2018 Best Actress in a Play + in a Musical

Best Actress in a Play

Leah Harvey, Clare Perkins, Vinette Robinson, Emilia
For the second year running, this award goes three ways as apparently I’m a sucker for a women-heavy production (who knew!). But there’s something more here, it wasn’t just about how Harvey, Perkins and Robinson shared the role of the title character in Emilia, its how they supported each other through it as well, reinforcing the play’s cry for the necessity of solidarity. Everyman? Every-Emilia! 

Honourable mention: Sarah Gordy, Jellyfish
A deeply empathetic performance from Gordy underscored the undersung importance of this production – her searingly honest Kelly opened the eyes and touched the hearts of surely everyone who saw Jellyfish

Patsy Ferran, Summer and Smoke
Marieke Heebink, Oedipus
Elinor Lawless, To Have To Shoot Irishmen
Carey Mulligan, Girls and Boys
Sarah Niles, Leave Taking

8-10
Sophie Okonedo, Antony and Cleopatra; Lia Williams, The Prime of Miss Jean Brodie; Ria Zmitrowicz, Dance Nation

 

Best Actress in a Musical

Rosalie Craig, Company
Crowding us with love, forcing us to care…Craig’s initial casting as Bobbie garnered all sorts of headlines but once Marianne Elliott’s production opened, that attention was more than justified by a sterling turn from this most versatile of actors (don’t forget she’d only just finished a run in The Ferryman). A strikingly contemporary figure, she both integrated Bobbie better into the ensemble than ever before and made her stand out at just the right moments, ie making sure she got hers from Andy!

Honourable mention: Kaisa Hammarlund, Fun Home
Given some of the things that transferred into the West End, especially now the Ambassador’s has been freed up, it’s a travesty that Fun Home didn’t get to further its journey (for now at least), especially since it was anchored by a finely nuanced performance from the excellent Hammarlund. A small saving grace is that she’s now free to lead the cast of Violet in the New Year.

Bonnie Langford, 42nd Street
Eva Noblezada, Hadestown
Caroline O’Connor, The Rink
Gemma Sutton, The Rink
Adrienne Warren, Tina the Musical

8-10
Jocasta Almgill, Sunshine on Leith; Jemima Rooper, Little Shop of Horrors; Rebecca Trehearn, Sweet Charity (Nottingham Playhouse)/Gemma Sutton, Sweet Charity (Watermill)

Review: Leave Taking, Bush Theatre

A scorching revival of Winsome Pinnock’s Leave Taking is an absolute triumph at the Bush Theatre

“What they know about a black woman soul?”

It’s the little details. A quiet mention by two sisters of the four grandparents that they never met, all remaining in Jamaica as their mother emigrated to England in search of a better life for the family she was destined to have. It’s an aching sadness that permeates Winsome Pinnock’s 1987 intimate and insightful play Leave Taking and one which I’d never really considered before (my grandpa lived next door and my nan and grandad were only ever a couple hours drive away). Consider my eyes opened.

Life in Deptford has proven far from a dream for Enid, working her fingers to the bone in two jobs to provide for her daughters Del and Viv, themselves struggling with an identity caught between Caribbean roots and their mother’s new-found Englishness. To help soothe their souls, they visit a local Obeah woman, a spiritual healer, though no-one is prepared for the depth of feeling and the uncomfortable nature of the truths that need to be unleashed.    Continue reading “Review: Leave Taking, Bush Theatre”

Gif Reviews: B + Victory Condition, Royal Court

The Royal Court continues to shake things up under Vicky Featherstone’s reign, offering two shorter plays (though not for the price of one) which are running in rep. Guillermo Calderón’s B and Chris Thorpe’s Victory Condition are both interesting in their own ways but whether it was me being grumpy, a slightly flat atmosphere or something more, neither drama really did it for me. So we’re keeping it brief!

B

Victory Condition

Review: Queer Theatre – Neaptide, National

#1 in the National Theatre’s Queer Theatre season of rehearsed readings

“My God, I wanted three daughters like the Brontes and I ended up with a family fit for a Channel Four documentary”

There was a special currency for Sarah Daniels’ Neaptide being the opening play in the #ntQueer season as this 1986 drama was actually the first by a living female playwright at the National Theatre – an astonishing fact all told. And it is perhaps sadly predictable that Daniels now finds herself somewhat neglected as a writer, despite being prolific in the 80s and 90s.

Neaptide proved a strong choice too, a powerful exploration of the extent to which lesbian prejudice permeated society and institutions even as late as this, and indeed how little we’ve moved on – in some ways. Daniels presents us with three generations of lesbians and explores how they deal with working or studying at the same school when a scandal threatens to upturn all of their lives. Continue reading “Review: Queer Theatre – Neaptide, National”

Round-up of news and treats and other interesting things

 

 

Albany Launch Campaign to Provide a Free Theatre Ticket to Every Child in Lewisham
 
A Theatre Trip for Every Child, Lewisham is a new giving scheme to provide a free theatre ticket for every 5-year-old in the Borough of Lewisham. ‘Every Child’ enables businesses and individuals to give a local child the chance to experience the magic of theatre.
 
Jude Law has been revealed as patron for the campaign, funded by the Paul Hamlyn Foundation and Arts Council England, and with the support of founding sponsors, L&Q. A parallel project will launch simultaneously at ARC in Stockton-on-Tees. Continue reading “Round-up of news and treats and other interesting things”

Countdown to new Who: Doctor Who Series 4

“Donna Noble has left the library. Donna Noble has been saved”

And here we are, my favourite series of Doctor Who. So much huge wonderfulness and even its less good moments are still more than halfway decent. Key to the series’ success is Catherine Tate’s Donna Noble – gobby and one-dimensional in her introductory episode the Christmas special The Runaway Bride, her character journey throughout this season is magisterially constructed, a true awakening of self (with thankfully no romantic inclinations towards our Time Lord) and one given unbearable poignancy due to its frustratingly tragic end.

It’s also one of the best constructed series in terms of its over-arching season arc, its warnings and clues layered meaningfully into several stories and building into a momentous and properly climactic finale, which lands just about the right level of grandiosity. There’s also the first companion-lite episode (the superbly creepy Midnight) to go with the Doctor-lite one (the achingly beautiful dystopian Turn Left); a typically brilliant Moffat double-header in  Silence in the Library and Forest of the Dead with gorgeous work from Alex Kingston as the soon-to-be-hugely-significant River Song; and if the return of Rose undoes some of the emotional impact of the Series 2 finale, Billie Piper’s work is spikily powerful. These are episodes I can, and have, watched over and over again.

Continue reading “Countdown to new Who: Doctor Who Series 4”

Review: The Sewing Group, Royal Court

“This is what we call a safe space”

When I was at primary school, we did a thing in needlepoint where we sewed seemingly random shapes in a line and only when we’d finished and Mrs Holcroft (I think it was) told us to look at the spaces inbetween, did we see that we’d made a handicraft tribute to Jesus. That’s still the first thing I think of when I think of sewing and there’s a tenuously similar link of ‘do you see what it is yet’ to The Sewing Group, EV Crowe’s new play for the Royal Court.

Stewart Laing’s production opens in the bare timber of a log cabin where two women are sewing. Enigmatically short scenes, sometimes containing just a single glance, interspersed with total blackouts offer tantalising threads to follow – an outsider joins this rural community but her mere presence in the group soon becomes a disruption, leading to more than just dropped stitches in the slow and increasingly strange unfolding of the story. Continue reading “Review: The Sewing Group, Royal Court”

Review: Father Comes Home From The Wars (Parts 1, 2 & 3), Royal Court

“How much you think we’re gonna be worth when Freedom comes?”

There is scheduled to be at least another six parts to Suzan-Lori Parks’ ambitious play cycle but don’t let that put you off, the three hours of Father Comes Home From The Wars (Parts 1, 2 & 3) are well spent in exploring race, slavery and the US civil war and how its pernicious legacy permeates through even to contemporary (US) society. Jo Bonney’s production is not always the easiest to watch but then how could it be, rather it seeks to provoke serious thought and consideration about what it meant – and what it still means – to be free.

To take on such a grand narrative and possibly to alleviate some of the intense seriousness, Parks has playfully borrowed from a range of storytelling techniques, most notably the Greeks, And through them establishes her interpretation of the African-American experience – the magpie nature of Emilio Sosa’s costume design with details both period and present-day, reinforcing the continuing relevance of its message.  Continue reading “Review: Father Comes Home From The Wars (Parts 1, 2 & 3), Royal Court”

Review: Boy, Almeida

“I want to go to Sports Direct”

The august surroundings and let’s face it, the regular clientele of the Almeida wouldn’t immediately make you think it but Islington – the London borough in which it is situated – has the second highest level of child poverty in the nation. The wealth of somewhere like Barnsbury is barely a stone’s throw from deprived areas like the Bemerton Estate and its an issue which simply isn’t getting any better as evidenced by the horrendously out-of-touch approach to wealth of the current administration – “I obviously can’t point to the source of every bit of money…”

Someone who has no choice but to know exactly where every penny is coming from is Liam, the protagonist in Leo Butler’s Boy. Aged 17, he’s got no job, no cash, no motivation and worst of all in this digital age, no smartphone. Emotionally constrained by his teenage inarticulacy, he opts to wander out from his native South London to set off on a journey to try and connect with an old schoolfriend and en meandering route, he encounters a city at its coldest, finding painful isolation even in the most crowded of streets. Continue reading “Review: Boy, Almeida”