Clybourne Park by Bruce Norris (Royal Court)
Cock by Mike Bartlett (Royal Court)
Sucker Punch by Roy Williams (Royal Court)
Howard Davies for The White Guard (National’s Lyttelton) & All My Sons (Apollo)
Nicholas Hytner for The Habit of Art (National’s Lyttelton) & London Assurance (National’s Olivier) & Hamlet (National’s Olivier)
Laurie Sansom for Beyond the Horizon and Spring Storm (National’s Cottesloe)
Thea Sharrock for After the Dance (National’s Lyttelton) Continue reading “The 2010 London Evening Standard Theatre Awards”
“There is nothing either good or bad, but thinking makes it so”
It is apparently a truth universally acknowledged that any actor aiming for greatness needs to tackle Hamlet, Shakespeare’s most revered epic, and it is now the turn of Rory Kinnear, under the directorial baton of Nicholas Hytner at the National Theatre to make his entry into the canon (this was the second preview). Recently we’ve had David Tennant and Jude Law, John Simm is currently performing it in Sheffield (I’ll be there on Wednesday) and Michael Sheen will be making his mark at the Young Vic next year. I don’t have a problem with this so much as just wish that there was a similar epic role for women which was restaged and revived as often to allow a comparable ticket to magnitude.
This is very much a modern-day Elsinore. Suited security guards with earpieces are ever-present, state of the art bugging technology is used, a briefcase of tools of torture is brandished and high-definition television cameras record political and battlefield broadcasts. Thus the familial quarrel at the heart of this play is firmly located in the wider political sphere of this dangerous Denmark and it is a mostly highly effective updating. Continue reading “Review: Hamlet, National Theatre”
“Condemn the fault, and not the actor of it?”
First things first: this has a double revolve, a double revolve people!! Two bits that move independently from each other! And a table that rises up from the ground! And now breathe… So, from the Shakespeare play I know the best, to one which I’ve never seen before in two days. Measure for Measure sees one of the largest casts ever at at the Almeida, 17 if you’re wondering, and I caught a preview last night.
Set in a Vienna which is riven with sexual depravity and political misdeeds, the Duke of the city decides to leave it in the hands of his hardline deputy Angelo, whilst remaining about incognito in order to see how he fares in restoring order. He disguises himself as a friar where he encounters the highly religious Isabella, who is faced with the prospect of sacrificing her virginity in order to save her brother’s life, that brother having been sentenced to death by Angelo for getting a girl pregnant before they were married. There is then all sorts of gameplaying that ensues, both political and personal, as we rush headlong to the conclusion which may or may not include lots of weddings. Continue reading “Review: Measure for Measure, Almeida”
Best New Play
Enron by Lucy Prebble – Royal Court / Noël Coward
Jerusalem by Jez Butterworth – Royal Court / Apollo
The Mountaintop by Katori Hall – Trafalgar Studio 1
Red by John Logan – Donmar Warehouse
Best New Musical
Dreamboats and Petticoats – Savoy
Priscilla, Queen of the Desert – Palace
Sister Act – London Palladium
Spring Awakening – Novello
A Streetcar Named Desire – Donmar Warehouse
A View from the Bridge – Duke of York’s
Arcadia – Duke of York’s
Cat on a Hot Tin Roof – Novello
The Misanthrope – Comedy
Three Days of Rain – Apollo Continue reading “2010 Laurence Olivier Awards nominations”
The latest play to open at the National Theatre is Burnt By The Sun, a story set in Russia, in the days just before Stalin did bad things in the Great Purge, of a revolutionary and his wife and family whose tranquil repose is rocked by the return of a former lover of the wife. The play was based on a film which won the best Foreign Language Oscar and the Grand Prize at Cannes, but I have to admit to not being familiar with it at all.
This play exemplifies for me one of the key strengths of the National Theatre does best: putting together high quality ensemble casts and allowing them to create the necessary atmosphere and feelings in which the play can unfold. Whereas it may feel that not an awful lot actually happens in the first half, I was swept up in the genuine camaraderie of the ensemble, especially in the group scenes around the table and the time simply flew by. Stephanie Jacob deserves a special mention for her comic turn as Mokhova the help, but all the actors really deliver here and set the scene for the events of Act 2.
Continue reading “Review: Burnt By The Sun, National Theatre”
The Revenger’s Tragedy is a Jacobean revenge play of dubious authorship but these day, attributed to Thomas Middleton. It is set in a decadent Italian court full of moral decay but in Melly Still’s new production here at the Olivier auditorium in the National Theatre, it has taken on a whole new lease of life.
The story is full of backstabbing intrigue and intricate plotting which required a lot of attention. Vindice is our hero of sorts, but he is determined to be revenged on the Duke, as whilst he’s seemingly a fine upstanding type, actually raped and pillaged the fiancée of Vindice a few years back. His home life is a little eventful too, his Duchess is a narcissistic, sexually voracious, hedonist who is lusting after her husband’s bastard son; and their other sons are a motley crew of bad’uns. One of them, the handsome Lussurioso, has decided to buy a lovely young woman from her mother, but she turns out to be the sister of Vindice. Thus, the scene is set for a strange mix of tragedy and comedy as we hurtle to the oh so very bloody climax. Continue reading “Review: The Revenger’s Tragedy, National Theatre”
The Man of Mode is a Restoration comedy of 1676 by George Etheredge, but has been given a thorough makeover here by Nicholas Hytner in a modern-day version which is playing in the Olivier auditorium at the National Theatre.
The story centres around the bed-hopping Dorimant, played here by an often shirtless, toned tattooed Tom Hardy who in a nutshell, is sleeping with Mrs Loveit, but in the midst of dumping her to sleep with Belinda, but also hunting after Harriet whom he wants to marry. So we follow Dorimant and his motley crew of followers and hangers-on from party to fashion shoot to opening in their world of wealth and celebrity. Played against this is the story of one of the followers Bellair, who is trying to escape an arranged marriage so he can pursue his true love (who his father also fancies), setting this in as Asian community as both stories wind their way to farcical ends. Continue reading “Review: The Man of Mode, National Theatre”