Following a record number of 1,493 submissions to its Verity Bargate Award 2020, Soho Theatre today reveals the 20 plays that have been longlisted for the award. The shortlist will be announced at the end of September and the winner of the award announced in October.
Since 1982, the Verity Bargate Award, Soho Theatre’s foremost playwriting award, has uncovered the best new and emerging writers. It has launched the careers of some of Britain’s most established playwrights and screenwriters including Matt Charman (Bridge of Spies), Vicky Jones (HBO’s Run), Toby Whithouse (Doctor Who) and many, many more. This year’s award will be judged by a panel of industry experts including former Soho writers Phoebe Waller-Bridge, Arinzé Kene and Laura Wade, screenwriter Russell T Davies, actress and playwright Lolita Chakrabarti. The award is sponsored by Character 7 and chaired by film and television producer, Character 7’s Stephen Garrett. The Award honours Verity Bargate, Soho’s co-founder who passionately championed new writing during her time at the small but hugely influential fringe theatre, Soho Poly. Continue reading “News: Soho Theatre’s Verity Bargate Award 2020 Longlist Revealed”
Writer Rachel De-Lahay and director Milli Bhatia have commissioned ten writers to pen letters that say the unsaid, for a new, online version of their festival My White Best Friend (and Other Letters Left Unsaid).
Produced by Tobi Kyeremateng with support by the Royal Court Theatre, the online festival will run over a week with a pre-recorded letter by Rachel De-Lahay read each night alongside two letters by some of the most exciting voices in the UK read live. Continue reading “News: My White Best Friend goes online via the Royal Court”
“The Black bird has landed”
It’s only taken me, ooh, a couple of years to get round to watching Cilla, a 2014 ITV miniseries written by Jeff Pope, in which time the small matter of Cilla Black’s passing has made it a more poignant piece. My main reason for watching though, its arrival on Netflix aside, was to finally catch up with Sheridan Smith’s portrayal of the Liverpudlian light entertainment behemoth, back in the days when she was just a Scouse lass called Priscilla White.
Pope’s script definitely has a touch of the rose-tinted about it but there’s no denying the amazing energy of Liverpool’s music scene in the 1960s that comes across in the first two episodes. Though she has a job as a typist – her mother proudly proclaims “the first in the family to be considered suitable for office work” – Cilla dreams of being a singer and is making quite the name for herself on the club circuit, building a following through club performances with upcoming bands such as a quartet called The Beatles. Continue reading “TV Review: Cilla”
“You assert this fabulous moral conscience John, this adherence to unwritten law”
Despite finding Ruth Wilson’s performance as Alice Morgan one of the greatest things on TV, it was with a slightly heavy heart that I heard she would be returning to Luther for its third series. The way in which she was crowbarred into the second was no great success and I feared that familiarity might breed yet more contempt, but my faith in writer/creator Neil Cross was strong enough to see me through, along with the news that favourite-in-these-parts Elliot Cowan would be part of the guest cast.
The 4 part series essentially took the form of two 2-parters – the first making literal the horror trope of there being something under the bed and the second exploring vigilante justice, along with a series-long story which saw Internal Affairs turn the heat on Luther himself, trying to get to the bottom of just why so many of the people around him ended up dead. This latter strand didn’t really work for me, rehashing Dermot Crowley’s Schenk’s original role in the show, and adding a note of false jeopardy that never felt like it was going to go anywhere substantive. Continue reading “TV Review: Luther, Series 3”
“Everyone lived perfectly happily round here together before you young ones try to integrate and confuse things”
First things first, Ultz’s staging upstairs at the Royal Court for The Westbridge is a piece of craziness. Most of the seating is in the centre with chairs pointing in all different directions and stages around the edge of the theatre. I found it highly frustrating as the structure of the show with its mutliple short scenes meant there was constant moving around in our seats and much huffing and puffing from a midweek matinee audience who generally weren’t up for it.
The play itself is very Royal Court Upstairs and I can totally see the logic in premiering it in Peckham as part of their Theatre Local initiative. I have to admit to turning down the chance to see it there several times as I was sure I didn’t want to see it. But I let people’s recommendations sway me and I’m glad I did, but I really do wish I’d seen it with a Peckham audience to see how it connected to a non-traditional audience (assuming it wasn’t full of regular Royal Court visitors going on the cheap!) Continue reading “Review: The Westbridge, Royal Court”