I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time taking a turn to the many David Hare productions he has been witness to. Highly recommended (the photos, not the Hare):
Photos: Tristram Kenton
I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in July.
On Your Feet, aka the rhythm will get you, sometimes
the end of history…, aka how can you get cheese on toast so wrong
Equus, aka hell yes for Jessica Hung Han Yun’s lighting design
Games for Lovers, aka straight people be crazy
Captain Corelli’s Mandolin, aka the one that got my goat
The Girl on the Train, aka Philip McGinley in shorts
A Midsummer Night’s Dream, aka Another Dream? dream on
Uncle Vanya, aka I really need to stop booking for plays like this with casts like that
Jellyfish, aka justice for the second best play of last year
Sweat, aka Clare Perkins should always be on in the West End
Sue Townsend’s The Secret Diary of Adrian Mole Aged 13 3/4 The Musical, aka yay for lovely new musicals in the West End
The Light in the Piazza, aka Molly Lynch fricking nails it
Jesus Christ Superstar, aka was third time the charm?
Continue reading “July theatre round-up”
If Beale Street Could Talk
Mary Poppins Returns
A Star Is Born
Damien Chazelle – First Man
Bradley Cooper – A Star Is Born
Alfonso Cuarón – Roma
Peter Farrelly – Green Book
Yorgos Lanthimos – The Favourite
Spike Lee – BlacKkKlansman
Adam McKay – Vice Continue reading “24th Critics’ Choice Awards nominees”
Camden Stands with Grenfell Tower: An evening of music and poetry in aid of Grenfell Tower Fire Fund.
Hosted by Ché Walker, Friday 23rd June sees a night of music and poetry in honour of the victims of the Grenfell Tower tragedy and to benefit the Grenfell Tower Fire Fund. Doors will open at 7pm, with the event starting at 7.30pm at Wac Arts’ premises near Belsize Park.
Tickets £20, £10 concessions: bookings can be made online here.
If you want to donate directly to the fund established by Queen’s Park Councillor Eartha Pond, the link is https://www.gofundme.com/grenfell-tower-fire-fund. Continue reading “News: Camden Stands with Grenfell Tower – an evening of music and poetry”
“Open your eyes, what do you see?”
It may well have had much to do with the fact that I was knackered after the previous six but I have to admit that the seventh final session of the Women Centre Stage: Power Play Festival was probably my least favourite of the day. The 24 Hour Plays | Making Headlines programme saw writers respond to headlines of the moment to create rapid response plays – none of which really lived up to the quality of the programmed works that had preceded them.
There were lots of interesting ideas floating around – Rebecca Lenkiewicz and director Anna Ledwich’s scorching take-down of Vogue’s declaration that the cleavage is out of fashion probably worked the best, interleaved with a young woman’s desperate search for adequate healthcare and the inadequacy of male responses to a serious discussion about breasts. And Charlene James’ kidnap drama with a twist gave Maggie Steed a cracking part to play, directed by Alice Hamilton. Continue reading “Review: Women Centre Stage: Power Play Festival – 24 Hour Plays | Making Headlines”
Monday 14th November sees the launch of the Women Centre Stage: Power Play Festival at Hampstead Theatre and The Actors Centre. Produced by Sphinx Theatre Company and Joanna Hedges, Women Centre Stage exists to promote, advocate for and inspire women in the arts and has developed and commissioned a wide range of new work which uniquely brings together a diverse array of women characters far from the margins into centre stage.
This is the second year of Women Centre Stage and the festival features a range of workshops and creative comings-together which will culminate in the Performance Day on Sunday 20th November which will feature seven programmes throughout the day. This will include opportunities to see emerging work from new and established writers, plays commissioned from last year’s festival, and see four playwrights respond the headlines of the day in writing a new play each in 24 hours.
Continue reading “News – Women Centre Stage: Power Play Festival begins”
“Hester, what have they done to you?”
2011 marked the centenary of the birth of Terence Rattigan and theatres across the country have paid their tribute to this oft-neglected playwright with a range of productions which have arguably pulled him back into fashion. London saw Flare Path and Cause Célèbre amongst others, Chichester devoted much of their season to his work, commissioning two new dramatic responses to his plays as well as South Downs (alongside The Browning Version) and Rattigan’s Nijinsky. But perhaps one of his greatest works is The Deep Blue Sea, of which I have seen two productions this year – one in Leeds with Maxine Peake and the other with Amanda Root in Chichester. And it is this play that has received the silver screen treatment in a film version by Terence Davies.
Davies has definitely taken the adage quality over quantity to heart – having produced just 4 dramatic feature films in a career that began in the mid-70s – but one of those is the Gillian Anderson starring The House of Mirth which is one of my all-time favourite films so I was intrigued to see what he had made of this story, of which I have grown uncommonly fond. Too fond as it turned out, because I was completely unable to judge the film as its own artistic entity and found myself constantly referring back to how it was differing from the play. Continue reading “Film Review: The Deep Blue Sea”
“What is the real truth of our lives?”
The Stock Da’Wa by David Eldridge was perhaps a surprising choice for me to go to given how strongly I reacted against his other play in London at the moment, The Knot of the Heart at the Almeida, but I do try to keep an open mind and be willing to have it changed. Plus, the downstairs at Hampstead Theatre season has been an interesting mix, featuring another strong cast here and the directorial return of the marvellous Kathy Burke.
Paul, a young heavily bearded man has returned to the village of Stock where he went to school. He’s reunited with his old English teacher Mr Wilson and Joan, the woman who was his unofficial foster mother, at her house and they are surprised to see him, not least because it is the dead of night but also because his nose and shirt is covered in blood. But this is no ordinary reunion, as we soon find out that it is 20 years since Paul was last here and he has changed a lot, there’s unresolved issues around the death of Joan’s son and everyone’s recollections of the past vary slightly on crucial details and are less rose-tinted than fractious and rancorous. Continue reading “Review: The Stock Da’Wa, Hampstead Downstairs”
“I, confused by this white dialectic…”
Opening a season of German plays at the Arcola Theatre is Dea Loher’s Innocence and I attended the first preview last night. Translated by David Tushingham, it is a series of vignettes about people struggling along on the edge of society, separate stories that slowly being to intertwine to form a portrait of a dark and depressed urban existence.
Things get off to a very sticky start with a horribly awkward scene where two characters consistently refer to themselves and their actions in the third person, whilst the other character delivers her lines in a regular manner. The cumulative effect of this is disorientating and really quite annoying, I was most definitely not a fan of this style, fortunately the rest of the first half was free from this strange device. It does recur for one scene in Act 2 but the rest is mercifully delivered straight.
One would imagine things will be tightened up before opening night, the current running time is 2 hours 45 minutes which could be shaved down with a much needed injection of pace into the second half, bhe main problem though for me was the lack of a dramatic hook to bring the piece together. The different strands amble slowly throughout the play, some of them connecting, some remaining discrete, but it lacks a defining moment to bring it all together and make it genuinely coherent and as it currently is, there’s not enough energy driving the stories along. Continue reading “Review: Innocence, Arcola Theatre”