Nicholas Hytner and Nick Starr have announced the opening programme for their The Bridge Theatre venture – the 900-seat commercial venue near to Tower Bridge which marks their re-entry into the London theatre landscape. The first three productions, all booking now, are:
Mountains of info was released by the National Theatre about their plans for 2017-18 at this morning’s press conference, so much that I’m still digesting the half of it. Particular stand-outs on the first sift though, are
- Ivo van Hove’s return (after his Hedda Gabler) with a world premiere adaptation of Network, with no less than Heisenberg himself, Bryan Cranston making his UK stage debut
- The cast of Nina Raine’s Consent including Priyanga Burford, Pip Carter, Ben Chaplin, Heather Craney, Daisy Haggard, Adam James and Anna Maxwell Martin.
- The glorious Amadeus returning in the new year, Michael Longhurst’s stellar production wisely keeping its two leads of Lucian Msamati and Adam Gillen intact
- The Headlong co-production of DC Moore’s Common will see Anne-Marie Duff return to the South Bank along with Trevor Fox.
- And Duff is clearly in for the long haul, as she’ll also appear in Macbeth with Rory Kinnear, a taster of which we saw at the Shakespeare Live event
- Cast and creatives for Yaël Farber’s Salomé have been announced too. It is designed by Susan Hilferty with lighting design by Tim Lutkin, music and sound by Adam Cork, movement direction by Ami Shulman, fight direction by Kate Waters and dramaturgy by Drew Lichtenberg. Cast includes Philip Arditti, Paul Chahidi, Ramzi Choukair, Uriel Emil, Olwen Fouéré, Roseanna Frascona, Aidan Kelly, Yasmin Levy, Theo T J Lowe, Isabella Niloufar, Lubana al Quntar, Raad Rawi and Stanley Townsend.More, much more, information after the jump.
“Oh for…fucking internet”
On the first day of Christmas, Black Mirror gave to me…a politician fucking a pig.
Can Charlie Brooker ever have conceived that four years after The National Anthem aired, the theme of his first episode of Black Mirror would actually come horrifically to life as Lord Ashcroft’s biography of David Cameron alluded to unsavoury acts with a pig’s head. Continue reading “12 Days of Christmas – Black Mirror 1:1”
“Why would the devil be interested in you?”
And so the penny drops, John Logan’s Penny Dreadful comes to an end after 3 highly atmospheric seasons of gothic drama, anchored by a sensational performance from Eva Green that ought to have been way more recognised that it was. It’s taken me a little while to get round to watching the series after writing about the first episode so apologies for that, but sometimes, life (and summer holidays) just get in the way. Beware, spoilers will abound.
In some ways, the ending of Season 2 acted as a finale that really worked, the key characters left shell-shocked by what had befallen them and scattered across the globe, as manifested in a gloriously down-beat last half-hour of Episode 10. And so the main challenge of Season 3 was to find a way to reconnect their stories in a way that was at least thematically interesting, if not necessarily the most dramatically satisfying. Continue reading “TV Review: Penny Dreadful Season 3”
“There will be no moralising tonight”
Whatever you think a national theatre should be for, I bloody love that Rufus Norris seems to determined to keep diversity near the top of the billing. Whilst it is curious that he’s only committed to ensuring gender equality in terms of the directors and living writers the National Theatre uses by 2021 (I’m sure there’s a reason it takes 5 years), there’s also change happening now in this new production of Bertolt Brecht and Kurt Weill’s The Threepenny Opera.
The first actors we see and hear are George Ikediashi and Jamie Beddard. So what you might say? But they are respectively a cabaret artist better known as Le Gateau Chocolat and a wheelchair-using director, writer, actor, consultant, trainer and workshop leader who has worked across the arts, educational and social sectors (his website). And you begin to see one of the ways how Norris is opening up this venue in an important and hopefully lasting manner. Continue reading “Review: The Threepenny Opera, National”
“The cycle goes on, the snake eating its own tail”
The focus may be elsewhere with regards to returning cult TV shows this spring but to my mind, there’s something more satisfying about the Victorian Gothic psychodrama of John Logan’s Penny Dreadful than we’ve had recently in Westeros. Don’t get me wrong, I enjoy a turn on the Game of Thrones as much as the next Lannister child but the greater focus and emotional intensity of Penny Dreadful’s supernatural solemnity has kept me gripped over the last two seasons (Season 1 review; Season 2 review) and had me keenly anticipating the third, showing on Showtime (USA) and Sky Atlantic (UK).
The catastrophic climax of Season 2 saw our cast of characters fleeing the gaslit darkness of London and scattering across the globe, each ruminating over their lot. Josh Hartnett’s Ethan Chandler is extradited back to New Mexico under Douglas Hodge’s wonderfully taciturn supervision as Inspector Rusk, Timothy Dalton’s Sir Malcolm finds himself in Zanzibar after burying the unfortunately deceased Sembene, Rory Kinnear’s John Clare aka Caliban aka The Creature is stuck on an ice-bound ship in the Arctic, and in a London caught in mourning for Alfred Lord Tennyson (the episode is called “The Day Tennyson Died”), Eva Green’s Vanessa and Harry Treadaway’s Frankenstein are each trapped in their own emotional paralysis. Continue reading “TV Review: Penny Dreadful Season 3 Episode 1”
“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”
The Young Vic has released the latest instalment in their intermittent YV Shorts series, filmic responses to the shows they’re producing, often attracting some of the more luminary names in their Rolodex. This time, we have The Roof, a comedy in brief by Nigel Williams and directed by Natalie Abrahami. It is neatly conceived and wittily done, though it does feel very much more targeted at theatregoers than the others, full of self-referential in-jokes as it is.
Beginning in the offices of the Young Vic where Kobna Holdbrook-Smith’s admin bod passes on the message to David Lan (Artistic Director of the venue, should you not be sure) which gets a little bit lost in translation (with years of admin experience under my belt, this rang particularly true) and results in a mammoth misunderstanding of mixed identities at the very time a noted theatre director is showing up for a book signing, with a phalanx of fans eager for the chance to get close to their hero. Continue reading “Short Film Review #63 – The Roof”
The first series of Penny Dreadful may not have been perfect but I really rather liked it and was glad to hear a second season had been commissioned. And when I discovered the triple whammy of Helen McCrory and Simon Russell Beale being promoted to series regulars, Billie Piper’s distracting Oirish brogue being excised and Patti LuPone appearing as a guest star, I was in heaven. Saving up the 10 episodes to binge-watch on holiday also worked well for me, ain’t technology grand!
Having established its world of gothic Victoriana, John Logan’s writing picks up some of the strands of the first series’ finale – the consequences of sometime-werewolf Ethan’s bloodbath being chased up by a tenacious policeman and Victor Frankenstein’s newest creation inspiring an unlikely love triangle. But it succeeds most by re-introducing McCrory’s Evelyn Poole as a series-long villain as the head of a witches coven and maker of some of the creepiest puppet dolls you have ever seen – it’s no secret I love her but this really is a career highlight for this most superb of actresses. Continue reading “TV Review: Penny Dreadful Season 2”