Don’t read on if you haven’t finished Series 4 of Unforgotten for major spoilers are within
“We are who we are – I don’t think you can ever really change that”
It’s a good job that Series 4 of Unforgotten aired as spring arrives in the air and the promise of easements is finally taking some of the sting out of lockdown life. For had it been on in the endless depths of the last few dark months, I don’t think I could have coped. Indeed, I’m not sure I can still really cope now even with it being 23 degrees outside.
They killed Nicola Walker! Again! I’ve barely recovered from how they did Ruth dirty, but given the way that episode 5 ended and the way people were talking at the beginning of episode 6, the writing was on the wall. And so as Sunny finally cracked the case and unwound the puzzle of Matthew Walsh’s death and the four young police officers intimately involved with it, DCI Cassie Stuart breathed her last. Continue reading “TV Review: Unforgotten, Series 4”
Just a brief reminder really that one of the TV highlights of the year (cos it will be, you know that) has just started – the fourth series of Unforgotten
“Why would someone keep a body for 30 years?”
My love for Nicola Walker has been one of the most consistent relationships in my life, so to see her land on the kind of project that people will rightly be talking about for years to come is highly satisfying. Chris Lang’s Unforgotten now enters its fourth series, an unlikely one you might have thought, given the way the last ended but it’s a welcome return indeed and one which deals adroitly with DCI Cassie Stuart’s uncertain relationship with her job.
Walker and Sanjeev Bhaskar’s Khan have lost none of their pleasingly undramatic chemistry as the deeply empathetic heads of the never knowingly over-worked cold case department, this time dealing with the discovery of a headless, handless body in a discarded freezer. And as ever, the casting is nigh on perfect (Victor Jenkins for this series) as the likes of the brilliant Liz White and Susan Lynch – both performers who do ‘sad’ so heartbreakingly well – emerge as part of the web of people intimately connected with the crime, the details of which will spill forth over the next five weeks. Can’t wait!
With an unerring sense of timing, our dark November evenings now have the chance of being brightened by the theatrical wonder that was Morgan Lloyd Malcolm’s Emilia. An archived recording of the show’s 2019 West End production is being made available online for two weeks from 10th November.
I loved the show in its first run at the Globe and its subsequent transfer into the West End at the Vaudeville Theatre and I’m sure much of its power will be retained in its taping. And because the people behind the show really are good sorts, they’re using a pay-what-you-can model with the proceeds from the recording being shared across the entire team from the 2019 production. Continue reading “News: a stream of Emilia announced to get us through November”
Following a record number of 1,493 submissions to its Verity Bargate Award 2020, Soho Theatre today reveals the 20 plays that have been longlisted for the award. The shortlist will be announced at the end of September and the winner of the award announced in October.
Since 1982, the Verity Bargate Award, Soho Theatre’s foremost playwriting award, has uncovered the best new and emerging writers. It has launched the careers of some of Britain’s most established playwrights and screenwriters including Matt Charman (Bridge of Spies), Vicky Jones (HBO’s Run), Toby Whithouse (Doctor Who) and many, many more. This year’s award will be judged by a panel of industry experts including former Soho writers Phoebe Waller-Bridge, Arinzé Kene and Laura Wade, screenwriter Russell T Davies, actress and playwright Lolita Chakrabarti. The award is sponsored by Character 7 and chaired by film and television producer, Character 7’s Stephen Garrett. The Award honours Verity Bargate, Soho’s co-founder who passionately championed new writing during her time at the small but hugely influential fringe theatre, Soho Poly. Continue reading “News: Soho Theatre’s Verity Bargate Award 2020 Longlist Revealed”
The inaugural Women’s Prize for Playwriting has announced the 35 shortlisted scripts that will compete for its £12,000 prize. The prize is run by Ellie Keel Productions and Paines Plough, with production company 45North in association with Sonia Friedman Productions.
It was launched last year, to celebrate UK and Ireland-based writers who identify as female. The winning playwright will receive £12,000 in respect of an exclusive option for the lead producers – EKP and Paines Plough – to coproduce their play and the work will also be published by Samuel French. Continue reading “News: Women’s Prize for Playwriting shortlist announced”
Just a quick flag-up for this brilliant visual project from photographer Helen Murray. Her set of portraits entitled Widening the Lens is in partnership with Act for Change. So many absolute faves looking stunning here: see the whole set on Murray’s website.
The nominees for the 9th annual Mousetrap Awards are announced
These awards are voted for by young people, anyone aged 15-29 is invited to have their say as to who should pick up the trophies at the ceremony on Sunday 19th April. And while usual suspects Dear Evan Hansen, Waitress and & Juliet are leading the pack, it is nice to see such love for Small Island here too.
Mousetrap Theatre Projects strive to make London’s theatre scene accessible to young people, low-income families, mainstream and SEND state schools, and those with additional needs.
Voting is open until midnight on 23rd March via this link. Continue reading “Nominees for the 9th annual Mousetrap Awards”
Morgan Lloyd Malcolm’s Emilia transfers to the Vaudeville Theatre with all of its feminist fire and fun intact
“There’s a woman on the stage”
Is there anything currently on the London stage that is more gracefully eloquent than the moment that the transformative power of grief is writ large at a crucial point a third of the way into Emilia. It’s a rare moment of beautiful subtlety in a play that is more often considerably bolder in its sentiment but it’s also a mark of just how nuanced Nicole Charles’ production and Morgan Lloyd Malcolm’s writing is, even while some tie themselves in knots trying to square its historical and feminist credentials.
A transfer from Shakespeare’s Globe last summer (officially the 13th best show of the year doncha know) where its short run caught fire, its all-female and wonderfully diverse cast and creative team mean that all three of the Strand’s major playhouses currently have work written by women in them (I wonder when this last happened). And while that ought not to be noteworthy, god knows it still is and it all ties up rather neatly with Lloyd Malcolm’s writing. For though this is a play about a historical woman, it is also a play about all women. Continue reading “Review: Emilia, Vaudeville Theatre”
So much to keep on top of – pics from All About Eve, videos from Waitress, foodie secrets from Gingerline and casting news from Emilia
We’re just three weeks away from All About Eve starting previews and these rehearsal pics ought to whet anyone’s appetite.
And more importantly if you’ve not booked yet, details have been released about day seats and a front row lottery – this will definitely not be one to miss.
Day Seats: Available in person at the Box Office from 10am on a first come, first served basis. Maximum x2 per person. Limited availability. £25.00 per ticket.
Front Row Lottery: In partnership with Today Tix. More information on how to enter will be announced on the All About Eve social media channels from Friday 25 January 2019. Maximum x2 per person. £25.00 per ticket. Continue reading “Some goodies for a cold January Thursday”
I thoroughly enjoy getting to revisit the dark delights of new British musical The Grinning Man
“Laughter is the best medicine”
I loved The Grinning Man in both its incarnations – from Bristol’s Old Vic to the West End – and so I was most pleased to hear that it would be immortalised in vinyl, or whatever the digital equivalent is… A new British musical (book by Carl Grose, music by Tim Phillips and Marc Teitler, lyrics by all three plus Tom Morris) is always a thing to cherish, even when it is a queerly dark a thing as this.
It’s a live recording which has its pros and cons. Personally, I like hearing the response of a live audience, particularly in response to the devilishly dark humour of Julian Bleach’s Barkilphedro. And the raw passion you hear in the voices of Louis Maskell and Sanne den Besten as tragic lovers Grinpayne and Dea feels all the more urgent for not having that studio polish to rub off some of the more emotional edges. Continue reading “Album Review: The Grinning Man (2018 London Cast Live Recording)”