In this year, at this time, with this message, Emilia feels more important than ever. a triumph
“We are only as powerful as the stories we tell…
we have not always been able to tell them”
Three weeks on holiday and completely off social media have been bliss but within seconds of switching back on, it was hard to miss the buzz around Emilia so I did the right thing and booked myself in at the Globe. And though I’d been forewarned, I still wasn’t quite prepared for just how much Morgan Lloyd Malcolm’s brand new play would so thoroughly shake the ground on which it was performing.
Ostensibly, Emilia is a piece of historical biography, a deep dive into the life of Emilia Bassano, a writer who was one of the first Englishwomen to publish an original collection of poems and as contemporary of Shakespeare, a possible inspiration to the Bard. With hard facts about her few on the ground, Lloyd Malcolm toys with this to suggest that that inspiration may have extended beyond giving her name to several of his characters across to providing a literary source from which to crib. Continue reading “Review: Emilia, Shakespeare’s Globe”
Morgan Lloyd Malcolm’s new play Emilia already looked like one of the top tips of Michelle Terry’s inaugural season at the Globe and with this cast announcement, Nicole Charles’ production fast becomes an absolute must-see!
Nadia Albina will play Lady Katherine
Anna Andresen will play Mary Sidney
Shiloh Coke will play Lady Anne Clifford
Leah Harvey will play Emilia 1
Jenni Maitland will play Countess of Kent
Clare Perkins will play Emilia 3
Carolyn Pickles will play Lord Henry Carey
Vinette Robinson will play Emilia 2
Sophie Russell will play Lord Thomas Howard
Sarah Seggari will play Lady Cordelia
Sophie Stone will play Lady Margaret Clifford
Charity Wakefield will play William Shakespeare
Amanda Wilkin will play Alphonso Lanier
In 1611 Emilia Bassano penned a volume of radical, feminist and subversive poetry. It was also the first published collection of poetry written by a woman in England. Lloyd Malcolm promises to reveal the life of Emilia: poet, mother and feminist from the 10th August. See you there? Continue reading “Round-up of news and treats and other interesting things”
“My mind’s telling me no…”
As The Prudes is still in previews and given the nature of the way Anthony Neilson works, I ain’t gonna write a review but just offer up these images as an obscure preview.
Running time: currently around 80 minutes (without interval)
Photo: Manuel Harlan
The Prudes is booking at the Royal Court until 2nd June
Good things come to those who wait! I hadn’t booked for Young Marx at the brand new Bridge Theatre for a couple of reasons. I was still hoping that I might get a response to my email to the PR and despite a cast that includes the splendid Nancy Carroll and the delicious Oliver Chris alongside lead Rory Kinnear, Richard Bean just really isn’t my cup of tea. ‘Don’t you love farce?’ Not much my dear…
So when an email popped into my inbox offering a sneak preview of the show and an opportunity to be the first ever audience in the theatre for a pre-preview test run of the new venue and its facilities, then I knew it was meant to be. Turns out I do love a farce, at £7.50 a ticket. Continue reading “Thoughts on a visit to the Bridge Theatre”
1850, and Europe’s most feared terrorist is hiding in Dean Street, Soho. Broke, restless and horny, the thirty-two-year-old revolutionary is a frothing combination of intellectual brilliance, invective, satiric wit, and child-like emotional illiteracy.
Creditors, spies, rival revolutionary factions and prospective seducers of his beautiful wife all circle like vultures. His writing blocked, his marriage dying, his friend Engels in despair at his wasted genius, his only hope is a job on the railway. But there’s still no one in the capital who can show you a better night on the piss than Karl Heinrich Marx. Continue reading “Full cast announced for Young Marx”
“We had to plump for M16s for the altos because they have a tendency to get a bit flappy, the last thing they needed was an easily jammable firing mechanism”
Despite the alluring thrill of this note on the webpage for the show – “Special thanks to Real Lancashire Eccles Cakes for their donation to this production” – for one reason or another it has taken me until practically the end of the run to finally get along to Rory Mullarkey’s The Wolf from the Door at the Royal Court.
And to be honest, I have to say it would have been no great loss had I missed it. Mullarkey posits a world in which the middle classes are a seething mass of discontent and an aristocrat is spearheading a movement for radical change that taps right into it, cue beheadings in Tesco, marauding morris dancers and a fully armed WI. An arresting concept but one which increasingly reveals itself to have little to say, a particularly disappointing ending the cherry on this barely-risen cake. Continue reading “Review: The Wolf at the Door, Royal Court”
“I don’t even know what you are speaking of but I sense it’s dirty, underhanded and plain illegal”
And so to complete the set… Having initially declared that I was fine with not seeing any of the RSC new commissions at the Hampstead Theatre when they were announced, I’ve now seen all three of them, Tarell Alvin McCraney’s American Trade following on from Little Eagles and Silence in what has been, to be completely honest, a rather underwhelming season. Billed as a contemporary Restoration comedy, this is an ultra-modern, breakneck 90 minutes of multi-coloured, multi-racial, multi-sexual shenanigans, which also happens to mark Jamie Lloyd’s RSC directorial debut. This was a preview performance on the evening of Saturday 4th June.
Insofar as the plot is concerned, young New York hustler Pharus is offered a golden chance to escape his increasingly tricky situation when an unexpected offer from his unknown English Great-Aunt Marian to run a new modelling agency as part of her PR firm comes through. So he crosses the ocean and make a good impression but ends up finding he is best at what he knows and so the model agency becomes a cover for a prostitution racket. But his cousin Valentina, heir presumptive to the business, is not happy with the new arrival and the threat he poses, so she sets about trying to uncover his murky past whilst trying to work her PR spin on a children’s film star who has gone seriously off the rails. Continue reading “Review: American Trade, RSC at Hampstead Theatre”
“A man may see how this world goes with no eyes”
A double bill of Shakespeare is something that not even I would undertake lightly but as an opportunity to visit the newly opened Royal Shakespeare Theatre in Stratford-upon-Avon, it was something I couldn’t resist: King Lear in the afternoon for the first time and a revisit of Romeo & Juliet in the evening. Typically, the old maxim about not booking shows to see particular actors came and bit me on the posterior with a depressing predictability, as the main reason for seeing this King Lear was in order to see Kathryn Hunter’s Fool, but as she unexpectedly withdrew from the ensemble at the beginning of the year, the role is now being covered by Sophie Russell.
This was only my second ever Lear, Derek Jacobi’s at the Donmar being the first and whilst I enjoyed seeing that with fresh eyes and not knowing the story, it was nice to watch this one with a little more comprehension of exactly what was going on! Though I was still a little perplexed by the mix of time periods covered in the costumes, the courtiers in classical garb but the outside world seemed to be inspired by the First World War, a mixture that was a little too haphazard for my liking. But overall, it did actually combine to quite epic effect, led by Greg Hicks’ powerful turn as Lear. I got more of a sense of a man going mad from Hicks, as opposed to the fragility, even possible onset of senility, of Jacobi’s interpretation, with his viciousness towards Goneril being particularly shocking in a way I didn’t remember so much. Continue reading “Review: King Lear, Royal Shakespeare Theatre”
“Give me my robe, put on my crown; I have immortal longings in me”
Never mind ‘the Scottish play’, it appears that it’s the role of Mark Antony that has some kind of a curse attached to it. Last year saw the Dutch Hans Kesting break a leg before The Roman Tragedies arrived at the Barbican (he delivered a barnstorming performance from his wheelchair), and now Darrell D’Silva is having to perform with his left arm in a sling after suffering severe injuries to his hand after a prop firearm malfunctioned during the technical rehearsal. He has now rejoined the cast after surgery, but press night has been postponed to try and make up some rehearsal time. So my first trip to the Courtyard Theatre at the RSC in Stratford which should have been to one of the final previews actually ended up being earlier in the run than planned.
This is a modern-dress Antony and Cleopatra, featuring guns and suits to tell this great tragic love story of two powerful individuals brought together yet unable to escape their circumstances. Rome is ruled by a triumvirate (what a great word!) after Julius Caesar’s assassination, yet all is not well. Mark Antony has had his head and heart captivated by the Egyptian Queen Cleopatra and is spending more of his time there than in Rome. Taking advantage of this is the ambitious Octavius Caesar who turns on the third triumvir Lepidus, setting the scene for an almighty showdown between the two rivals. Continue reading “Review: Antony and Cleopatra, Courtyard Theatre Stratford”
“Are my discourses dull? Barren my wit?”
Digital Theatre specialises in providing recordings of plays, captured as-live and available to watch either online or to download onto your computer. They have established links with some top theatre companies and so is building up an interesting collection of plays for viewing. I became aware of Digital Theatre back at Christmastime, and downloaded my first play (Far From The Madding Crowd). It has however remained on my hard-drive unwatched for a number of reasons. But with the offer to get a free download of the RSC’s The Comedy of Errors through the Times newspaper, I decided to revisit the site and actually get round to watching something.
There’s been a lot of debate about the merits of videoed theatre over live theatre: my personal view is that there’s ample room for both in the world. The recordings are there to supplement the live experience, not replace it, something that seems to be lost on much of the commenters in the press. These kind of initiatives, along with the National Theatre’s cinema showings of some plays, offer a great opportunity to expand the audience for these shows, and whilst the frisson of live performance may be lost, I can guarantee that whoever saw Phèdre at the cinema would have had a much better view of the faces of the actors than I did from the circle of the Lyttleton. Continue reading “Review: The Comedy of Errors, RSC via Digital Theatre”