Good things come to those who wait! I hadn’t booked for Young Marx at the brand new Bridge Theatre for a couple of reasons. I was still hoping that I might get a response to my email to the PR and despite a cast that includes the splendid Nancy Carroll and the delicious Oliver Chris alongside lead Rory Kinnear, Richard Bean just really isn’t my cup of tea. ‘Don’t you love farce?’ Not much my dear…
So when an email popped into my inbox offering a sneak preview of the show and an opportunity to be the first ever audience in the theatre for a pre-preview test run of the new venue and its facilities, then I knew it was meant to be. Turns out I do love a farce, at £7.50 a ticket. Continue reading “Thoughts on a visit to the Bridge Theatre”
1850, and Europe’s most feared terrorist is hiding in Dean Street, Soho. Broke, restless and horny, the thirty-two-year-old revolutionary is a frothing combination of intellectual brilliance, invective, satiric wit, and child-like emotional illiteracy.
Creditors, spies, rival revolutionary factions and prospective seducers of his beautiful wife all circle like vultures. His writing blocked, his marriage dying, his friend Engels in despair at his wasted genius, his only hope is a job on the railway. But there’s still no one in the capital who can show you a better night on the piss than Karl Heinrich Marx. Continue reading “Full cast announced for Young Marx”
“Some would say change is inevitable”
It was fascinating to go back to Bruce Norris’ multi-award-winning play Clybourne Park more than five years after its London debut both at the Royal Court and then in the West End, particularly since I’d finally gotten round to seeing the play that it riffs on in Lorraine Hansberry’s A Raisin in the Sun. Daniel Buckroyd’s Made in Colchester production originated at the Mercury there last month and pleasingly will tour the UK throughout May, significantly extending the reach of this sharp comedy/
Clybourne Park is the Chicago suburb to which Hansberry’s Younger family intend to move in her 1959 play, its residents committee reacting by trying to buy them off to preserve what they call their ‘common background’ when what they mean is its all-white racial make-up. Norris explores both sides of this by setting his first half in the house the Youngers are trying to buy in 1959 but then skipping forward 50 years after the interval to reveal a changed neighbourhood, riven by the same problems. Continue reading “Review: Clybourne Park, Richmond Theatre”
“It’s not what any of you want”
And so it ends. A little unexpectedly, it was announced by creator Peter Moffat that this third series of Silk would be the last and whilst I would love to say that it was a fitting finale to the joys that were Series 1 and 2, I have to say I was quite disappointed in it. After showcasing Maxine Peake marvellously as the driven QC Martha Costello, here the character was barely recognisable; after securing the fabulous Frances Barber as a striking opposing counsel as Caroline Warwick, her incorporation into Shoe Lane Chambers neutered almost all the interest that had made her so fascinating; and with Neil Stuke’s Billy suffering health issues all the way through, the focus was too often drawn away from the courtroom.
When it did sit inside the Old Bailey, it did what the series has previously done so well, refracting topical issues through the eyes of the law – the kittling of protestors, Premiership footballers believing themselves beyond justice, assisted suicide, the effects of counter-terrorism on minority communities. And it continued to bring a pleasingly high level of guest cast – Claire Skinner was scorchingly effective as a mother accused of a mercy killing, Eleanor Matsuura’s sharp US lawyer reminding me how much I like this actress who deserves a breakthrough, and it always nice to see one of my favourites Kirsty Bushell on the tellybox, even if she melted a little too predictably into Rupert Penry-Jones’ arms. Continue reading “TV Review: Silk, Series 3”
“I could be the model Australian”
The Old Red Lion Theatre in Angel seems to have struck up quite the symbiotic relationship with the Trafalgar Studios 2 as a number of its productions have transferred there and the latest to make the leap to the Whitehall venue is Brendan Cowell’s Happy New. I decided to see it purely on the strength of the casting of Lisa Dillon and avoided reading anything about it in advance as it is a rare pleasure indeed that I see a play with no knowledge of what it is about. And it really paid off as the unexpected direction of the show and the way in which it progressed came as a genuine surprise and one which I’d recommend, going in blind if possible.
It’s a story alternately about the cruelty that humans can inflict on each other and the way in which the media are often guilty of exploiting human crises for their own gain and then dropping the subjects like hot potatoes when the next big story breaks. Traumatised by events from their past, Danny and Lyle are two brothers now living an almost hermetic existence in a tiny flat, with just the vibrant Pru as a conduit to the outside world though it becomes increasingly clear that her intentions are far from honourable. Continue reading “Review: Happy New, Trafalgar Studios 2”
“You have a very curious and charming house”
After having been surprisingly seduced by Noises Off into properly liking a farce for the first time, my hopes for The Ladykillers were raised. I have to admit to never having seen an Ealing comedy in my life and so didn’t have any clue what I was about to see, other than that it was going some kind of madcap comedic evening. The story has been adapted for the stage by Graham Linehan – he of Father Ted and The IT Crowd – and I am reliably informed that far from being a faithful representation of the original film, it is a brand new take on the plot which follows its own route.
Set in Mrs Wilberforce’s house in King’s Cross, the play takes place over a few days late in 1956 as she lets her spare room to the kindly-seeming Professor Marcus, leader of a string quintet who need the rehearsal space. She is blissfully unaware that he’s actually the head honcho of a gang of criminals who are using the prime location as the base for their next big train heist, but things don’t go quite according to plan to amusing (albeit intermittently for me) effect. Continue reading “Review: The Ladykillers, Gielgud”