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!
Award season kicks into another gear with the arrival of the nominations for the 2020 Olivier Awards – & Juliet, Fiddler on the Roof and Dear Evan Hansen lead the musicals pack, Death of a Salesman and Rosmersholm the plays
As ever, Laurence giveth and he taketh away and it’s all subjective anyway.
- I’m really pleased to see the love for Amélie The Musical and The Ocean At The End Of The Lane but a little incredulous that Fairview received no nominations.
- The weird category shuffle that often happens has landed on ‘Best Entertainment or Comedy Play’ and ‘Best Family Show’ this year, leaving Emilia and Fleabag in a weird place that isn’t ‘Best New Play’ (last year they were divided into ‘Best Entertainment and Family’ and ‘Best New Comedy’.
- I had zero desire to see Fiddler on the Roof so can’t pass comment there but can’t help wishing the supporting role in a musical nominations weren’t quite so dominated by DEH.
- & Juliet’s director Luke Sheppard could rightfully feel snubbed, given the wealth of recognition the rest of the production has received.
- And whither Monica Dolan, Lucian Msamati, Melanie La Barrie, the cast of Three Sisters…(oh wait, they won the more significant award earlier in the year!)
Continue reading “2020 Laurence Olivier Awards nominations”
Renée Zellweger is sensational in Judy, a deeply moving account of Judy Garland’s final months in London directed by Rupert Goold
“I just want what everybody wants. I seem to have a harder time getting it.”
As if there were any doubt, Judy is a phenomenal success, and should see its star Renée Zellweger add to her tally of Academy Award nominations, if not the award itself. Loosely based on Peter Quilter’s play End of the Rainbow, it recalls the final year of Judy Garland’s life as a roll of the dice sees her decamp to London to perform in a series of concerts that she hoped would reignite interest in her career whose light was seriously fading in the US.
But years of substance abuse and the relentless ride of showbusiness have taken a serious toll, even just turning up on time proves a struggle (hard relate!) and that iconic voice can no longer be relied upon. Thus Tom Edge’s screenplay takes a slightly more realism-based approach than the play to show us the riskiness that accompanied Judy’s every step towards a stage and the slow, crushing realisation of what her life has amounted to. Continue reading “Film Review: Judy (2019)”
Proper award season is starting to kick into gear now with the reveal of the shortlist for the 2019 London Evening Standard Theatre Awards and an uncharacteristically strong set of nominations that will surprise a fair few. I had little love for Sweet Charity so I’d’ve bumped its nod for something else but generally speaking, I’m loving the love for Dorfman shows and the Royal Court and I hate the reminder that there’s a couple of things I mistakenly decided not to see (Out of Water, …kylie jenner)
BEST ACTOR in partnership with Ambassador Theatre Group
K. Todd Freeman Downstate, National Theatre (Dorfman)
Francis Guinan Downstate, National Theatre (Dorfman)
Tom Hiddleston Betrayal, Harold Pinter Theatre
Wendell Pierce Death of a Salesman, Young Vic & Piccadilly
Andrew Scott Present Laughter, Old Vic
NATASHA RICHARDSON AWARD FOR BEST ACTRESS in partnership with Christian Louboutin
Hayley Atwell Rosmersholm, Duke of York’s
Cecilia Noble Downstate, National Theatre (Dorfman) & Faith, Hope and Charity, National Theatre (Dorfman)
Dame Maggie Smith A German Life, Bridge
Juliet Stevenson The Doctor, Almeida
Anjana Vasan A Doll’s House, Lyric Hammersmith Continue reading “The 2019 London Evening Standard Theatre Awards – Shortlist announced”
Best Actor in a New Production of a Musical
Andy Nyman, Fiddler on the Roof, Menier Chocolate Factory
David Hunter, Waitress, Adelphi Theatre
David Ricardo-Pearce, Kiss Me, Kate, The Watermill Theatre
Kayi Ushe, Kinky Boots, UK Tour
Tom Bennett, Only Fools and Horses: The Musical, Theatre Royal Haymarket
Tyrone Huntley, The View UpStairs, Soho Theatre
Best Actress in a New Production of a Musical
Amara Okereke, Oklahoma!, Chichester Festival Theatre
Audrey Brisson, Amélie The Musical, UK Tour
Caroline Sheen, 9 to 5 The Musical, Savoy Theatre
Rebecca Trehearn, Kiss Me, Kate, The Watermill Theatre
Samantha Pauly, Evita, Regent’s Park Open Air Theatre
Sheridan Smith, Joseph and the Amazing Technicolor Dreamcoat, London Palladium Continue reading “2019 BroadwayWorld UK Awards Shortlist”
“Angry men don’t write the rules and guns don’t right the wrongs”
The season to be jolly is fast approaching but if the idea of Christmas cheer in the theatre leaves you, well, less than cheerful, then the Menier Chocolate Factory’s festive offering this year may well be up your street. The highly prolific director Jamie Lloyd is taking on Stephen Sondheim’s Assassins, which sees Sondheim’s music and lyrics coiled around John Weidman’s book exploring the men and women who tried (whether successfully or not) to assassinate a President of the United States.
It’s hardly the most Christmassy of shows and I think that is pretty much the point. And Sondheim’s enduring popularity (especially at this venue) makes it a safe bet even before the luxurious quality of the cast and company comes into the equation. I saw the first preview on Friday, my booking radar having gone a little awry as I was away when the tickets were released, so instead of reviewing the production, I’m offering you 10 things to look forward to and look out for and if I get to see the show later in the run, I’ll review it ‘properly’ then. Here be mild production spoilers (all hidden behind links).
Continue reading “Preview: Assassins, Menier Chocolate Factory”
“The jokes, the drugs, it all gets so tedious”
If you use Lovefilm, then you might have experienced that moment when you open the packet and you have no earthly clue as to what the film is that they have sent you. Compiling the list of films that you want to watch starts when you first open your account, which in my case was a good couple of years ago and the thought processes that go behind adding things, as you browse through various categories and names, remain a mystery as all sorts of random things end up on there. So I was genuinely intrigued by the prospect of Dead Babies and decided to pop in the DVD without googling it to if it would become clear to me.
And sure enough it soon did and in the most delightful of ways as two of my favourite actresses, Alexandra Gilbreath and Olivia Williams, popped up in the opening scenes. And based on a novel by Martin Amis, my hopes were fairly high. But good Lord they were soon dashed with what was really quite a terrible film. Set in a country house over a long weekend where a group of self-involved old college friends invite some American pals over in anticipation of some hard-core experimental drug taking, but William Marsh’s directorial debut revels far too much in depicting scenes of hedonistic debauchery at the expense of anything else. Continue reading “DVD Review: Dead Babies”
THE DIGITAL THEATRE BEST ACTRESS IN A PLAY
Sheridan Smith – Hedda Gabler at the Old Vic
Billie Piper – The Effect, Headlong at the National, Cottesloe
Hattie Morahan – A Doll’s House at the Young Vic
Jill Halfpenny – Abigail’s Party at the Menier Chocolate Factory & Wyndham’s
Julie Walters – The Last of the Haussmans at the National, Lyttelton
Sally Hawkins – Constellations at the Royal Court Upstairs & Duke of York’s
THE DIGITAL THEATRE BEST ACTOR IN A PLAY
Rupert Everett – The Judas Kiss at Hampstead
Adrian Lester – Red Velvet at the Tricycle
David Haig – The Madness of George III at the Apollo
David Suchet – Long Day’s Journey into Night at the Apollo
Luke Treadaway – The Curious Incident of the Dog in the Night-time at the National, Cottesloe
Mark Rylance – Twelfth Night & Richard III at Shakespeare’s Globe & the Apollo Continue reading “2013 What’s On Stage Award nominations”
“Our nation’s culture. Not something you can actually read, of course.”
There’s something mildly amusing about the above quote, which refers to Shakespeare by the way, given the Bardathon currently going on at the Globe and beyond and it is one that I didn’t pick up the first time I saw Abigail’s Party. I’d never seen it before despite the Alison Steadman version being a cult classic and so the whole show was a revelation to me, especially in how dark it was given I’d assumed it was more of a comedy. That original review from this production’s original run at the Menier Chocolate Factory can be read here but it has now made the leap into the West End at the Wyndhams where it will run for the summer after it sold out at the Menier.
I don’t really have much more to add about the show second time round, except to say that the Wyndhams is a great fit for it, the sense of intimacy is still there as Beverly’s living room occupies a letterbox set on the larger stage and has brought with it all the beautifully observed period details. Performances remain sharp across the board, Natalie Casey really is excellent as the gin-soaked Ange, Andy Nyman oozes unreconstructed machismo as Laurence and Jill Halfpenny sweeps all before her as the acidic Beverly. Continue reading “Re-review: Abigail’s Party, Wyndham’s Theatre”