So much goodness! The National Theatre have just announced details of productions stretching deep into 2020, and with writers like Lucy Kirkwood, Kate Tempest, Roy Williams and Tony Kushner, and actors like Lesley Manville, Maxine Peake, Conleth Hill, Cecilia Noble and Lesley Sharp, it is hard not to feel excited about what’s ahead.
Following a sell-out run at Rose Theatre Kingston, the acclaimed two-part adaptation of Elena Ferrante’s MY BRILLIANT FRIEND by April De Angelis is reworked for the Olivier stage by Melly Still (Coram Boy). When the most important person in her life goes missing without a trace, Lenu Greco, now a celebrated author, begins to recall a relationship of more than 60 years. Continue reading “News: the National Theatre announces 15 new productions for 2019 and 2020”
#3 in the National Theatre’s Queer Theatre season of rehearsed readings
“Well join the radical wing of the movement where to be really queer you have, as it were, to nail your foreskin to the transgressive mast. Literally it seems, on occasion.”
I have to admit to not necessarily being the greatest fan of Peter Gill’s writing and seeing a reading of one of his plays after having partaken of a little of the Pride festivities on Saturday afternoon was definitely not one of my wiser moves. But I wanted the complete set of these readings and so I sat down for 2009’s Certain Young Men.
Following the lives of four gay couples and told predominantly in duologues, it had the slight sense of yet another version of La Ronde as established pairings disintegrate and new ones reform. It is more complex than that, as it seeks to present varied and various forms of gay personalities and relationships, resisting the easy definition of a gay community to present a heterogenous grouping of homosexual men with multiple and conflicting desires. Continue reading “Review: Queer Theatre – Certain Young Men, National”
2017 marks 50 years since the decriminalisation of homosexuality. The Sexual Offences Act of 1967 was an Act of Parliament that decriminalised homosexual acts in private between two men.
50 years later the lives of queer people are perceived to be very different – equal age of consent, equality law and equal marriage are all heralded as progressive markers in LGBTQIA* equality but has the UK become a queer friendly nation or are homophobic prejudices just as prevalent?
Belonging is a public debate with poncy performance chaired by Scottee. Together with a committee of prominent queers he will explore where queer people sit in our society. A boozy, loose-tongued version of Question Time with less middle aged, middle class white men. Come and mouth off on the eve of London Pride.
Continue reading “Round-up of news and treats and other interesting things – Pride special!”
“The thing that I’m scared of is that everything will break”
Elena Ferrante’s quartet of Neapolitan Novels have been a literary sensation since its first part, My Brilliant Friend, was published in 2012. A forthcoming Italian television adaptation will take 32 50-minute instalments to cover the story of the friendship between two Neapolitan women but April De Angelis has condensed the four into a single play, presented in two parts which can be viewed as a double bill or on separate evenings if 5 hours of theatre in a day seems like too much of a challenge. Read my review for This Is My Town here, find production photos for both parts here and get more info on the show here.
Running time: each part is 2 hours 30 minutes (with interval)
Booking until 2nd April
South West London Law Centres, a charity that provides specialist legal advice in social welfare law for people who cannot afford to pay privately for a lawyer, are holding a comedy fundraiser event, Jokes For Justice, on February 23rd 2017 at The Bedford Pub, Balham. Nish Kumar, Jonny and The Baptists and Sophie Willan will be performing on the night to help raise funds to continue their work across South West London. After the devastating legal aid cuts of 2013, our income has been slashed by over 40% and ten other Law Centres have already closed down – funds are desperately needed to support access to justice for those most in need within our communities.
Continue reading “Round-up of news and treats and other interesting things”
“I’m a black man shooting other black man for a living”
Whoop whoop, that’s the sound of da police, or at least a whole lotta police-related drama at the Hampstead Theatre, both upstairs and down. In the main house, Roy Williams’ Wildefire is examining life in the Met from the street level whilst downstairs, Atiha Sen Gupta makes a long awaited return with State Red, another new play looking at institutionalised racism in the force (and society at large too) right up to the highest level of Police Commissioner and asks just how far we’d go in the name of family.
White, living in Muswell Hill and in his 50s, it seems Richard is a shoo-in for the job. 36 years of service, a mixed marriage for the diversity card, schmoozing with all the right people, the only fly in the ointment is the return of his son Luke from a year AWOL after an incident at work. For he’s a copper too and after shooting a black unarmed teenager dead, has suffered something of a breakdown. With the inquest fast approaching, he’s threatening to smash through the party line with his own version of events even if doing so would ruin his father’s prospects. Continue reading “Review: State Red, Hampstead Downstairs”
“I choose to take back my life.
Booking a return trip to anything Helen McCrory is starring in is something of a reflex action now but I was more pleased than usual to be able to revisit Medea as conversations with numerous of my friends who were not fans had left me questioning whether I had maybe over-rated the show on first viewing. And it was equally nice to find out that I had not. I can see why elements of Carrie Cracknell’s production might have been polarising but for me, the synergy between the different disciplines is alchemical.
From jerky dancing to Goldfrappian swells of music, luxury cameos through to an actor magisterially making her mark on an oft-played role to dominate the vast auditorium of the Olivier, it’s a Medea for our time and so it was entirely correct that this performance should be part of the NTLive programme and be broadcast to cinemas across the world. Spine-chillingly remarkable stuff and that’s all I really have to say!
Running time: 100 minutes (without interval)
Booking until 4th September
““Terrible things breed in broken hearts”
Euripides’ Medea has long been considered one of the greatest roles for a woman to play so it is a little surprising (or perhaps not) that it hasn’t been performed at the National Theatre before. But the winds of change blow even on the South Bank so it makes great sense that one of our finest living actresses, Helen McCrory, should take on the part in a production by Carrie Cracknell, herself responsible for making some of that change with recent shows like A Doll’s House and Blurred Lines.
Ben Power’s new version relocates the betrayed Medea in a blasted contemporary setting (another ingeniously cracking design from Tom Scutt, evocatively lit by Lucy Carter) where she and her two children anxiously await news of the husband and father who has abandoned them for a newly politically expedient marriage. Trapped in a foreign land, having severely burned her bridges with her homeland, we watch helplessly along with a hefty Greek Chorus as grief inexorably transmutes into anger. Continue reading “Review: Medea, National Theatre”
“You don’t know whether to go out and say something…or…or not”
Returning to the Shed after a successful run last year, Nadia Fall’s Home is a compelling piece of verbatim theatre, stitched together by an exciting company – many of whom have returned from the original cast – who guide us through the changing, complex world of Target East, a refuge for young homeless people in London. The centre may be fictional but the issues and incidents raised here are anything but.
The need for security, a place where they can feel protected, is common to all the residents here, some just passing through, others destined to stay a bit longer and the staff committed to their thankless tasks just as long as the funding holds out. Fall deliberately crashes narratives into each other, the chaos of life for many of these people reflected in the way their stories get told, echoes of similar experiences creeping through just as much as the stark differences. Continue reading “Review: Home, National Theatre”