All hail the return of Nicola Walker to the stage! Get your tickets for Camelot! Discover the Heart of Darkness! Get your exam in musical theatre singing with ABRSM!
London Musical Theatre Orchestra has announced casting for Saturday’s concert version of Camelot at the London Palladium and there’s still a few tickets going. Packed with some of musical theatre’s best songs, LMTO’s concert version with full orchestra will celebrate the centenary of Alan Jay Lerner’s birth.
The role of Arthur will be played by Olivier Award-winner David Thaxton (Passion / Les Misérables / Jesus Christ Superstar), Guenevere will be played by Savannah Stevenson (Wicked / Aspects of Love / Follies), and Lancelot will be played by internationally renowned opera star Charles Rice (Mozart’s Requiem / The Barber of Seville / Candide). Continue reading “Friday feeling – news aplenty”
“Did you not learn anything?”
Henry Carpenter’s The Quentin Dentin Show was a deserved Edinburgh whose late night charm transferred well to the late night slot at the Above the Arts Theatre last year, so it makes sense that his new musical, Summer Nights in Space, billed as a sequel in spirit if not in content, has opened as part of The Vaults festival. But where I was seduced by the random insanity of its predecessor, this new sci-fi musical still feels like a work-in-progress with work still to be done.
All John Spartan has ever wanted to do is go to outer space but like many a man with an obsession, this dedication has come at a cost to his friendships and marriage as he finds himself packed off on a solo mission, which ultimately isn’t at all what it seems. Matthew Jacobs Morgan’s space traveller is thus left to carry a huge amount of the show by himself and sadly, Carpenter’s book just doesn’t give him enough material to sell it as a dynamic one-man-show. Continue reading “Dispatches from the Vaults #3”
“I left a man I loved so much, I thought I was going to die. I didn’t die. It makes you strong”
I wasn’t 100% sure I’d make it along to Oil – my original date being derailed by travel chaos and a busy Autumn schedule meaning I could barely find space. But space I found eventually and whilst I’m glad that I got to see Ella Hickson’s new play, for me it didn’t quite live up to the (admittedly high) expectations that had been built up over its run at the Almeida. It’s still good, and often very good, especially in its lead performances from Anne-Marie Duff and Yolanda Kettle, but I just didn’t connect with the play at large.
There’s no doubting the scale of the ambition here, the epic form tackled with gusto as the play’s timeline stretches over 150 years with mother and daughter May and Amy playing out their five scenes ranging from the late nineteenth century to the near future. And whilst society’s connection to and reliance upon oil is under the microscope, so too is the evolving role of women in that society, its changes explored by the time-travelling nature of the writing and the visionary production by Carrie Cracknell. Continue reading “Review: Oil, Almeida,”
Actor In A Leading Role
Colin Connor in A View From The Bridge at Octagon Theatre, Bolton
Rob Edwards in An Enemy Of The People at Octagon Theatre, Bolton
Jonjo O’Neill in The Crucible at the Royal Exchange
Sam Swann in Pomona at the Royal Exchange
Actress In A Leading Role
Scarlett Brookes in Educating Rita at Oldham Coliseum
Barbara Drennan in A View From The Bridge and The Family Way at Octagon Theatre, Bolton
Kathryn Hunter in Kafka’s Monkey at HOME
Maxine Peake in The Skriker at the Royal Exchange Continue reading “The 2015 Manchester Theatre Awards nominations”
“This isn’t conversation. It’s just you telling me about your dick”
Paul Miller’s reign at the Orange Tree looked to be an interesting one from the moment he announced his debut season as Artistic Director, mixing the classic revivals for which the Richmond venue has long been known with a more cutting edge approach to its new writing policy, inviting new directors too to open up the theatre to new eyes. But not even he can have anticipated the veritable Twitterstorm of good publicity that flew up among online reviewers when Alistair McDowell’s Pomona opened last month.
Continue reading “Review: Pomona, Orange Tree Theatre”
“I never know when I’m going too far but I’m always so glad when I do.”
It was with no little intrigue that I approached watching the boxset of ITV sitcom Vicious – memories of its run from last year focused on the absolute hammering it got, how it had apparently set representations of gay men back centuries and basically broken television. I have to admit to having no interest in watching it from the moment I’d heard about it but clearly something had mellowed by the time I spotted a bargain in a charity shop and sat down to watch Ian McKellen and Derek Jacobi as a long-partnered, long-bickering couple.
Written and created by Gary Janetti (a veteran of US TV including Will & Grace) and Mark Ravenhill (a UK playwright of no little renown), it is an homage to, or more accurately a riff off, the world of 1970s sitcoms with its single living room set where Freddie and Stuart bitch away at each other all day long. They’re frequently joined on the sofa by barely-tolerated fag hag Violet, a deliciously fruity Frances De La Tour, and their newly arrived eye candy neighbour, the handsome but heterosexual Ash played by Iwan Rheon, and that’s pretty much your set-up from which endless capers abound. Continue reading “DVD Review: Vicious”
“It’s a well-known fact that hard-hearted kings often melt in the face of innocent babies”
The family-centric Unicorn Theatre invites us into a world of make-believe with this production of Ignace Cornelissen’s A Winter’s Tale. Four actors are putting on a playful performance of The Winter’s Tale but we see them slipping in and out of their roles as they squabble about who gets the best parts, take time out for sandwiches and get lost in the personas they are playing, whilst giving us a condensed version of Shakespeare’s tale of a king whose jealousies of his wife and best friend has far-reaching consequences. With crocodiles.
And playful is the word. The company of four relish the freedom they’re granted here: Ben Caplan’s King Freddy (Leontes) is an amusingly disgruntled figure who is the self-appointed leader of the group and Sam Swann’s King Tunde (Polixenes) an appealingly chilled-out presence whose easy friendship with Ginny Holder’s Queen Tamara (Hermione) provokes Freddy’s ire. Flemish Cornelissen doesn’t back away from the darkness of the story in Bohemia either, though he tempers the sadder moments with quick comic cuts – Holder bearing the brunt of the funniest one – always reminding the audience that this is just a tale we’re watching. Continue reading “Review: A Winter’s Tale, Unicorn”
“What is there more?”
The Kitchen was one of Arnold Wesker’s first plays and follows on from the Royal Court’s well-received (if not by me) Chicken Soup with Barley in a year which has been something of a revival for Wesker. Written in 1959 and inspired by his own experiences of working in the catering industry, it is set in 1957 in the basement kitchen of a large London restaurant, the Tivoli. The dynamics of a swirling multi-cultural mass of chefs, waitresses and kitchen porters are exposed as they slowly build to the mad rush of a huge lunchtime service. Playing in the Olivier at the National Theatre, this was a late preview performance.
Director Bijan Sheibani has assembled a cast of 30 who rush about Giles Cadle’s circular kitchen set with increasing fervour as prep turns into service and the banter with all its personal enmities, tribal groupings and rivalries between kitchen staff and dining-room staff becomes increasingly fraught, and of course largely forgotten as the rush passes and the calm of the afternoon allows for a more reflective atmosphere. The less intense evening service provides a final act is no less dramatic though as slow burning stories finally explode. Continue reading “Review: The Kitchen, National Theatre”
“It’s like we’re conducting a big, massive experiment…”
Pulling together narratives and investigative work from four playwrights, Moira Buffini, Matt Charman, Penelope Skinner and Jack Thorne around the ever-current issue of climate change, Greenland is the latest play at the National Theatre to tackle this issue, following on from Mike Bartlett’s Earthquakes in London last year. Based on interviews with scientists, politicians, money-makers and philosophers, woven together by dramaturg Ben Power and directed by Bijan Sheibani, this is a highly ambitious, challenging piece of work and though this was the first preview, it seems that some of these challenges might be a little too much.
Predictably, multiple strands of story run parallel, some explored and revisited more than others as the narrative shifts around, there are occasional intersections but these are perfunctory rather than integral to the stories. Amongst everything, there’s a young woman moved to drop out of university to become a climate change activist; two women in a therapy session (there was division in the group as to whether they were mother/daughter or a lesbian couple, but it really isn’t that important) who are being driven apart by the strident ‘green’ views of one of them; two guys bird-watching in Greenland, one of whom has been doing it for 40 years; a Labour politician struggling to make a difference leading up to and at the Copenhagen Climate Conference. All are trying to make sense of the conflicting viewpoints around the issue and figuring out who to trust and what, if anything, can be done. Continue reading “Review: Greenland, National Theatre”