Spoiler-free territory as Daniel Craig steps into 007’s shoes for the last time in the lengthy and long-delayed No Time To Die
“You know, history isn’t kind to men who play God”
If anything has characterised Daniel Craig’s tenure as James Bond, then it has been a marked inconsistency in the quality of those films. The heights of Casino Royale were followed by the disappointments of Quantum of Solace, the game-changing Skyfall chased by an underwhelming Spectre. So the hope was certainly that No Time To Die, directed by Cary Joji Fukunaga
would follow the pattern of soaring to a high peak to round off this era.
And whilst it certainly climbs somewhat out of the valley, it is by no means an all-time classic Bond movie, despite the raft of rave reviews. It could safely be an hour shorter, it has one of those villains whose plan you’re never really quite sure about and much as I like Léa Seydoux, her Madeleine Swann being the Bond woman who gets to have a second film is a real heard-scratcher as the chemistry with Craig just isn’t there. Continue reading “Film Review: No Time To Die (2021)”
I mean, just look at this absolute treasure trove of theatrical talent!
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…
Not much festive cheer around at the Royal Court, but plenty of grimly insightful writing in Gurpreet Kaur Bhatti’s A Kind of People
“This will bleed and bleed”
Opening with the kind of house party you’d be quite happy to end up at after a few drinks down the pub, you can kinda see where the Royal Court is coming from in programming Gurpreet Kaur Bhatti’s A Kind of People over Christmas. But as in the tradition of all good parties – and most good plays – something goes wrong, conflict must arise, and any sense of festive cheer is soon Scrooged away.
Bhatti’s play is set in the bosom of a tight-knit multicultural, working class community, with mixed-race couple Gary and Nicky at its heart. With friends and family forever knocking on their door, their home doesn’t lack for conviviality but it is lacking space – they’re bursting out of the seams of their council flat. But Gary’s up for a promotion at work, with a serious pay rise, so things could be looking up. Continue reading “Review: A Kind of People, Royal Court”
Undeniably challenging but ultimately thought-provoking and impeccably designed, Exit the King plays at the National Theatre this summer
“You are going to die at the end of the play”
There’s something intriguing about the fact that Eugène Ionesco has never been programmed at the National Theatre before, perhaps a long-present euroscepticism guarding against a writer at the vanguard of the French avant garde scene (give how much Beckett gets staged, it’s clearly not anti-absurdism). But Rufus Norris has looked to rectify this by commissioning a new version of Le Roi se meurt from Patrick Marber, who also directs here.
And as an absurdist drama, Exit the King suggests a bit of different thinking. On the face of it, it’s a simple enough tale – a man is told he only has a day left to live and struggles to deal with it. But that man is a king – King Bérenger – and he’s over 400 years old. And his kingdom is dying around him, with him, stone walls cracking and crumbling away, its people disappearing into the ether, the darkness swallowing everything up whole. Continue reading “Review: Exit the King, National Theatre”
So much goodness announced here in the National Theatre’s near future – particularly excited for Nine Night’s transfer, what looks like a leading role for Siân Brooke and the prospect of Joanna Riding’s ‘Losing My Mind’.
National Theatre Season: July 2018 – January 2019
Nine Night, Natasha Gordon’s critically acclaimed debut play transfers to the West End following a sold-out run at the NT
Further cast announced for Antony and Cleopatra alongside Ralph Fiennes and Sophie Okonedo, playing from September
Cast confirmed for world premiere of David Hare’s new play I’m Not Running, including Siân Brooke, Alex Hassell and Joshua McGuire
Peter Brook returns to direct at the National Theatre for the first time in 50 years with The Prisoner, co-directed with Marie-Hélène Estienne
Following the acclaimed Consent, Nina Raine returns to the NT with her new play Stories starring Claudie Blakley
Anthony Neilson makes his NT debut with new play The Tell-Tale Heart, based on the short story by Edgar Allan Poe
Alexander Hanson and Joanna Riding to join the cast of Follies alongside Janie Dee and Peter Forbes, returning to the Olivier Theatre in February 2019
War Horse returns to the NT marking the centenary of Armistice Day
Antony and Cleopatra and I’m Not Running to broadcast to 65 countries worldwide as part of NT Live
To mark the 100th anniversary of the first women in the UK gaining the right to vote, the NT stages Courage Everywhere; a series of rehearsed readings, talks and screenings Continue reading “News: National Theatre Season: July 2018 – January 2019”
News, news everywhere – Joe Orton’s Loot has had its initial casting revealed in the shape of Calvin Demba and Sam Frenchum pictured up top, and the glorious Sinéad Matthews.
Continue reading “Round-up of news and treats and other interesting things”
“It may be nonsense but at least it’s not clever nonsense”
The problem with being addicted to theatre is that it can be hard to turn down things, even against your better instincts. I knew I didn’t really want to see Travesties so I didn’t go to the Menier but sure enough, it transferred into the West End to test my resistance further and I crumbled.
I should not have done.
Running time: 2 hours 30 minutes (with interval)
Booking until 29th April
“…now begrimed and black as mine own face”
For all the excitement of Kenneth Branagh’s announcement of his year long residency at the Garrick, the programme was lacking a certain diversity. So it’s pleasing to see that the Tricycle Theatre’s production of Red Velvet has been slotted in for a month, featuring a barnstorming lead performance from Adrian Lester and a fascinating insight into a piece of sorely neglected theatrical history.
My four star review for Cheap Theatre Tickets can be found here.
“A man dare not play the tyrant in London, because there are so many examples to encourage the subject to rebel.”
It may be The Beaux’ Stratagem but it is Mrs Sullen’s play. The most striking thing about Simon Godwin’s production of George Farquhar’s final Restoration comedy is its determinedly proto-feminist stance as Mrs Sullen – an independently wealthy woman now desperately unhappily married – is given surprising agency to express herself in a meaningful way and attempt to extricate herself from her situation. And in Susannah Fielding’s superbly silken performance, she’s exquisitely played as an almost tragicomic figure, endlessly entertaining in the raucous romping around but as Jon Clark’s lighting picks her out at the end of each act, capable of holding the entire Olivier theatre’s hearts in her hands.
The beaux ain’t too bad either. Farquhar’s plot centres on their attempts to marry into money after squandering their fortunes in London. Hoping news of their disgrace hasn’t reached the provinces, they head north and stop off in Lichfield, pretending to be master and servant, where their attentions fall on a rich young heiress and her unhappily married sister-in-law. Samuel Barnett’s Aimwell and Geoffrey Streatfeild’s Archer are a witty pair of fellows indeed, with a cracking line in beautifully cut overcoats too, as their avaricious adventures are soon overturned by amorous attentions as they can’t help but fall head over well-turned heel for their marks. Continue reading “Review: The Beaux’ Stratagem, National Theatre”
Ashley Zhangazha, for Ross in Macbeth (Crucible Theatre, Sheffield)
Amy Morgan, for Margery Pinchwife in The Country Wife (Royal Exchange Theatre, Manchester)
Lara Rossi, for Dol Common in The Alchemist (Liverpool Playhouse)
Jade Anouka, for Calpurnia, Metellus Cimber, and Pindarus in Julius Caesar (Donmar Warehouse)
Alys Daroy, for Yelena in The Wood Demon (Theatre Collection)
Holly Earl, for Bertha in The Father (Belgrade Theatre, Coventry)
Kurt Egyiawan, for Arsace in Berenice (Donmar Warehouse)
Paapa Essiedu, for Fenton in The Merry Wives of Windsor (Royal Shakespeare Company)
Johnny Flynn, for Viola in Twelfth Night (Globe Theatre and West End)
Aysha Kala, for Maid in Much Ado About Nothing (Royal Shakespeare Company)
Vanessa Kirby, for Masha in Three Sisters (Young Vic)
Simon Manyonda, for Lucius in Julius Caesar (Royal Shakespeare Company)
Luke Norris, for The Soldier in Antigone (National Theatre)
Ailish Symons, for Cecily in The Importance of Being Earnest (Lyric Theatre, Belfast)
Ellie Turner, for Fanny Hawthorn in Hindle Wakes (Finborough Theatre)