Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!)
Extraordinary Public Acts for a National Theatre
The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions. A truly joyous and momentous occasion.
To mark Series 10 of Doctor Who starting on BBC1 next week, I’ve been counting down the weeks with a rewatch of all 9 of the previous series of new Who. And now we’re within touching distance, I’m counting down the days talking about each one. For once though, I’m going to keep these posts (relatively) short and sweet, following the below format.
With just the one series to judge him on, and that series being the very first when everyone was still finding their feet, Christopher Eccleston’s Nine often gets a bit of a raw deal. And some of his zany moments are undoubtedly really quite awkward to watch but for me, they’re easily outweighed by the emotional weight of his more serious work, especially when hinting at the considerable darkness of the events of his recent past that had left him so haunted. A solid re-entry back into the televisual world. Continue reading “Countdown to new Who: Doctor Who Series 1”
Celebrating the twentieth anniversary of this particular production and the launch of The Sophie Hamilton Archive which chronicles over 30 years of their work, getting to attend a screening of Cheek By Jowl’s As You Like It was a fabulous way to spend a Sunday evening. Shown in the very Noël Coward Theatre (or Albery as was) where it was recorded, the event was made extra special by the attendance of the entire revival cast who proudly took their bows onstage at the end, in front of the film of them taking their bows on that same stage – a lovely moment.
Declan Donnellan’s original production dates back to 1991 and as pointed out by one of the speakers tonight, its cross-gender and colour-blind casting made and still makes it a most transformative piece of theatre and one with great foresight (even if sadly, messages about women taking on male roles still haven’t quite sunk in) in a pre-Propeller, Section 28-pasing age. What emerges as most pleasing is the utter lack of gimmick with no overarching conceit to justify the decisions here, starting simply with a troupe of identically dressed actors and the desire to tell a story. Continue reading “Review: Cheek By Jowl’s As You Like It, screening at Noël Coward Theatre”
It seems only natural that Edward Hall would bring Propeller’s touring double bill ofRichard III and The Comedy of Errors to the Hampstead Theatre, he is after all the Artistic Director for both the all-male Shakespeare company and the Swiss Cottage venue, but when the shows were first announced, there was no mention of London in the tour. Keen to have my first Propeller experience, trips were made to Guildford and Sheffield to see the shows and then as sod’s law would have it of course, a short residency in London was announced. Still, I am glad that I got to see the shows earlier, way back in November in the case of Richard III, as it has meant I was able to see them, love them, recommend them to all and sundry as they toured the country and finally get to revisit both shows as I’m pretty sure this is about as good as interpretations of Shakespeare can get.
It is not often that I start off reviews with a negative comment but it must be said that Ed Hall and his Propeller company are naughty, naughty boys. When they announced their tour of their new productions, London was not among the cities and towns being visited so schedules were looked at, train timetables checked and we duly booked trips to Guildford to see Richard IIIand to Sheffield to see The Comedy of Errors. They then of course announced a short stop at the Hampstead Theatre which would have cut down on my travelling time somewhat. But, they don’t play there until the end of June and having seen both these shows now, I don’t think I could have coped with the anticipation waiting that long as they are sensationally good.
Ephesus has been re-imagined as a Costa del Sol type resort in Michael Pavelka’s design, full of football-shirt wearing blokes, geezers selling fake watches and flirtatious policemen and the air is filled with music, played live by the company who frequently break out into song, mostly snippets of cheesy 80s tunes which are brilliantly done and never outstay their welcome. Most of the ensemble remain onstage throughout, slipping out of their main role and into this group to provide a raft of sound effects straight out of a cartoon which are ridiculously funny and creating amusing moments in group scenes. Continue reading “Review: The Comedy of Errors, Propeller at Sheffield Lyceum”
My intention is, honestly, to see less theatre this year and try and regain some semblance of a normal life again on the odd evening. But the curse of advance booking and grabbing cheap(er) tickets whilst you can has meant that there’s already an awful lot of theatre booked for 2011. Some have been booked without a huge deal of enthusiasm, but others have a dangerous amount of anticipation attached to them…and so I present to you, the shows I am most excited about seeing this year (so far).
The Roman Tragedies was hands down one of the most exhilarating and refreshing theatrical experiences of 2009 and possibly my life, I’m even headed to Amsterdam in May to see a surtitled production of their Angels in America. So when I heard that the same Dutch theatre company were returning to the Barbican in February, tickets were booked instantly and I am feverishly over-excited for this now! Continue reading “Shows I am looking forward to in 2011”
I have not been lucky enough to catch Propeller, Edward Hall’s all-male Shakespeare company, in my theatregoing thus far and it was only the perseverance of a new friend at Boycotting Trends that convinced me to make the trip (also my first) to the Yvonne Arnaud Theatre in Guildford in order to catch Richard III, the first of their two plays that they will be touring for the next several months in rep with The Comedy of Errors. And boy am I glad that he did, for this reimagining of the history play into a post-modern gothic Victoriana-fest is pretty close to being unmissable.
The story of Richard, Duke of Gloucester, youngest son of his Plantagenet family yet possessed of a burning ambition to be King and utterly ruthless in his bloodthirsty, backstabbing, blackmailing and brutal climb to the throne, is one of Shakespeare’s longest plays but Edward Hall along with Roger Warren has adapted and re-edited the text into something more dramatically compelling than I remember this play ever being, mainly through incorporating an outrageously comic, even vaudevillian approach to the dastardly deeds that are carried out. Continue reading “Review: Richard III, Propeller at Yvonne Arnaud Theatre”