Don't bother, they're here
One of the greatest things I’ve ever seen in a theatre (and I have seen it three times now), Internationaal Theater Amsterdam’s Romeinse Tragedies (Roman Tragedies) will be streaming via #ITALive from 3pm on 14th February and I highly recommend it.
In the grand scheme of things, missing out on my regular trips to Amsterdam this year isn’t that big of a deal though it still makes me sad to think of the friends I haven’t seen, the theatre I’ve missed, all the bitterballen I’ve not eaten…
But Internationaal Theater Amsterdam are going some way to rectify that by launching ITALive (and for the long term too, not just for the pandemic) as a way of extending the reach of their work. Selected shows from their repertoire are being livestreamed from the magnificent Stadsschouwburg Amsterdam starting with Simon Stone’s exquisitely heart-wrenching take on Medea starring the incomparable Marieke Heebink. Continue reading “News: Internationaal Theater Amsterdam join in the streaming game with ITALive”
Outstanding New Broadway Play
Grand Horizons
The Height of the Storm
The Inheritance
Linda Vista
The Sound Inside
Outstanding New Broadway Musical
Jagged Little Pill
Moulin Rouge!
Tina: The Tina Turner Musical Continue reading “Honorees of 2019-2020 Outer Critics Circle Awards”
Outstanding New Broadway Play
Grand Horizons
The Height of the Storm
The Inheritance
Linda Vista
The Sound Inside
Outstanding New Broadway Musical
Jagged Little Pill
Moulin Rouge!
Tina: The Tina Turner Musical Continue reading “Nominations for 2019-2020 Outer Critics Circle Awards”
“La scène est la mémoire”
In the grand scheme of things, missing out on an Ivo van Hove/Isabelle Huppert collaboration isn’t the end of the world but I can’t help but feel a little disappointed. La Ménagerie de Verre was due to come to the Barbican this summer but naturally I wanted to see this Odéon-Théâtre de l’Europe production in its Parisian home. As a co-production with La Comédie de Clermont-Ferrand scène nationale, Onassis Stegi in Athens, Les Théâtres de la Ville de Luxembourg, Thalia Theater in Hamburg, deSingel in Antwerp and the Barbican, one hopes that this won’t be the end for this production, we’ll have to see.
Any chance to see Huppert live should be snaffled up immediately, no matter how strange or how far, but there’s also something interesting in seeing Tennessee Williams done in a foreign language as released from the distracting tyranny of trying to nail a Southern accent, the potential for something richer seems to flow.
Continue reading “Not-a-review: La Ménagerie de Verre, Odéon-Théâtre de l’Europe”
Sure, there’s all sorts of big ticket shows coming to London in 2020 (with big ticket prices too to go with their big names), like Sunday in the Park with George with Jake Gyllenhaal, Sister Act with Whoopi Goldberg, A Doll’s House with Jessica Chastain. But there’s so much more to discover if you venture away from Shaftesbury Avenue…
1 The Glass Menagerie, Odéon–Théâtre de l’Europe at the Barbican
Not that I want to be predictable at all but Isabelle Huppert! Acting in French! Right in front of you! I understand that van Hove-fatigue might be setting in for people but only a FOOL would pass up the chance to see one of our greatest living actors. A FOOL!
2 The Glass Menagerie, Royal Exchange
And if you wanted to do a direct compare and contrast, Atri Banerjee’s revival for the Royal Exchange will be worth checking out too for an alternative perspective.
3 The Wicker Husband, Watermill
Even before Benjamin Button tore my heart apart, I was excited for the arrival of this new musical by Rhys Jennings and Darren Clark but now, the bar has been raised even higher. And the gorgeous intimacy of the Watermill feels like a perfect fit.
4 Children of Nora, Internationaal Theater Amsterdam
Me: “I don’t need any more Ibsen in my life”
Also me: Robert Icke revisiting the world of A Doll’s House through the eyes of the next generation? Yes please.
5 Romantics Anonymous, Bristol Old Vic
I don’t think I thought this delicious Koomin and Dimond musical would ever actually return, so this short run in the UK ahead of a US tour feels like a real blessing. Now where did I put my badge? Continue reading “20 shows to look forward to in 2020”
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.
Honourable mention: this year’s musical take on As You Like It proved just as heart-swellingly beautiful over at the Queen’s Theatre Hornchurch. Continue reading “10 of my top moments of the decade”
Ten years ago, 2009, I was in my second year at university, writing an essay on John Donne’s poetry and desperately trying to impress my professors because I’d seriously slacked off the previous few weeks while rehearsing the first play that I’d written. I learned that year that directing your own work is a bad idea as a new playwright – frankly it’s probably not the best idea at any stage. The following year, I learned that directing theatre was not my calling at all – I couldn’t make myself care about the pictures on the stage, and only listened to the voices. Many years later, I’d find a good fit for that instinct: directing the radio dramas for Hotel Europe, which I made with Isley Lynn, David Loumgair and Philipp Ehmann and five extremely talented writers. But back in 2009, I was learning the jobs I wasn’t best suited for, concentrating on what I could offer and give to the theatre world I was then immersed in – and writing and producing had the edge over acting or directing.
In an attic apartment in Kraków, Poland pretending that I was excited about beginning my studies in Russian Literature and that I was over theatre (I love Russian literature, just not studying it). I dropped out 2 months in.
Continue reading “10 questions for 10 years – Nastazja Somers”
With his indecently listenable voice, Christopher Tester is the kind of actor who makes you sit up when he starts talking and I’ve enjoyed many of his performances over the last few years. Up at the top though is probably The Picture of John Gray.
“In many ways it was the ideal fringe experience – beautiful new writing, with a generous and talented company, which felt like it was really offering something important in a room above a pub. I think it sits up there with The White Rose as a show that prompted a huge response from its audience which I was very aware of while performing it. And the fact that it was based on little known real characters gave it an extra weight – a feeling that these people’s lives were resonating beyond their own time. It also gave me a scene where I just had to pour my guts out a little bit, and however much it’s “never about you”, that I had that opportunity coupled with writing deft enough to (hopefully) avoid indulgence was pretty special. You do it because you want to offer your heart.
And maybe kiss an actor as pretty as Patrick Walsh McBride.”
Continue reading “10 questions for 10 years – Christopher Tester”