News: 2021-22 shows at the National Theatre
Late summer casting news
Vivienne Acheampong, Adelayo Adedayo, Ray Emmet Brown, Ernest Kingsley Jnr, Tamara Lawrance, Rudolphe Mdlongwa, Mark Monero and Cecilia Noble have been cast in the UK premiere of Is God Is written by Aleshea Harris and directed by Royal Court Associate Director Ola Ince.
Is God Is by Aleshea Harris will run in the Royal Court Jerwood Theatre Downstairs from Friday 10 September 2021 – Saturday 23 October 2021 with press night on Thursday 16 September 2021, 7.30pm.
With set design by Chloe Lamford, costume design by Natalie Pryce, lighting design by Simisola Lucia Majekodumni, composition by Renell Shaw, sound design by Max Perryment, movement direction from Imogen Knight, choreography by Jordan ‘JFunk’ Franklin and special effects design by Susanna Peretz. The associate designer is Shankho Chaudhuri, the assistant director is Leian John-Baptiste, the dialect coach is Dawn-Elin Fraser and the fight director is Philip D’Orléans. Continue reading “Late summer casting news”
News: The National Theatre announces 2021-22 programming and launches National Theatre Together
The National Theatre announces new programming and launches a major new campaign for its future, National Theatre Together
The National Theatre has announced its programming until the start of next year with productions on all three South Bank stages as well as three major UK tours, two productions on Broadway, a return to cinemas, and a new feature film to be broadcast on television this autumn. In the week the theatre reopened for audiences again, six new productions were announced, and five productions halted by the pandemic were confirmed to return to the South Bank.
It has also announced the public launch of National Theatre Together, a new campaign with people at its heart, highlighting the importance of creativity and collaboration with theatre-makers and communities, for young people and audiences. The campaign cements the NT’s commitment to the people of this country and will raise vital funds for the theatre’s ambitious recovery post-pandemic. Continue reading “News: The National Theatre announces 2021-22 programming and launches National Theatre Together”
News, such theatre news!
It’s so exciting to have an inbox full of theatre announcements – here’s a recap of some of the ones that are most piquing my interest at the moment
The Lawrence Batley Theatre, Huddersfield and The Dukes, Lancaster announce the full cast of their digital co-production of The Importance of Being Earnest by Yasmeen Khan.
The full cast is Gurjeet Singh (Ackley Bridge, Wuthering Heights), Tom Dixon (Twelfth Night, Romeo & Juliet), Mina Anwar (Everybody’s Talking About Jamie, The Thin Blue Line), Nikki Patel (Trojan Horse, Coronation Street), Zoe Iqbal (Finding Fatimah, Ackley Bridge) and Melanie Marshall (Jane Eyre); with appearances from finalist of RuPaul’s Drag Race UK Divina De Campo, star of stage and screen Paul Chahidi, award-winning actor, comedian and writer Hugh Dennis, actress Harriet Thorpe (Absolutely Fabulous) and comedian Sindhu Vee. Continue reading “News, such theatre news!”
News: The Mono Box launch The Monologue Library
I mean, just look at this absolute treasure trove of theatrical talent!
We are proud to announce the launch of THE MONOLOGUE LIBRARY, an audio love letter to the industry. #MonoLibrary is a FREE resource of over 100 monologues recorded by professional actors in isolation to celebrate, commiserate & share speeches that mean something to them now… pic.twitter.com/GuT7Y7wQ1q
— The Mono Box (@TheMonoBox) May 1, 2020
I’m off to listen to Patsy Ferran read Tom Wells, and Gabby Wong read Alexi Kaye Campbell, and Sarah Niles read Winsome Pinnock and…and…
This incredible resource is free but like so many creative endeavours right now, would benefit hugely from your donations here.
News: the National Theatre announces 9 new productions for 2020-21
Lots of exciting news coming out of the National Theatre today, including actors Nicola Walker, Giles Terera and Kristin Scott Thomas, directors Simon Stone, Lynette Linton and Nicole Charles, and returns for Small Island, Beginning and The Ocean at the End of the Lane
The National Theatre has today announced nine productions that will play on the South Bank in 2020-2021 alongside previously announced shows. These run alongside their international touring productions, three plays that will tour to multiple venues across the UK and a West End transfer. The NT also announces today that it will increase the quantity of low-price tickets on the South Bank by 25%, with 250,000 available across the year at £20 or less.
In the Olivier Theatre the critically acclaimed production of Andrea Levy’s epic novel Small Island directed by Rufus Norris returns following a sold-out run in 2019. Adapted for the stage by Helen Edmundson, the revival will run from late October 2020 with casting to be announced. Continue reading “News: the National Theatre announces 9 new productions for 2020-21”
Re-review: Beginning, Ambassadors
“If you knew everything about my life, you wouldn’t like me.
‘I don’t think there’s a person in this world you could say any different about.'”
Things worth beginning:
– a nice run of plays transferring into the Ambassadors as it really is a nicely intimate theatre and obvs it has now been released from the long-running tyranny of Stomp
– a playlist based on cheesy tunes in the style of Modjo’s Lady (Hear Me Tonight), or maybe just find my copy of Now 47
– a reassessment of David Eldridge (on my part at least) as the troubled memory of The Knot of the Heart far outweighs the glories of In Basildon in my mind
– redecorating the kitchen, using the beautiful tiling from Fly Davis’ design as an inspiration
and
– cooking myself a fish finger in said kitchen when I am sober (I honestly don’t think I’ve ever had one sober!) (I’d be using tartare sauce though, none of this ketchup/mayo combo nonsense)
Review: Beginning, National Theatre
“I feel like my life’s turning on the toss of a coin”
There’s something about the sweet spot as the embers of a house party start to die out – people lingering behind usually there for a reason (as in the prettiest boy I ever did kiss), conversations that delve right into the deep stuff. And so it is for Laura and Danny in David Eldridge’s new play Beginning – it’s 2.40am and he’s the last one left at the housewarming do at her new pad in Crouch End.
But it’s not quite as simple as that (it never is – that boy moved to LA). Both firmly middle-aged, the weight of Laura and Danny’s potential encounter is revealed to be ever more significant as they edge towards a truth that there might be more than just a quickie on the cards, that the spark of a connection they both might be feeling could be the beginning of something more and not just a reaction to the intense loneliness they’re both feeling in this modern world. They’ve just got to get to that point. Continue reading “Review: Beginning, National Theatre”
TV Review: The Scandalous Lady W
“My mother did not tell me playing rantum-scantum would be thus”
To be in a marriage where your partner wants you to sleep with Oliver Chris on the side might seem like an ideal scenario for several people I know, but as The Scandalous Lady W shows us, dreams rarely match up to reality. Continuing my belated catch-up of TV from throughout 2015, BBC2 repeated this 90 minute drama from the summer and finally having the time to watch things, I sat down for some Georgian shenanigans.
Written by David Eldridge from Hallie Rubenhold’s book Lady Worsley’s Whim, The Scandalous Lady W tells the sorry marital woes of Seymour, Lady Worsley. Married to Tory MP Sir Richard Worsley, the heiress was taken aback to discover that his carnal desires stretched wanting her to sleep with other men whilst he peeped through the keyhole and whilst she complied at first – a man’s wife being his property and all – she eventually eloped with one of them. Continue reading “TV Review: The Scandalous Lady W”
Review: In Basildon, Royal Court
“There’s no new beginnings for families like ours. And there never has been.”
One of David Eldridge’s most recent previous plays – The Knot of the Heart for the Almeida – proved to be one of the most divisive I’ve experienced in terms of the response from the critics who lauded it and so many of the bloggers and audience members of my acquaintance who really did not like it at all. So when the new season at the Royal Court was announced featuring a new play by him, I was OK with not booking it as it helped me with my ‘I will cut down on the amount of theatre I see’ mantra. But then they announced the cast and as soon as I saw the names Linda Bassett and Ruth Sheen I knew that I would have to book for In Basildon. Bassett blew me away in the Arcola’s undersung The Road To Mecca and Sheen is an actress whose work I have recently revisited and adored in recent Mike Leigh films, and the Leigh connection is furthered with the presence of other regular collaborators Peter Wight and Wendy Nottingham. So I was a mixture of reluctance and eager anticipation as I schlepped off to Sloane Square to catch the final preview.
Dying from prostate cancer, salt-of-the-earth Len has returned to the home he inherited from his parents as friends and family gather round his sickbed. Sister Doreen and best friend Ken lead the group but the atmosphere is shaken by the return of estranged sister Maureen who hasn’t spoken to ‘Dor’ in nearly 20 years. As Len passes away, attention turns to his will as everyone seems to have a claim on something, including Pam from next door, Doreen’s son Barry and his wife, and Shelley, Maureen’s daughter and Eldridge explores the tensions that emerge from these family loyalties and how they change over time and across the generations. The complexities of sibling relationships are brutally exposed but also overlaid with a frank discussion about class and how it is intrinsically connected to location, their working-class politics shaped by hard-earned experience. Confrontational, conflicted and compelling, Eldridge’s writing speaks with the darkest of humour but also the ring of a deep emotional truth. It’s just a shame that the Royal Court have decided to play the ‘tricksy’ card with the staging. Continue reading “Review: In Basildon, Royal Court”