There’s always a new or different way to do things, no matter how ¯\_(ツ)_/¯ London-based commentators get, and so the news of Europe’s first ever pop-up Shakespearean Theatre – SHAKESPEARE’S ROSE THEATRE – feels like a good thing to me. Taking up residence in York this summer, the Rose looks set to replicate something of the Globe experience, groundlings and all, for a whole new audience.
The 10-week season will consist of four plays, performed in repertory by two companies of actors
- A tragedy – Macbeth
- A comedy – A Midsummer Night’s Dream
- A tragic love story – Romeo and Juliet
- A history – Richard III
Romeo and Juliet and Richard III will be directed by the award-winning Lindsay Posner, while York Theatre Royal’s Olivier Award-winning Artistic Director Damian Cruden will direct Macbeth, and Associate Director Juliet Forster will be putting her stamp on A Midsummer Night’s Dream.
And particularly pleasing to see is that even in this setting which might be perceived as traditional as it gets, there’s a playfulness to the approach to the plays (from Cruden and Forster at least). Antony Bunsee and Amanda Ryan play Theseus and Hippolyta but in a bit of a switch, will also play Titania and Oberon respectively. There’s a female Puck too, plus Amy Lennox as Hermia which leaves me in no doubt as to which of these will be my priority to see! Continue reading “News: Cast and creative team announced for Shakespeare’s Rose Theatre in York”
Frankenstein gets taken around the block one more time at the Royal Exchange in Manchester – Sun readers need not apply
“What can stop the determined heart and resolved will of man?”
It may have been 200 years since the publication of Mary Shelley’s magnum opus but let’s face it, no-one has ever needed an excuse to stage it before. A programme note for April De Angelis’ new version of Frankenstein for the Royal Exchange suggests there have been well over 50 adaptations and so there’s a job to make yours be the one to stand out.
Directed skillfully by Matthew Xia, De Angelis’ main superficial difference is to play up the storytelling device that frames the novel, using Captain Walton’s discovery of a bedraggled Victor Frankenstein on his expedition to the North Pole to be the mechanism through which scarcely believable events are described. And it’s a format that offers much potential – in emphasising the parallels (or differences) between the two, in exploring the role of an unreliable narrator, in making this version stand out. Continue reading “Review: Frankenstein, Royal Exchange”
Booking an interactive show in which we the audience get to play the role of the jury?
Using a gimmick to cover the business of reviewing the play….?
Continue reading “Review: Terror, Lyric Hammersmith”
Tony Award winner Jessie Mueller, Tony nominee Joshua Henry, and Grammy-winning opera star Renée Fleming will headline a Broadway revival of Rodgers and Hammerstein’s Carousel. The production, helmed by Tony winner and Charlie and the Chocolate Factory director Jack O’Brien, is scheduled to begin performances Friday, March 23, 2018 at a theatre to be announced.
Mueller, a Tony winner for Beautiful: The Carole King Musical and recent star of Waitress, will take on the role of Julie Jordan, with Henry—currently playing Aaron Burr in the touring company of Hamilton—as Billy Bigelow. Fleming will play Nettie Fowler; the Grammy-winning soprano can be seen on the Metropolitan Opera stage this season in Der Rosenkavalier—a production that is said to mark her retirement from her traditional operatic repertoire.
The revival, produced by Scott Rudin and Roy Furman, will feature Amar Ramasar and Brittany Pollack—both of the New York City Ballet—as Jigger and Louise, respectively. New York City Ballet’s Justin Peck will choreograph the new staging on the 1945 musical. The resident choreographer promises “an even more dance-and-movement-focused production.”
Continue reading “Round-up of (international) news and treats and other interesting things”
“A well-used minimum suffices for anything”
The festive offering from the St James Theatre this year is a new version of classic adventure story Around the World in 80 Days. Laura Eason’s adaptation from Jules Verne’s novel has a playful sense of invention about it – a company of 8 actors take on more than 50 characters – but with an abundance of festive frivolity available in pantomimes across the land, Lucy Bailey’s production falls a little flat, lacking the necessary sparkle for real theatrical magic.
Providing an alternative to standard Christmas programme makes sense though, and the travels of English adventurer Phileas Fogg are a good fit for this family-based entertainment. The epitome of the Victorian gentleman, Fogg takes on a wager from his club buddies that he can’t circumnavigate the globe in less than 80 days and bets his whole fortune on it. With just his trusty valet Passepartout by his side to get them through the many scrapes in which they find themselves, the race is on. Continue reading “Review: Around the World in 80 Days, St James”
“People are saying you only made silk because you’re a woman and from Bolton”
The joys of Netflix allowed me to quickly move onto Series 2 of Silk in perfect time before the third, and final, series hit BBC1, and it remains an excellent piece of television, a quality legal drama blessed with some cracking writing, a stellar leading cast, and a revolving ensemble which continues to draw in the cream of British acting talent to give their supporting roles and cameos. The series kicks off with Maxine Peake’s Martha having ascended to the ranks of QC whilst Rupert Penry-Jones’ Clive languishes in her slipstream, and the dynamics of their relationship form a major driver of the narrative.
Her adjustments to her new role and responsibilities are fascinatingly drawn, especially as she negotiates the ethics of working with a notorious crime family and their shady legal representation. And his pursuit of that exalted status of QC as he stretches himself professionally to take in prosecutions, as well as Indira Varma’s attractive solicitor, is challenged when he overreaches himself in a particularly pressing case. As ever, individual cases fit into each episode as well, but these wider storylines are where the real interest comes. Continue reading “DVD Review: Silk, Series 2”
“What in this world is real and not seeming?”
Featuring a new ensemble of RADA graduates alongside some more experienced hands, Southwark Playhouse’s latest main house show is a UK première of The Illusion. Adapted (though most freely I am told) by Tony Kushner from the 1636 L’Illusion Comique by Pierre Cornielle, who was a contemporary (or thereabouts) of Molière and Racine, the play is constructed as a potentially deft piece of meta-theatre, passing comment on the extraordinary capacity that the theatre to create its own universe and the illusionary nature of the very same. Kushner weaves his own idiosyncratic verbosity around this tale, though the result is something of a curious mix.
Matters begin with the arrival of Pridamant at the grotto – Sarah Jane Prentice’s design and Howard Hudson’s lighting playing to the strengths of the railway arches – of noted magician Alcandre. He’s there to find out where Clindor, his estranged son is and Alcandre obliges, providing snippets of the last 15 years of his son’s life as he deals with a number of romantic entanglements and social adventures. But it is made clear that the scenes are all visions, the uncertainty of what we’re witnessing enhanced by the constant changing of the character’s names and we are joined with Pridamant in the journey of discovery to his son’s real fate. Continue reading “Review: The Illusion, Southwark Playhouse”