I find much to enjoy in Kimberley Sykes’s production of As You Like It for the RSC at the Barbican, particularly Lucy Phelps’ epic Rosalind
“Then, heigh-ho, the holly!
This life is most jolly”
The critical reception for Kimberley Sykes’ production of As You Like It for the RSC was a little lukewarm this summer, all 3 stars and grudging praise. But I found myself really rather seduced by its many charms, as it opens the winter residency for them at the Barbican. And in Lucy Phelps, a Rosalind full of big dyke energy for the ages. Read my four star review for Official Theatre here.
Running time: 2 hours 50 minutes (with interval)
Photo: Topher McGrillis
As You Like It is booking in rep at the Barbican until 18th January
“I should warn you that nobody likes me”
Truth be told, I resisted seeing Ink for the longest time, mainly because I had zero desire to see a play about Rupert Murdoch. I feel the same way about Thatcher – I will never see The Iron Lady (sorry Meryl) or any other Maggie-based drama because I just damn well don’t want to. These firmly held convictions can of course be bypassed by sourcing me a free ticket (I stepped in for an otherwise occupied colleague) and so I was able to get the best of both worlds – onto a winner if it was good, and easily able to sneer (cos yes, I am that person) if it was bad.
And as with so much in life, the truth was somewhere inbetween. I could see how good Bertie Carvel’s performance as Murdoch was, naturally far more than a simple caricature, but I still felt uneasy whilst watching him – and the play in general – about what still felt like a tacit endorsement somehow, of an institution that I believe to be thoroughly reprehensible. Ink isn’t straightforwardly about The Sun though, Graham is far too canny a writer for that. His target is journalistic ethics as a whole, using Murdoch’s purchase of that paper in the 1960s as a tipping point for tabloid behaviour. Continue reading “Review: Ink, Almeida”
“Ladies and gentlemen, please remain calm. I’m sure it’s just another false alarm”
Oh The Halcyon – shafted by the overwhelming desire for it to be the new Downton, or maybe the unfriendly Monday evening slot, or maybe the fact that Charlotte Jones’ serial never quite honed in on what it wanted to be. Following the fortunes of a luxury London hotel during the first couple of years of the Second World War, it took all possible opportunities to explore a society on the cusp of major change. But between the aristocrats who owned it, the aristocrats who stayed there, the lower classes who work there, and the multitudes of people affiliated to all these lives, the canvas was far too wide.
The hints were there right from the off in episode 1 which struggled to introduce even just its leading players in its running time, whilst still proving most tantalising, due to its cracking cast and its sumptuous design (those costumes!). At the heart of The Halycon lay the antagonistic relationship between Olivia Williams’ Lady Hamilton and Steven Mackintosh’s Mr Garland, owner versus manager as they butted heads over practicalities in the face of an ensuing Blitz but though their scenes were electric, they were given too little too late together to exploit this to its fullest. Continue reading “TV Review: The Halcyon Series 1”
“As you from crimes would pardoned be,
Let your indulgence set me free”
I must confess I hate it when critics roll their reviews of separate shows of a larger ‘event’ into one overarching piece – if you have to buy separate tickets to see the shows, then reviewers should write reviews for each one. Of course, it’s never quite as simple as that, it’s nice to have the space to talk about the whole as well as the constituent parts, but it should be noted that the Shakespeare Trilogy has been just as enjoyable, if not more so, in its individual segments as it was on the epic (and awkwardly timed) trilogy day.
I have seen all three of the shows before, and reviewed them – Julius Caesar, Henry IV, The Tempest – so that’s my excuse for this composite piece. And for all that Phyllida Lloyd was uber-keen on having the official press response to the trilogy, I have to admit I didn’t see too much artistic merit in running them together. The only real common thread that emerges is Harriet Walter’s epic performance(s) as Hannah, the lifer who is the only character to recur in the prison setting that is used for all three shows. Continue reading “Review: Shakespeare Trilogy, Donmar at King’s Cross”
“She did confine thee”
A slightly odd one this, the Donmar’s all-female adaptation of The Tempest opened at the King’s Cross Theatre late last month, but from what I can tell won’t be officially reviewed until 22nd November. The reasoning being that it is part of their Shakespeare Trilogy (productions of Julius Caesar from 28th October and Henry IV from 17th November are being remounted) and on select days, audiences can see all three back-to-back. And that is how director Phyllida Lloyd wants them to be critically reviewed, as an over-arching trilogy, which is all fine and good but tickets are either £90 or £120 for those days and I ain’t here for that (that said, if you’re 25 and under, 25% of the tickets are being made free due to this great scheme). So the majority of people seeing The Tempest will only see The Tempest and that’s why I’m writing this review now.
For this enterprise, the Donmar has decamped to the King’s Cross Theatre and a well-designed temporary space there (sightlines from the back row – F – are fine and dandy) with the audience seated on all four sides of the theatre. The sense of blank newness is perfectly suited to the institutional setting – Lloyd has returned to the prison set-up that has previously served so well – and retained several members of the ensemble including crucially, the glorious Harriet Walter, who has thrived on the opportunity to expand her already superlative Shakespearean experience. So from Brutus to Henry IV, she now ascends to take on the role of Prospero. Continue reading “Review: The Tempest, Donmar at King’s Cross”
“And still we’re only dreaming for change, change, change…”
Any semi-regular reader will know the love I had for the late lamented musical of Made in Dagenham so my pleasure at a live cast recording being released was boundless indeed as I always thought that David Arnold’s score was one of the more under-rated parts of the production. And it is so nice to have this kind of full reminder of a much-beloved show although I have to say the first couple of times I listened to this soundtrack, I was still too filled with sadness at its early closing.
But now I’m fully in the appreciating stage and there’s lots to love here. This recording really emphasises the female voice(s) and picks out the sophistication of much of the harmony that wasn’t always immediately apparent at the Adelphi. The spit-wielding mothers of ‘Busy Woman’, the wary onlookers of ‘Storm Clouds’, the weary strikers of ‘We Nearly Had It All’, the depth of the female ensemble just sounds like a dream. Continue reading “Album Review: Made in Dagenham (Original London Cast Recording 2015)”
So here we have it, barely six months after opening, the machinery at Ford Dagenham has ground to a halt for the last time and Made in Dagenham has played its final performance. To say I’m gutted is putting it mildly, this was a piece of shining musical theatre that I took to my heart from the first time I saw it and again on my subsequent two revisits. You can read Review #1 Review #2 and Review #3. But the opportunity to see it one last time was one I couldn’t resist and if a show has to shutter, then the special energy of a closing night is probably the time to do it.
And I’m so glad that we went back for more (this is the first show I’ve ever dayseated twice and you can count the number of times I’ve dayseated on one hand!) as it was a truly special night. The occasion aside, it was a genuine pleasure to see and hear the show again and the cast were on fire to a (busy wo)man. Adrian der Gregorian has never sounded better than pouring all his heart and soul into ‘The Letter’, Sophie-Louise Dann tore up the stage and her colleagues’ tear ducts in ‘In An Ideal World’, Mark Hadfield’s Harold Wilson went even further over the top (if such a thing were possible), and Heather Craney’s goofy Clare became almost unbearably heart-breaking with such emotion on show. Continue reading “Review: the final night of Made in Dagenham, Adelphi”