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)
“I am even the natural fool of fortune”
Poly over at The Other Bridge Project asks the question “can you have too many King Lears” and though she’s adamant that you can’t, I have to say my heart sinks a little every time a new production is announced, whether here in Chichester with Frank Langella or Simon Russell Beale’s forthcoming turn for the National Theatre early next year. But the enduring reputation of Shakespeare’s late classic attracts the kind of casts that are irresistible to a theatrical junkie like me and so I find myself a glutton for punishment going back again time after time.
And though I’d love to say that Angus Jackson’s production, running just a short while in the Minerva before transferring to New York, was worth the effort, it didn’t really do it for me. It is a hugely Lear-centric version of the play, placing Langella’s titanic monarch even more at the heart of the play than usual, and recalibrating the journey he takes as madness seizes him after a bit of a rum do with his three daughters. It’s a striking move, and one which showcases Langella well, but it does come at the expense of the richness of the ensemble.
Continue reading “Review: King Lear, Minerva”
“Plagues! Confusions! Darkness! Devils!”
Technical difficulties around health and safety meant that Suba Das’ production of The Revenger’s Tragedy had to be rapidly reconceived from its intended promenade aspect but little can excuse shining a bright light into the eyes of part of the audience for 15 minutes. Thomas Middleton’s Jacobean blood-fest now sits still in the Victorian music hall surroundings of Hoxton Hall, but seriously lacks the basic thread of storytelling that such a complex play requires.
Vindice is determined to wreak a terrible revenge on the duke who poisoned his beloved fiancée and doesn’t care who get sucked into his machinations, whether it is the corrupt extended family of the duke, or his own (slightly) more innocent relations. This is a barely comprehensible world of deep selfishness, punctuated with episodes of extreme violence and illicit lust, and so needs a strong directorial hand to try and impose if not sense, then at least an interpretation of great clarity and focused intent. Continue reading “Review: The Revenger’s Tragedy, Hoxton Hall”
“You want to believe someone will catch you whatever happens, but they won’t”
In a hot Edinburgh summer with the binmen on strike and riot police on a knife edge, four young men approach a major milestone. For two of them, it is graduation from university; for the others, it is the end of being able to piggyback on their flatmates’ hedonistic student lifestyle; for all of them, it is the unavoidable realisation that they have to face up to the future, however unfriendly it may seem. This is the central premise behind Ella Hickson’s newest play Boys, a HighTide/Nuffield/Headlong co-production now playing at the Soho Theatre, which I suppose will strike fear into the hearts of many about to graduate from university themselves.
In the somewhat blinkered world of Benny, Mack, Timp and Cam, the focus remains squarely on partying until the last possible moment with alcohol, drugs and sex and stories of the same to be found in great abundance. But beneath the bravado lies fear, different kinds of fear for each boy and these slowly play out as the reality of the situation finally begins to hit them and the import of the big questions facing them, as the entry into adulthood lies straight ahead, weighs heavily in the air. Continue reading “Review: Boys, Soho Theatre”
“Now that the House of Commons is trying to become useful, it does a great deal of harm “
Oscar Wilde’s An Ideal Husband, a tale of morality, blackmail and political corruption, arrives at the Vaudeville Theatre on the Strand for a winter residency, featuring the husband and wife team of Alexander Hanson and Samantha Bond alongside the luminary talents of Elliot Cowan and Rachael Stirling in the lead roles.
On the surface, Wilde’s play is the saga of a rising political star, Sir Robert Chiltern, whose career is threatened by the villainous Mrs Cleveley who is possession of the knowledge of the past indiscretion which led to him securing a small fortune and the undying respect of his virtuous wife. Mrs Cleveley wants his support on a new scheme and is willing to blackmail him to get her way, but when his wife Gertrude finds out the truth, her perfect ‘ideal husband’ is besmirched, she declares she can no longer love him and it is left to their dear friend Lord Arthur Goring. But on closer examination, it is becomes a passionate plea for true love to be willing to forgive everything, something given extra poignancy when one considers that Wilde’s affair with Lord Alfred Douglas would become public and wreck his life within the very year this play was first produced. Continue reading “Review: An Ideal Husband, Vaudeville”