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”
So much goodness! The National Theatre have just announced details of productions stretching deep into 2020, and with writers like Lucy Kirkwood, Kate Tempest, Roy Williams and Tony Kushner, and actors like Lesley Manville, Maxine Peake, Conleth Hill, Cecilia Noble and Lesley Sharp, it is hard not to feel excited about what’s ahead.
Following a sell-out run at Rose Theatre Kingston, the acclaimed two-part adaptation of Elena Ferrante’s MY BRILLIANT FRIEND by April De Angelis is reworked for the Olivier stage by Melly Still (Coram Boy). When the most important person in her life goes missing without a trace, Lenu Greco, now a celebrated author, begins to recall a relationship of more than 60 years. Continue reading “News: the National Theatre announces 15 new productions for 2019 and 2020”
“The best thing I ever did was the worst thing I ever did. And it all came to nothing. It makes no sense to anyone, what we did, it’s written in a language no one reads anymore, it’s… incredible”
Tony Kushner’s The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures has been given the moniker #iHo for short, though quite why that impulse has kicked in now is not clear, for the play is a hard-going three and a half hours full of wordily complex pontifications. The mechanics of social media aside, to suggest that it can be encapsulated in a three letter hashtag feels crudely reductive.
The play centres on the Marcantonio family, a brood of Italian-Americans summoned back to their Brooklyn brownstone by patriarch Gus who has decided to commit suicide. He says it is because of encroaching Alzheimer’s but it is his ideals that this former Communist has lost rather than his marbles, and it is this crisis that sparks off lengthy debate after lengthy debate about faith and politics, socialism and America with his three adult children and their motley collection of partners. Continue reading “Review: The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures, Hampstead”
There’s not many people I’d let have a guest review on here but Robert Foster, aka my father, is certainly one of them. I was (pleasantly) surprised when he (and my mum and Aunty Jean) declared that they had really enjoyed The Girls in Manchester and so I thought it would be fun to contrast our reactions – here’s my own review from Leeds and read on for his.
“Look in the eye of your dear fucker uppers”
There cannot be many of you out there who do not know the real-life story of the Calendar Girls. It made national news at the time; the film has been around for more than a decade; and the stage play followed not long behind. Now, author Tim Firth has joined forces with Gary Barlow of Take That (a popular beat combo, m’lud) in a musical version, which mysteriously has shed the ‘Calendar’ and is just called The Girls. For those recently returned from Mars, the story is set in a small Yorkshire town where Annie loses her husband, John, to cancer. Her best friend, Chris, and other Women’s Institute friends rally round to find a way to pay tribute to the man they all loved and decide on a nude calendar. The profits will buy a new settee for the Relatives Room at the hospital where John was treated.
Could this story stand yet another retelling? Well, my answer is a resounding if slightly surprised yes. Firth and Barlow have created a richly entertaining evening, at times gentle, sad and moving whilst being overwhelmingly joyous and funny. Continue reading “Guest review: The Girls, Lowry”
“It’s not naked, it’s nude”
If all you do each night is pray that you can see a Gary Barlow musical in the UK (I do find it surprising that Finding Neverland hasn’t made its way back over here from Broadway yet) then you’re in luck as The Girls has now arrived. Opting for a premiere at the Leeds Grand and then skipping over the Pennines to the Lowry in the New Year, the show is clearly testing the waters with regards to any potential future plans as it only takes a minute to end up with a big theatrical flop on your hands.
Not that that seems likely for The Girls (though whoever made the choice to lose the ‘Calendar’ from the title must be living in a world of fools). For it is a musical adaptation of the now-famous story of that group of Yorkshire WI women casting off their inhibitions, and their clothes, to create a nude calendar for a very personal fundraising campaign for Leukaemia Research. Tim Firth has already adapted his film into a successful play and remains onboard here – could it be magic third time round? Continue reading “Review: The Girls, Leeds Grand”
“I need to know if he still loves me”
Joe Wright’s film version of Anna Karenina was, for me, a hugely under-rated piece of work, a sumptuous feast for the eyes in his inimitable style. But I can see it might not be to everyone tastes, which is where the 2000 mini-series should step in as an ideal replacement. Stretching out luxuriously over four hours, David Blair’s production of Tolstoy’s classic, adapted by Allan Cubitt, is something quite close to triumphant, not least for a desperately compelling performance from Helen McCrory as Anna but from a detailed realisation of so many aspects of the novel.
For though the tragic love triangle of Anna, Karenin and Vronsky is the best known strand of the story, Levin and Kitty’s relationship is just as significant in the grand scheme of things and there’s also room here for a fully-fleshed version of Anna’s brother Oblonsky and his wife Dolly. The way in which the multiple lines are followed is expertly done and begins to do some justice to the weight tome that is the piece of literature on which it is based. Continue reading “DVD Review: Anna Karenina (2000)”
“You must risk. Risk being wrong”
The term ‘elliptical triptych’ strikes fear into my heart – memories of Wastwater still make me shudder – but I hadn’t quite made the connection that this was the area where Robert Holman’s Making Noise Quietly lay until the likes of David Eldridge and Simon Stephens recently started proclaiming his major, if unsung, influence on their work. And as the second entry in Josie Rourke’s debut season at the Donmar Warehouse, there’s something of a statement of intent in her programming of this revival this trio of small plays directed by Peter Gill.
Quite what that statement is though, I am unsure. Everything about this production from the three stories presented here and the connection between the three, through Paul Wills’ minimalist green set, to the acting, is understated to the point where barely a ripple of consequence seemed apparent to me. The first tale was my favourite and not just because both guys ended up naked, honest P-O-V…;-) – a 1944 countryside encounter between a fey young writer and a strapping conscientious objector becomes charged with curiosity and sexuality as the former flirts outrageously with the latter and both men lay themselves bare with a moving level of introspection. Both men are perfectly cast here, Matthew Tennyson could have walked out of 1940s central casting and Jordan Dawes’ open handsomeness fits perfectly as this pair create a wonderful sense of chemistry. Continue reading “Review: Making Noise Quietly, Donmar Warehouse”