Lockdown treat: Gran by Ben Weatherill – HighTide Isolation Monologue

I loved Ben Weatherill’s Jellyfish with all of my heart, so I’m pleased to say that Gran – performed so very well by Sophie Melville – is really rather beautiful, even with its blatant scone baiting

This is part of the Love In The Time of Corona strand of Hightide’s Lighthouse Programme

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News: HighTide announces cast for Love In The Time of Corona

The writers and cast for the five monologues written for Love In The Time of Corona, as part of HighTide’s Lighthouse Programme, have now been released. 

Aisha Zia’s piece will be performed by Jade Anouka;
Katie Lyons takes on Morgan Lloyd Malcolm’s work;
Sophie Melville will share Ben Weatherill’s piece;
Dawn King’s will be presented by Shobna Gulati;
and spoken word artist Debris Stevenson will perform her own monologue.

These digital productions will be available for free on Hightide’s social media channels.

July theatre round-up

I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw  in July.

On Your Feet, aka the rhythm will get you, sometimes
the end of history…, aka how can you get cheese on toast so wrong
Equus, aka hell yes for Jessica Hung Han Yun’s lighting design
Games for Lovers, aka straight people be crazy
Captain Corelli’s Mandolin, aka the one that got my goat
The Girl on the Train, aka Philip McGinley in shorts
A Midsummer Night’s Dream, aka Another Dream? dream on
Uncle Vanya, aka I really need to stop booking for plays like this with casts like that 
Jellyfish, aka justice for the second best play of last year
Sweat, aka Clare Perkins should always be on in the West End
Sue Townsend’s The Secret Diary of Adrian Mole Aged 13 3/4 The Musical, aka yay for lovely new musicals in the West End
The Light in the Piazza, aka Molly Lynch fricking nails it
Jesus Christ Superstar, aka was third time the charm?
Continue reading “July theatre round-up”

The finalists of The Offies 2019

Some decisions that reflect my own nominations for the year, many others for plays I haven’t seen and as ever, some curious choices too.

DESIGN
COSTUME DESIGN
Gabriella Slade for Six at the Arts Theatre
Jonathan Lipman for Harold & Maude at the Charing Cross Theatre
Pam Tait for Rothschild & Sons at the Park Theatre

SET DESIGN
Bethany Wells for Distance at the Park Theatre
Francis O’Connor for Harold & Maude at the Charing Cross Theatre
Simon Daw for Humble Boy at the Orange Tree Theatre Continue reading “The finalists of The Offies 2019”

My 10 favourite shows of 2018

And so here we are, at the end of another year where I broke the 300 show mark despite wanting to see less. (I had a very quiet December by my standards at least…) Now where’s the vodka stingers…?!

1 Pericles, National Theatre
Pretty much everything I want theatre to be, a rhapsodic, true celebration of community. From the joyous riffing on Shakespeare through song and dance to its over-riding spirit of bonhomie, it takes something this inclusive to show you how exclusive so much theatre can be.

2 Jellyfish, Bush Theatre
Sometimes, reviewing can’t help but be personal and Ben Weatherill’s minor-key masterpiece for the Bush touched me incredibly deeply, making me (re)consider so much of my own experiences. It has to come back, it just has to. 

Company, Gielgud Theatre
Marianne Elliott’s production was so much more than the gender-swap that led the headline, the smartness of her adaptation making the work speak to today in ways you might not have thought possible, and delivered by one of the best companies you could have hoped for. 

4 Sunshine on Leith, Leeds Playhouse
I was entirely seduced by the film so the opportunity to finally see the musical was one I wasn’t going to give up lightly, and the trip to Leeds was well worth it, I don’t think I cried in happiness this much at a finale in ages. I’d love for a tour to come back and visit more English venues.

5 The Inheritance, Young Vic/Noel Coward Theatre
It says something that I was willing to go back to what is probably one of the most emotional pulverising theatrical experiences of my life. And the Part 1 finale was possibly even better second time around, the highlight of an exceptional new landmark piece.

6 To Have To Shoot Irishmen, Omnibus Clapham
Coming completely out of left field, this play with songs was a devastatingly moving work that had me completely gripped. I won’t be missing any of Lizzie Nunnery’s shows in the future.

7 Bury the Hatchet, Hope Theatre
On a criminally scorching evening, Out of the Forest Theatre made me forget the heat for a hugely entertaining hour which I could have watched right again then and there.

8 Nine Night, National Theatre/Trafalgar Studios
Taking the Dorfman, and then the West End, by storm, Natasha Gordon’s passionate family drama was as educative as entertaining, as well as utterly enthralling by the relevatory final scenes.

9 Hadestown, National Theatre
I booked to see this a second time before I’d even gotten home from the first – it was that enjoyable. 

10 Sweat, Donmar Warehouse
Sneaking in at the last moment, this delivered the Christmas message you didn’t know you needed. Brutally affecting.

Shows 11-25 under the cut Continue reading “My 10 favourite shows of 2018”

Review: Jellyfish, Bush Theatre

Almost impossibly tender and true, Ben Weatherill’s Jellyfish is a minor-key masterpiece at the Bush Theatre

“Do you think there will be people like us around for ever?”

I know a little something of what it is to be treated differently in this world. Whenever I took an exam at school, college, even university, I would be given extra time, usually an hour, because that was what disabled students got. Regardless of the fact that my only concern was being able to communicate effectively in big echoey halls – I’m deaf y’see – one category fit us all for the differently-abled… And that does something to you no matter how confident you are, to be shunted off to the special room even by the most well-meaning of souls and God knows I had some amazing teachers who provided invaluable help.

That feeling of being considered ‘different’ came flooding back to me while watching Ben Weatherill’s achingly beautiful play Jellyfish in the studio space at the Bush Theatre. It’s a feeling that dominates Kelly’s life. At 27, she’s convinced of her own independence and a burgeoning relationship with the slightly older Neil promises much. Kelly has Down’s Syndrome and lives with her mother Agnes though, a mother who has provided unerringly constant care for her daughter and can’t conceive that this could ever be a healthy relationship. She means well, so very well, but at what cost? Does the help she offers square with the needs of a young woman yearning for sexual maturity. Continue reading “Review: Jellyfish, Bush Theatre”