In this ‘special circumstances’ year, the Offies 2021 Awards Ceremony celebrated the creativity and resilience of artists in fringe, alternative and independent theatre in a time of crisis who have found new ways to produce fresh and inventive work for thousands of stay-at-home audiences.
The Offies are OffWestEnd’s main awards, for shows with at least 10 performances, and awards were given to the best of the shows presented before lockdown and the few who managed to go ahead in the summer
The OnComm is the new award for online shows from across the UK (and beyond) and was introduced in May 2020. Additionally, the winner of the OffFest award for theatre shows in festivals was also announced, alongside extra OneOff awards for innovative work and initiatives in 2020, especially in the light of the Covid lockdown. Continue reading “2021 Offie & ONCOMM Award Winners”
An all-star cast has assembled for an online reading of William Wycherley’s 1671 comedy Love in a Wood, presented by Jermyn Street Theatre, conceived and directed by Hermione Gulliford, and performed in aid of Equity Charitable Trust.
Word spreads fast in Restoration England. When romantic idealist Valentine makes a secret return from exile in France, he hears whispers that his lover Christina has been untrue. The thing is, Valentine is only jealous because his friend Vincent said that the hapless rogue Ranger had taken a liking to Christina. So, while Vincent and Ranger run amok, Valentine takes it upon himself to discover the truth. But can he see the wood from the trees…? Continue reading “News: Jermyn Street Theatre reveals all-star cast for Restoration comedy reading”
Reinterpreting the women of Greek mythology for today, the theatrical enterprise of 15 Heroines is a major achievement and a highlight of the year, digital or otherwise
“The gods should protect me”
15 Heroines comes to us in collaboration between the Jermyn Street Theatre and Digital Theatre as fifteen female and non-binary playwrights tackle Ovid’s Heroides, giving voice to the women of classical mythology anew. Split into three groups of five 15-minute monologues – The Labyrinth, The War, The Desert – this is a major theatrical enterprise that offers startlingly fresh perspective on these tales of old and serves as a reminder, as if it were needed, that men are trash.
Or more specifically, the men that we often describe as heros have serious issues when it comes to the women in their lives. There may be some excuse for the women left behind by The Trojan War – Sophia Eleni’s Love Island-esque but still sweet Laodamia is the wife of the first soldier killed as explored by Charlotte Jones – but more often than not it is just men being (fuck)boys. Lettie Precious delves beautifully into Oenone’s feelings about being abandoned by Paris for Helen, Ann Ogbomo’s righteous fury scalds the screen. Continue reading “Review: 15 Heroines”
Jermyn Street Theatre are thinking big once again, as their previously announced 15 Heroines project, in collaboration with Digital Theatre, reveals a titanic cast of actors to join the 15 female and non-binary playwrights commissioned to retell the stories of the women of classical myth. And not just that, Adjoa Andoh will be co-directing alongside Tom Littler and Cat Robey. Hook. Me. Up!
Stars of stage and screen including Olivia Colman, Helena Bonham Carter, David Suchet, Dame Penelope Keith, Timothy West, Jamael Westman, Tobias Menzies, Aimee Lou Wood, Grace Saif, Dame Penelope Wilton, and Julie Hesmondhalgh have joined forces to perform Shakespeare’s 154 sonnets for Jermyn Street Theatre, a 70-seat studio in London’s West End.
Michael Pennington and Kirsty Bushell shine in a clever take on the The Tempest at the Jermyn Street Theatre
“Thy food shall be fresh-brook mussels”
It is not one of my favourite Shakespeare plays and so I rarely seek it out these days, but the prospect of seeing actors of the calibre of Michael Pennington and Kirsty Bushell in the intimacy of the Jermyn Street Theatre got me along to The Tempest there. It also helped that it was directed by Tom Littler, whose inventive reworking of All’s Well That Ends Well last year was its own little piece of magic.
Aging Prospero upwards a little has a distinct impact on the tenor of the play. From the opening scene where he wreaks stormy havoc with a touch of malevolence via a toy boat to the air of almost-relieved resignation that comes at the close, there’s a palpable sense of the prospect of vengeance having fired him on in later years yet Pennington balances brutality with benevolence throughout, suggesting perhaps it was closure rather than revenge that was actually his driving force. Continue reading “Review: The Tempest, Jermyn Street Theatre”