Jessie Buckley and Josh O’Connor headline a new production of Romeo and Juliet, while Callum Scott Howells and Rosie Sheehy star in Gary Owen’s Romeo and Julie, among other big news from the National Theatre
Simon Godwin returns to the National Theatre to direct Shakespeare’s ROMEO & JULIET following his critically-acclaimed productions of Antony and Cleopatra and Twelfth Night in the Olivier Theatre. Set in modern Italy in a world where Catholic and secular values clash, Jessie Buckley (Wild Rose, Judy) and Josh O’Connor (The Crown, God’s Own Country) play the two young lovers who strive to transcend a world of violence and corruption. Fisayo Akinade (The Antipodes, Barber Shop Chronicles) is cast as Mercutio. The production will open in the Olivier Theatre in August 2020.
Set and costume design by Soutra Gilmour, lighting design by Lucy Carter, composition by Michael Bruce and sound design by Christopher Shutt. Continue reading “News: new productions and casting updates for the National Theatre”
“As you from crimes would pardoned be,
Let your indulgence set me free”
I must confess I hate it when critics roll their reviews of separate shows of a larger ‘event’ into one overarching piece – if you have to buy separate tickets to see the shows, then reviewers should write reviews for each one. Of course, it’s never quite as simple as that, it’s nice to have the space to talk about the whole as well as the constituent parts, but it should be noted that the Shakespeare Trilogy has been just as enjoyable, if not more so, in its individual segments as it was on the epic (and awkwardly timed) trilogy day.
I have seen all three of the shows before, and reviewed them – Julius Caesar, Henry IV, The Tempest – so that’s my excuse for this composite piece. And for all that Phyllida Lloyd was uber-keen on having the official press response to the trilogy, I have to admit I didn’t see too much artistic merit in running them together. The only real common thread that emerges is Harriet Walter’s epic performance(s) as Hannah, the lifer who is the only character to recur in the prison setting that is used for all three shows. Continue reading “Review: Shakespeare Trilogy, Donmar at King’s Cross”
“She did confine thee”
A slightly odd one this, the Donmar’s all-female adaptation of The Tempest opened at the King’s Cross Theatre late last month, but from what I can tell won’t be officially reviewed until 22nd November. The reasoning being that it is part of their Shakespeare Trilogy (productions of Julius Caesar from 28th October and Henry IV from 17th November are being remounted) and on select days, audiences can see all three back-to-back. And that is how director Phyllida Lloyd wants them to be critically reviewed, as an over-arching trilogy, which is all fine and good but tickets are either £90 or £120 for those days and I ain’t here for that (that said, if you’re 25 and under, 25% of the tickets are being made free due to this great scheme). So the majority of people seeing The Tempest will only see The Tempest and that’s why I’m writing this review now.
For this enterprise, the Donmar has decamped to the King’s Cross Theatre and a well-designed temporary space there (sightlines from the back row – F – are fine and dandy) with the audience seated on all four sides of the theatre. The sense of blank newness is perfectly suited to the institutional setting – Lloyd has returned to the prison set-up that has previously served so well – and retained several members of the ensemble including crucially, the glorious Harriet Walter, who has thrived on the opportunity to expand her already superlative Shakespearean experience. So from Brutus to Henry IV, she now ascends to take on the role of Prospero. Continue reading “Review: The Tempest, Donmar at King’s Cross”
“I want to go to Sports Direct”
The august surroundings and let’s face it, the regular clientele of the Almeida wouldn’t immediately make you think it but Islington – the London borough in which it is situated – has the second highest level of child poverty in the nation. The wealth of somewhere like Barnsbury is barely a stone’s throw from deprived areas like the Bemerton Estate and its an issue which simply isn’t getting any better as evidenced by the horrendously out-of-touch approach to wealth of the current administration – “I obviously can’t point to the source of every bit of money…”
Someone who has no choice but to know exactly where every penny is coming from is Liam, the protagonist in Leo Butler’s Boy. Aged 17, he’s got no job, no cash, no motivation and worst of all in this digital age, no smartphone. Emotionally constrained by his teenage inarticulacy, he opts to wander out from his native South London to set off on a journey to try and connect with an old schoolfriend and en meandering route, he encounters a city at its coldest, finding painful isolation even in the most crowded of streets. Continue reading “Review: Boy, Almeida”
“Right now I’m too young to know
How in the future it will affect me when you go”
One of the most striking moments in Phyllida Lloyd’s recent production of Henry IV
for the Donmar Warehouse was Sharon Rooney’s extraordinary take on Lady Percy, skewering previous notions of the character to make her a vibrant and passionate equal to her husband. And as she bade him farewell, a lament struck up to the tune of Glasvegas’ ‘Daddy’s Gone’, capping off a performance provoked as much thought about Shakespearean gender roles as did the overall all-female casting.
It’s a really lovely tune in its own right but this rendition did feel like something special so it was great hear that it has been recorded under the name of Sharon Rooney and the Henrys and it is now available to download from iTunes here
. Profits will benefit organisations that the company have been working closely with like Clean Break Theatre Company
and Justice for Women
, as well as the Donmar’s outreach work to help women and girls find their voices, exemplified by the company performing Henry IV at the Mulberry School for Girls in Tower Hamlets next week.
It’s a cracking tune enlivened by Rooney’s Glaswegian accent, it’s for a cracking set of causes and remember, you don’t want to be the lonely one sitting on your own and sad… Here’s the link again
“What manner of man is he?”
Every time Harriet Walter speaks as the eponymous character, she utterly justifies (not that it needs any justification, mind) the all-female casting of the Donmar Warehouse’s Henry IV, such is the achingly rich poetry that she brings to the verse. Coming in second in what is being loosely termed a ‘prison trilogy’ after a cracking take on Julius Caesar back in 2012, the production reunites director Phyllida Lloyd with Walter and some others from that company to impose their institutional stamp on another of Shakespeare’s works (and yes, it does mean those chairs are back in the stalls!).
Here, the scope of Henry IV Part I and II has been telescoped down to just two hours and in reality, could well be called Henry IV Part I+ as it focuses mainly on a raucously rendered take on that play and throws in excerpts from Act IV Scene V and Act V Scene V from its sequel to round off the stories of Henry IV, Prince Hal and the bounteous Falstaff. It’s an audacious approach but one that really pays off, suggesting that maybe Shakespeare could have done with an editor after all – others may disagree but there’s little that’s really lost in jettisoning a whole heap of supporting characters and their scenes in this instance. Continue reading “Review: Henry IV, Donmar Warehouse”
“The Tory party is the gayest of them all”
The National Youth Theatre originally commissioned James Graham’s Tory Boyz back in 2008 and given its success, they asked him to update the play so it could form part of their West End repertory season. To describe the Conservative Party’s attitudes towards homosexuality is a near impossibility – whilst the Same Sex Marriage Bill was admirably forced through by Cameron’s administration, the debates around it revealed huge rifts, bemoaning the encroachment of the “aggressive homosexual community” and the spectacular ‘activate the lesbian queen’ debacle – yet it has always been a party with gay members. And it is this dichotomy that Graham explores, how the compatibility of homosexuality and Conservatism has evolved over the years and whether, in this day and age, it does or should matter.
Sam (Simon Lennon) is a Tory researcher working in the busy office of an education minister. He’s out to his colleagues but with one eye on a more frontline political position in the near future, he’s more than content to keep it on the QT, much to the chagrin of his fresh-faced Labour opposite number James (Tom Prior) who is trying to coax him into the relationship that they both crave. The discovery that he is working in the same office that Ted Heath started his own career in inspires Sam to research that man and the rumours that swirled around his sexuality – scenes that we see played out in flashback – and in an additional plot, Sam also visits a secondary school to try and engage a disinterested group in politics with a weekly mock-Parliament set up, something which in turn also threatens to lead him to a stronger self-understanding. Continue reading “Review: Tory Boyz – National Youth Theatre of Great Britain at the Ambassadors Theatre”