As a means of bringing joy and creativity into homes during these uncertain times, the Rose is launching the ‘Readings from the Rose’ initiative
Several prominent actors and creatives in the industry have filmed themselves reading their favourite poems and the Rose will be releasing one reading every day at 1pm across 14 days.
These readings can be accessed by anyone completely free of charge on the Rose’s YouTube and Instagram channels, in the hope that they will bring some light entertainment to audiences while theatres are dark. Continue reading “News: Readings from the Rose launched”
So much goodness! The National Theatre have just announced details of productions stretching deep into 2020, and with writers like Lucy Kirkwood, Kate Tempest, Roy Williams and Tony Kushner, and actors like Lesley Manville, Maxine Peake, Conleth Hill, Cecilia Noble and Lesley Sharp, it is hard not to feel excited about what’s ahead.
Following a sell-out run at Rose Theatre Kingston, the acclaimed two-part adaptation of Elena Ferrante’s MY BRILLIANT FRIEND by April De Angelis is reworked for the Olivier stage by Melly Still (Coram Boy). When the most important person in her life goes missing without a trace, Lenu Greco, now a celebrated author, begins to recall a relationship of more than 60 years. Continue reading “News: the National Theatre announces 15 new productions for 2019 and 2020”
The reliance on an all-white cast to tell Hogarth’s Progress is another mis-step from a Rose Theatre Kingston who should know better
“We’ve all had our share of bad reviews”
The oft-misquoted George Santayana once said “those who cannot remember the past are condemned to repeat it” and taking a glance at Nick Dear’s Hogarth’s Progress, you can’t help but feel it is most apposite for the folks at the Rose Theatre Kingston. Once again, they’re tackling a slice of English history in a multi-play format and once again, they’re doing it with a lily-white cast – diversity be damned!
It’s a bit exhausting to go over the same arguments but they still hold true. The notion of historical verisimilitude holds no water, not least because Dear has talked about employing dramatic licence with history itself, but because once again we’re not talking about German actresses being employed to play Queen Caroline (it is Susannah Harker, with an accent). We’re talking about directors not trusting that audiences will accept actors of colour in such roles, but also not doing enough to challenge such audience-held perceptions. Continue reading “Review: Hogarth’s Progress, Rose Theatre Kingston”
“The thing that I’m scared of is that everything will break”
Elena Ferrante’s quartet of Neapolitan Novels have been a literary sensation since its first part, My Brilliant Friend, was published in 2012. A forthcoming Italian television adaptation will take 32 50-minute instalments to cover the story of the friendship between two Neapolitan women but April De Angelis has condensed the four into a single play, presented in two parts which can be viewed as a double bill or on separate evenings if 5 hours of theatre in a day seems like too much of a challenge. Read my review for This Is My Town here, find production photos for both parts here and get more info on the show here.
Running time: each part is 2 hours 30 minutes (with interval)
Booking until 2nd April
2017 is only just over a week away now and the reviewing diary is already filling up! All sorts of headline-grabbing West End shows have already been announced (The Glass Menagerie, Who’s Afraid Of Virginia Woolf, Don Juan In Soho, The Goat, Or Who Is Sylvia) and the National look to continue a sensational year with another (Twelfth Night, Consent, the heaven-sent Angels in America), so this list is looking a little further afield to the London fringe and some of the UK theatres I hope to get to throughout the year.
After hearing Elizabeth Newman speak passionately on a panel discussion about women’s theatre, I kinda have a big (intellectual) crush on her, so I’m very keen to see her tackle a new adaptation by Deborah McAndrew of the classic Anne Bronte novel in a theatre that is very close to my heart.
Continue reading “20 shows to look forward to in 2017”
Best Performance in a Play
Paapa Essiedu for HAMLET, a Royal Shakespeare Company production
Best Supporting Performance
Rebecca Trehearn for SHOW BOAT, a Sheffield Theatres production Continue reading “Full list of 2016 UK Theatre Awards winners”
“I can’t handle another book right now”
Quite the coup for the Rose Kingston this, not just in John Malkovich’s London debut as a director but in the English language premiere of Zach Helm’s 2006 play Good Canary. The two go hand in hand though, Malkovich having previously helmed its opening run in France (as Le Bon Canari) and then its subsequent production in Mexico (El Buen Canario), a clear affinity for the material bringing him back time and again.
The play is a hard-hitting, at times searing, examination of mental illness and how they intersect both with the creative process and the reality of being a woman in the contemporary USA. On top of the world after great notices for his first novel, Harry Lloyd’s Jack is mulling over a big bucks offer for the next but his wife Annie, Freya Mavor, is self-medicating her mental health with a hefty speed addiction and neither are clear what impact such a change might have on their lives. Continue reading “Review: Good Canary, Rose Theatre Kingston”
“Sight may distinguish of colours, but suddenly to nominate them all, it is impossible”
First things first for this is too important an issue to be brushed under the carpet, too vital a conversation to not too have because a press release has been summarily issued, the “historical verisimilitude” justification for Trevor Nunn’s decision to cast an all-white company for his Wars of the Roses play cycle is just pure bunkum. At one point in Henry VI, a Norwegian man and a British woman appear on a balcony playing French characters but it’s OK because we’re in a theatre, they’re acting, the natural suspension of disbelief kicks in.
Similarly later on, the four sons of Richard of York appear, three played by adults and one by a boy. Historians might point out that the son played by the boy was the second oldest of York’s surviving issue but again it’s not really that important in the grand scheme of things, theatrical license is granted and it allows for more poignant drama given his ultimate fate. So the historical accuracy argument clearly has little merit, lest we need reminding that Shakespeare is fiction, and the notion that the audience couldn’t connect family trees unless everyone is the same colour is frankly insulting. Continue reading “Review: The Wars of the Roses, Rose Theatre Kingston (Nunns-splaining and overview)”
“Every tale condemns me for a villain”
Undoubtedly the best known of the constituent plays of The Wars of the Roses, Richard III appears in a slightly shortened version to wrap up nearly nine hours of theatre. And as such it is solid rather than spectacular, not hugely notable in its own right but slotting perfectly into place as the final piece of this epic trilogy. The culmination of over half a century of internecine conflict, several lifetimes of ruthless ambition and no little amount of pitiless bloodletting, the end is brutal but welcomed.
Robert Sheehan’s Richard dances darkly across the stage, quick as you like in vicious word and bloody deed, and gives forth enough charisma to suggest he could hold many in thrall. Aided by the Mandelson-like spin from Alexander Hanson’s Buckingham and any number of factotums willing to carry out dastardly requests, he is able to effectively play on the sense of a ruined society that has been built over the preceding two plays. Continue reading “Review: Richard III, The Wars of the Roses at the Rose Theatre Kingston”