An hour plus of a straight white man justifying his affair or a modern classic? I go in for more Betrayal at the Theatre Royal Bath
“I thought it might be something like that. Something along those lines”
The things I do for the actresses I love. Despite the Herculean efforts of the Pinter at the Pinter festival, I still can’t say I am Harold’s biggest fan. But the announcement of Nancy Carroll in a play, alongside Ed Bennett and Joseph Millson, in these theatre-starved times was one I found hard to resist.
SIX reunite, The Theatre Channel switches on, The Shows Go On return and casting is revealed in Bath
The Reunion is the first stage+streaming concert performance by seven powerhouse vocalists who rose to fame as the original West End queens of the musical SIX: Aimie Atkinson,Alexia McIntosh,Grace Mouat,Jarneia Richard-Noel,Maiya Quansah-Breed,Millie O’Connell, and Natalie Paris. The show will be livestreamed by theatre platform Thespie but a lucky few will also be able to get tickets to see the concerts live on Saturday 10th and Sunday 11th October.
Performances will be held in Oval Space, a spacious and well-ventilated East London venue that has been entirely reimagined for safe, seated music and theatre performances. The seating plan is entirely flexible which allows seating to be customised to the audience that books. Audiences book for themselves and their household or support bubble only (to a maximum of six), and Thespie’s technology determines a seat plan that ensures safe spacing between households and optimises use of the space. Continue reading “More September theatre news”
The nominations for the 20th Annual WhatsOnStage Awards have been announced and I have a thought or two #justiceforAnneHathaway
As a publicly nominated affair, the What’s On Stage Awards always throw up an interesting set of nominations, as fanbases engage alongside theatregoers to produce an idiosyncratic reflection on the year. This year though, the nominees for the nine creative categories (Choreography, Costume Design, Direction, Graphic Design, Lighting Design, Musical Direction, Set Design, Sound Design and Video Design) have been decided by an independent panel of industry experts appointed, which has resulted in some pleasing inclusions for the likes of Equus and Small Island.
Acting-wise, the focus does land a little heavily on the more famous names (plus ça change) and that Supporting Actress in a Musical category is super-crowded (the Dear Evan Hansen mothers would have been a shoo-in for me there). My only real point of issue comes with the categorisation for the & Juliet players – are you really going to nominate Oliver Tompsett as a lead and then put Cassidy Janson in the supporting category? Did you not see the show, or get any of its message at all?!
A Slight Ache and The Dumb Waiter make Pinter Seven a stirring finale to Pinter at the Pinter at the Harold Pinter Theatre
“Speak to me of love”
Pinter Seven is the final entry in the Pinter at the Pinter season of limited-run short play revivals (a full length production of Betrayal then follows to cap everything off) and it is a fitting finale as it draws together two strong pieces in A Slight Ache and The Dumb Waiter and does wonders with both.
Danny Dyer and Martin Freeman play the slightly inept gunmen of the latter with a real sense of blokish glee as they banter to great effect in setting up for new job, while both suggesting a darkening and deepening of tone as they move closer to the truth of what they’re doing and why they’re there. Continue reading “Review: Pinter Seven, Harold Pinter Theatre”
A superbly cast double-bill of Party Time and Celebration makes up a sharp Pinter Six at the Harold Pinter Theatre
“My driver had to stop at a….what do you call it…roadblock.”
One of the benefits in producing such a wide-ranging festival as Pinter at the Pinter has been the flexibility in its programming, allowing for thematic evenings to emerge as opposed to a straight chronological trip through the canon. So here, Jamie Lloyd is able to bring together two plays set at gatherings, both conveniently cast for nine people.
The first social occasion is the most effective, 1991’s Party Timebegins with the sepulchral chords of Handel’s Sarabande in D Minor processed through an electronic filter and its partygoers sat in a line facing the audience. They’re members of a private club and we slowly learn that as they sip champagne, the world outside has gone to shit. Continue reading “Review: Pinter Six, Harold Pinter Theatre”