Maureen Lipman stars in Rose, a forcefully lengthy one-woman play by Martin Sherman
“She laughed. And then she blew her nose. She had a cold. The bullet struck her forehead. It caught her in the middle of a thought. She was nine. I’m sitting shivah. You say shivah for the dead.”
First aired via the Hope Mill Theatre last year, Martin Sherman’s monologue Rose is an uncompromisingly tough and tender look at the twentieth century Jewish experience through the eyes of one woman. From childhood in a small village in Ukraine to navigating the American dream in Miami, with plenty of pitstops inbetween, incorporating tumultuous historical events too.
Scott Le Crass’ production is sensitively done, focusing on a straightforwardness to Maureen Lipman’s delivery that is hard to deny. A light touch of newsreel footage ushers us gently along the timeline and Sherman’s writing is always absolutely human, so that the epic becomes intimate, even as its injustices break our heart. Tough watching but dramatically powerful.
Rose is available to watch on Sky Arts
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”
The OnComm is the new award for online shows from across the UK (and beyond) and was introduced in
1. Recording pre-lockdown (direct)
(i.e. with little or no editing)
Going Viral / Daniel Bye
Hysteria / Spymonkey
Jane Clegg / Finborough Theatre
The House Of Bernarda Alba / Graeae
2. Recording pre-lockdown (edited)
(i.e. with significant editing)
Bubble / Theatre Uncut
Cyprus Avenue / Royal Court & Abbey Theatre
SeaWall / Simon Stephens
The Encounter / Complicité Continue reading “The finalists of The ONCOMMs 2021”
As ever, the wait for the end-of-year lists of favourite plays and performances has to continue until I’ve actually stopped seeing theatre in 2017. But in the meantime, here’s a list of 11 of my top moments in a theatre in 2017, the things that first pop into my mind when someone says ‘what did you enjoy this year’. For reference, here’s my 2016 list, 2015 list and 2014 list.
Continue reading “11 of my top moments in a theatre in 2017”
#4 in the National Theatre’s Queer Theatre season of rehearsed readings
“I love you… What’s wrong with that?”
Perhaps one of the better known of these plays but still a new one to me, I really wasn’t prepared for the emotional trauma of Martin Sherman’s Bent whether I was hungover to fuck or not. Harrowing is barely the word to describe this dramatisation of the way in which the Nazis persecuted gay men in Germany before and during World War II and with this reading, directed by Stephen Daldry, taking place on Pride weekend, its impact was all the more emotional.
Russell Tovey (continuing his graduation into a properly fine actor) and George Mackay took on the lovers Max and Rudy, their coming together in the hedonism of Weimar Berlin shattered by the dawning of the Night of the Long Knives, the realisation of just how insidious the Third Reich is, and the astonishing lengths that people will go to in order to protect themselves at the expense of all they hold dear.
Continue reading “Review: Queer Theatre – Bent, National Theatre”
Not content with reviving the landmark drama Angels in America, the National Theatre will mark the 50th anniversary of the partial decriminalisation of homosexuality in England and Wales by staging its first Queer Theatre event series from 6th – 10th July 2017.
A group of world class actors and directors will look at how theatre has charted the LGBT+ experience through a series of rehearsed readings and post-show discussions in the Lyttelton Theatre. And looking at the list of readings announced below, it’s good to see a diversity of sexualities being represented and I hope that the rest of the programme continues to explore LBT+ lives as well as the G. Continue reading “National Theatre unveils Queer Theatre event series”
“Everyone loves a bit of filth”
I really enjoyed Mrs Henderson Presents when I saw it last year in Bath, it came 13th out of all the shows I saw in 2015, so I was most delighted to hear that it would be transferring into the West End. It managed the journey with its main cast almost entirely intact, Tracie Bennett, Ian Bartholomew and Emma Williams all there, just Mark Hadfield dipping out to (re)join The Painkiller and replaced by Jamie Foreman, and its opening at the Noël Coward Theatre has been largely very well received.
And second time around, it pleased me just as much as the first. Terry Johnson’s direction of this ineffably British show (as with Andy Capp, playing the spoons is up there with the Union Jack) and from my memory, I don’t think that much has significantly changed (though I’ve seen a lot in the intervening 7 months…). That means that the shonky narrator/compere role is still there, which still wears thin quickly, but it also means that its generosity of spirit and warmth of heart is very much present. Continue reading “Re-review: Mrs Henderson Presents, Noël Coward Theatre”
2016 is nearly upon and for once, I’ve hardly anything booked for the coming year and what I do have tickets for, I’m hardly that inspired by (the Garrick season has been ruined by the awfulness of the rear stalls seats, and I only got Harry Potter and the Cursed Child tickets due to FOMO). Not for the first time, I’m intending to see less theatre next year but I do have my eyes on a good few productions in the West End, fringe and beyond. Continue reading “20 shows to look forward to in 2016”
“Where’s that damn woman?”
That woman is of course Laura Henderson, a rich widow who in 1937 decides to save the Windmill Theatre from closure and together with Jewish entrepreneur Vivian Van Damm, introduces a continuous variety revue called Revudeville. And seeking to keep their nose ahead of their competitors, nudity is added to the bill, a la Moulin Rouge though unprecedented in the UK, but the censorship battles with the Lord Chamberlain’s office pales into insignificance once war breaks out and the theatre becomes a landmark, refusing to close even as London is battered by the Blitz.
Terry Johnson’s book for Mrs Henderson Presents wisely adapts Martin Sherman’s screenplay from the film of the same name to create a more tightly encapsulated world centred on the backstage lives of the theatre folk. It dives straight into the main story from the outset and switches things about just enough to keep anyone familiar with the film on their toes. And George Fenton and Simon Chamberlain’s score dances around the period beautifully, pastiche songs evoking the 30s spirit perfectly with a smattering of vaudevillean fun here and driving musical theatre anthems there, always remaining tuneful. Continue reading “Review: Mrs Henderson Presents, Theatre Royal Bath”
“I’m bored with widowhood”
As the aristocratic Lady Conway, Thelma Barlow’s amusing run through the options open to a rich widow of nearly 70 sets up Mrs Henderson Presents succinctly in its opening moments – Laura Henderson pricks her thumb trying embroidery as a hobby and bristles at the snobbery of the ladies who run charities for the deserving and so is left to spend money as she sees fit, alighting on the derelict Windmill Theatre which she purchases in a moment of inspiration as she passes in her car. Martin Sherman’s script is based on the true story of this woman who became an unlikely theatrical impresario and in director Stephen Frears’ hands, Judi Dench delivers a heart-warmingly cracking performance at the centre of a lovely film.
Set in the late 1930s, the story follows Laura as she and her theatre manager, Bob Hoskins’ cantankerous but inspired Vivian van Damm, set up a continuous variety revue called Revudeville and trying to keep ahead of a market full of copycats, they introduce still tableaux of female nudity into the show which becomes a roaring success. The onset of war casts a heavy shadow though and whilst the show continues, providing much needed entertainment and respite, as the bombs fall on London, the determination that the show must go on puts everyone in serious peril. Continue reading “DVD Review: Mrs Henderson Presents”