I mean, just look at this absolute treasure trove of theatrical talent!
I’m off to listen to Patsy Ferran read Tom Wells, and Gabby Wong read Alexi Kaye Campbell, and Sarah Niles read Winsome Pinnock and…and…
An elegant and occasionally startling adaptation, Julie at the National Theatre is anchored by mesmerising performances from Vanessa Kirby and Thalissa Teixeira
“If anyone has had anyone, I’ve had you“
It’s Julie’s party and she’ll cry if she wants to, shag someone else’s fella if she wants to, use a blender in a somewhat inappropriate way if she wants to. Would you cry too if it happened to you? Chance would be a fine thing, as Julie is a trust fund baby and her 30-something birthday party is taking place in the antiseptic chic of the vast Hampstead townhouse where she resides with her (often absent) father and their staff.
Carrie Cracknell’s direction of Polly Stenham’s Julie (after Strindberg, as opposed to Patrick Marber’s After Miss Julie) and Vanessa Kirby’s performance of that title role does something rather unexpected in the way it fleshes out and makes more complex its anti-hero. She’s still a straight-up entitled bitch to be sure, but we’re shown that she’s part of a cycle of sadness and abuse and neglect. And we’re dared to empathise. Continue reading “Review: Julie, National Theatre”
by Brian Friel
Previews from 22 May, Press night 30 May, on sale until 7 July with further performances to be announced
Owen, the prodigal son, returns to rural Donegal from Dublin. With him are two British army officers. Their ambition is to create a map of the area, replacing the Gaelic names with English. It is an administrative act with radical consequences.
Brian Friel’s modern classic is a powerful account of nationhood, which sees the turbulent relationship between England and Ireland play out in one quiet community. Cast includes Dermot Crowley, Aoife Duffin, Adetomiwa Edun, Michelle Fox, Ciarán Hinds,Laurence Kinlan, Colin Morgan, Seamus O’Hara, Judith Roddy and Rufus Wright.
Directed by Ian Rickson, with design by Rae Smith, lighting design by Neil Austin and music by Stephen Warbeck and sound design by Ian Dickinson.
Part of the Travelex Season with hundreds of tickets for every performance available at £15. Continue reading “New casting announced for 2018 National Theatre season”
You go away for a week, hoping they’ll put any exciting news on hold but no, there were headlines aplenty…
Michelle Terry being revealed as Emma Rice’s successor as Artistic Director of the Globe. I think this is a brave and inspired choice, for Terry is a deeply intelligent actor (Tribes, Light Shining in Buckinghamshire, Cleansed) and a superb Shakespearean at that (A Midsummer Night’s Dream, As You Like It, The Comedy of Errors).
Rice seemed to consider Shakespeare a puzzle that needed unlocking for (new) audiences but you were left wondering if there was a touch of square peg round hole syndrome in the way the plays were manhandled. It is tempting to think that Terry will be a smoother fit whilst maintaining a sense of adventurousness (she played Henry V after all) although this is, of course, pure conjecture. Still, exciting times ahead. Continue reading “Round-up of news, treats and other interesting things”
“O God, that men should put an enemy in their mouths to steal away their brains”
In light of Roman Tragedies reminding us of the vast potential of what Shakespeare can be rather than the tendency towards the ‘proper’ readings of his work that we tend to get here in the UK (vast generalisations I know, but can you really argue against it…), it’s gratifying to see directors, and venues, taking the opportunity to stretch those traditional notions. The Sam Wanamaker Playhouse, housed within Shakespeare’s Globe, isn’t the first place you’d think of to find such a production but in Ellen MacDougall’s interpretation of Othello, we have just that.
Text updated to the 21st century (dramaturgy by Joel Horwood), key characters regendered (Joanna Horton’s Cassio is an inspired move), a contemporary soundtrack that interpolates Lana Del Rey, it is enough to make any purist shiver and you kinda feel that’s the point. MacDougall refocuses the play on masculinity in crisis but it is also tempting to think that on a larger scale, there’s a smidgen of Emma Rice’s shaking of the branches of theatrical orthodoxy at play here too. With the post of Artistic Director of the Globe being advertised again, we can only hope such invention remains. Continue reading “Review: Othello, Sam Wanamaker”
“We used to have a life.
We have each other and my empty womb”
It’s Yerma yes, but not as you know it. Australian auteur Simon Stone (best known in the UK for The Wild Duck but whose Medea in Amsterdam was just masterful) has revised, reshaped, rewritten Lorca’s 1934 tragic poem into an all-too-contemporary lament that throbs with the painful intensity of Billie Piper’s stunning performance here at the Young Vic.
Encased in a glass box, the audience in traverse (designer Lizzie Clachan doing some extraordinary work), Piper plays Her, a woman in her mid-30s with a successful career as a blogger (I KNOW!) and happily married to the slightly older John. As the societal narrative goes, they buy a house and then decide to start a family but despite the fecundity of those around them, they struggle to conceive. Continue reading “Review: Yerma, Young Vic”
“If you can fucking laugh at it, you can beat it you know
Is that true?”
How would you cope in a crisis? But no, really, if the sky came caving in on your world, if terrorist atrocities landed on your doorstep (or back garden), could you even begin to conceive of how you might react and respond. That’s what Stuart Slade’s BU21 asks of its six characters as they congregate in group therapy sessions for survivors, all dealing with the aftermath of a jumbo jet being shot down in the skies above West London with an anti-aircraft missile.
One woman lost her mother, the news smashing into her world through a photo on Twitter; another saw a man still strapped into his seat crashing into her garden, still alive even if only for a couple of seconds; yet another has been horrifically burned by jet fuel, and so on. Their stories are told through interlinking monologues, details drawing their experiences inevitably closer but even as Slade gives us a searing account of tragedy close to home, he brilliantly skewers the way in which society, and particularly the media, tries to deal with it. Continue reading “Review: BU21, Theatre503”
“I don’t even know what a colossus of the creative industries is”
PLAY is a new writing initiative that aims to inspire collaborative working by bringing together writers and directors and giving them two weeks to come up with a short play. And here at the VAULT Festival, there’s two sets of four plays, or PLAYs, bringing together a rather exciting set of creatives to produce some spankingly fresh theatre. The second set takes place mid-February but I’d urge you to book for this one now (you’ve got until Sunday) as I reckon it’s the best tenner you can spend this week, with some seriously impressive work going on here.
Play 9, written by Chloe Todd Fordham and directed by Polina Kalinina, felt like a bit of a riff on Shallow Grave, three university pals skirting around an uncomfortable truth about their (unseen) flatmate. Starting off with a well-choreographed sequence of fighting over a remote, Fordham’s writing quickly slipped into its structure of three differing accounts of what happened, slightly complementary, slightly contradictory, full of detail fleshing out the complex relationships herein, slowly but surely moving the place of real revelation. A couple of right-up-to-the-minute references perhaps overplayed their hand but I did mostly enjoy the shifty evasion of this guilty trio. Continue reading “Review: PLAY, VAULT Festival”
2016 is nearly upon and for once, I’ve hardly anything booked for the coming year and what I do have tickets for, I’m hardly that inspired by (the Garrick season has been ruined by the awfulness of the rear stalls seats, and I only got Harry Potter and the Cursed Child tickets due to FOMO). Not for the first time, I’m intending to see less theatre next year but I do have my eyes on a good few productions in the West End, fringe and beyond. Continue reading “20 shows to look forward to in 2016”
Susannah Fielding, for Portia in The Merchant of Venice (Almeida Theatre)
Tom Mothersdale, for Yasha in The Cherry Orchard (Young Vic)
Cynthia Erivo, for Poins and Earl of Douglas in Henry IV (Donmar Warehouse)
Stefano Braschi, for Soranzo in ‘Tis Pity She’s a Whore (Sam Wanamaker Playhouse, Shakespeare’s Globe)
Rebecca Collingwood, for Blanche in Widowers’ Houses (Orange Tree Theatre)
Ncuti Gatwa, for Mercutio in Romeo and Juliet (HOME, Manchester)
Emma Hall, for Phaedra, Aphrodite, and Artemis in Hippolytos (Antic Face, at The Colepit)
Jennifer Kirby, for Lady Percy in Henry IV Parts 1 and 2 (Royal Shakespeare Company)
Daisy May, for Celia in As You Like It (Tobacco Factory Theatre, Bristol)
Frances McNamee, for Finea in A Lady of Little Sense (Theatre Royal, Bath)
Ekow Quartey, for Hans in Spring Awakening (touring production by Headlong/West Yorkshire Playhouse/Nuffield Theatre)
Michael Shelford, for Willie Mossop in Hobson’s Choice (Octagon Theatre, Bolton)
Thalissa Teixeira, for Chorus in Electra (Old Vic)