Any opportunity to see Lesley Manville on stage should be taken but The Visit or The Old Lady Comes to Call proves close to a trial at the National Theatre
“We’re alive now only in the sense that moss and lichen are alive”
There’s no two ways about it – Tony Kushner’s new version of Friedrich Dürrenmatt’s 1956 The Visit or The Old Lady Comes to Call is a punishing evening on the buttocks. Thank the Lord (or the donors) for the relative comfort of the seating at the National Theatre but unless you’re a fan of Lesley Manville (and what right-thinking individual isn’t), it could well prove punishing on your patience too.
Manville really is superb. She’s Claire Zachanassian, the richest woman in the world who has returned to her dilapidated hometown with an intriguing proposition for the townsfolk. She’ll donate an incredible, life-changing amount of money for everyone if they’ll carry out a brutal act of vengeance on the man whose actions forced her to leave the place as a pregnant teenager. And she rises to the challenge, displaying a mesmerising stage presence that is startling in its power. Continue reading “Review: The Visit or The Old Lady Comes to Call, National Theatre”
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”
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”
“The world is made for men, not for women”
Does the world really need more Oscar Wilde? A whole season’s worth? One of the less inspiring decisions of the year was this takeover of the Vaudeville by the Classic Spring Theatre Company. Perhaps aware of this, Dominic Dromgoole has identified something the world really does need more of – Eve Best in our theatres (and later in the season, Kathy Burke directing). But is that enough to mitigate the resuscitation of this lesser-performed work.
Well almost. There’s no pretending that A Woman of No Importance is a particularly great play which has been languishing unfairly in the doldrums. But it does have the bonus of being a women-heavy play and one with an intriguingly strong thread of feminist thought to it. After a dalliance that resulted in a child, Mrs Arbuthnot’s social ruin is contrasted with Lord Illingworth’s consequence-free escape but 20 years down the line with their son all grown up, their paths cross again. Continue reading “Review: A Woman of No Importance, Vaudeville”
Despite having little interest in a season of Oscar Wilde plays, the predictably excellent cast for A Woman of No Importance means that my resistance will be utterly futile as the full cast joining the previously announced Eve Best from 6th October at the Vaudeville Theatre has now been announced.
Joining Best is Anne Reid, Eleanor Bron and William Gaunt, and now completing the cast is Emma Fielding, Dominic Rowan, Crystal Clarke, Harry Lister-Smith, Sam Cox, William Mannering, Paul Rider and Phoebe Fildes.
Directed by Dominic Dromgoole, the play is the first in his new company’s year-long season celebrating the work of Irish playwright Oscar Wilde and it has also been announced that a series of talks will take place before certain performances of A Woman of No Importance. Oscar Wilde’s grandson Merlin Holland will give the first pre-show talk on 14th October, offering an insight into Wilde’s life and work. On 19th October, Stephen Fry will reflect on his time plying Oscar Wilde in the 1997 film Wilde. On 11th November, Frank McGuinness will consider Wilde alongside Ibsen and Strindberg in ‘Wilde the European’, and on 7th December, Franny Moyle will explore “Wilde’s women.”
“Some things are worth getting your heart broken for”
David Tennant’s opening season took the template of the opening series and ran with it, Russell T Davies’ vision finding its ideal mate in the Scottish actor. The typically adventurous sweep was tempered with a more tender vision, which considerably upped our emotional investment (previous companions returning, romantic connections whether past or present).
Bringing back the Cybermen was an interesting move, as was the introduction of the notion of parallel worlds (and how important that became…). And if the series-long motif of Torchwood didn’t really pay off, especially not when one considers what Torchwood the show became, the finale to Doomsday is pretty close to perfection. Continue reading “Countdown to new Who: Doctor Who Series 2”
“On the dank and dirty ground…”
Joe Hill-Gibbins’ idiosyncratic 2015 take on Measure for Measure filled the Young Vic with inflatable sex dolls so it should come as little surprise that for his A Midsummer Night’s Dream, he and designer Johannes Schütz have transformed the stage into a muddy paddock. With just a mirrored back wall to add to the set, the scene is thus set for an exploration of the “subconscious” of this most oft-seen (particularly in the year gone by) of Shakespeare’s plays.
There’s some great work, delving into the murkiness of the relationships here. Far from spirits “of no common rate”, these royal fairies feel like a real married couple in the throes of having to work things out yet again, Michael Gould’s Oberon’s manipulations as much as anguished as angry, and Anastasia Hille’s Titania relishing the removal of the ball and chain as she plays sex games with Bottom, roleplaying the attending fairies in a witty twist. The intensity of their connection repeats itself later in another clever connection. Continue reading “Review: A Midsummer Night’s Dream, Young Vic”
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
Thou metst with things dying,
I with things new-born”
It’s easy to feel a little jaded when it comes to Shakespeare, the same plays coming round with regularity and not always inspiring such great theatre. So I’m delighted to report that Michael Longhurst’s production of The Winter’s Tale for the Sam Wanamaker Playhouse is probably the best version of the play I’ve ever seen. The Kenneth Branagh Company’s The Winter’s Tale was a staid disappointment for me, previously the Crucible had let me down too but in the candlelit atmosphere on Bankside, something truly magical is happening.
It’s a tricky play to get right in its split of two very different worlds but where Longhurst really succeeds is in suggesting that Sicilia and Bohemia perhaps aren’t too separate at all. Modern designers often highlight the dichotomy between the chilly stateliness of Leonte’s Sicilia with the freewheeling japery of Polixenes’ Bohemia but in the simplicity of Richard Kent’s design, they’re both very much on the same sliding scale – psychological darkness pervading the light in both worlds, the promise of redemption ultimately illuminating one and the other too. Continue reading “Review: The Winter’s Tale, Sam Wanamaker Playhouse”
“Few love to hear the sins they love to act”
A New Year, a new chance for the Sam Wanamaker Playhouse, a venue that critics love to describe as beautifully atmospheric because they’ve never had to sit anywhere apart from the good seats that press agents put them in. For it is a difficult theatre for the regular theatregoer – recreating as it does the candlelit ambience of a 17th century indoor playhouse, it also has that (possibly) Jacobean feature of premium seating at over £60 a pop. At the other end of the scale, £10 standing spots are available in the upper gallery but there, one has to deal with considerably restricted views.
As a result, it’s thus been a theatre I’ve easily decided not to frequent that often – the levels of discomfort in the backless seats not endearing me much either – but the lure of the last Shakespeare play I’ve yet to see in Pericles and Rachael Stirling, John Light and Niamh Cusack in The Winter’s Tale has tempted me to bite the bullet. That said, I will be unflinchingly honest about the experiences, as it is a theatre where you want to be forearmed with as much knowledge as possible. For reference, I saw Pericles from standing spot D32 in the upper gallery. Continue reading “Review: Pericles, Sam Wanamaker Playhouse”