The Moderate Soprano, Hampstead”