The Black British Theatre Awards (BBTAs) is the UK’s first award show to celebrate the excellence and influence of Black performers and creatives within the UK theatre industry.
BEST DIRECTOR AWARD FOR A PLAY OR MUSICAL
Anthony Simpson-Pike, Lava, Bush Theatre
Miranda Cromwell, and breathe…, Almeida Theatre
Tinuke Craig, The Color Purple – at Home, Curve, in association with Birmingham Hippodrome
BEST MUSICAL DIRECTOR
Femi Temowo, and breathe…, Almeida Theatre
Ian Oakley, From Here, Chiswick Playhouse
Nadine Lee, Bagdad Cafe, The Old Vic
BEST PRODUCER AWARD
Almeida Theatre, and breathe…
Chris Steward and Shanay Holmes, West End Musical Celebration at Palace Theatre
Tanisha Spring, A Killer Party
BEST CHOREOGRAPHER AWARD
Dannielle ‘Rhimes’ Lecointe, The Sun, The Moon and The Stars, Theatre Royal Stratford East
Ingrid Mackinnon, Romeo and Juliet, Regent’s Park Open Air Theatre
Sarah Golding, Cruise, Duchess Theatre Continue reading “Nominations for the 2020 Black British Theatre Awards”
The National Theatre will return to performances with full capacity audiences from later this month. Additional seating will now be available for performances of After Life from 27 July alongside the previously-announced productions Rockets and Blue Lights in the Dorfman theatre and Paradise in the Olivier theatre, with extra tickets going on sale to the public from Monday 19 July.
Tickets for The Normal Heart, East is East, Manor and Hex on sale to the public from Friday 30 July. Continue reading “News: National Theatre On Sale, July 2021 – January 2022”
It’s so exciting to have an inbox full of theatre announcements – here’s a recap of some of the ones that are most piquing my interest at the moment
The Lawrence Batley Theatre, Huddersfield and The Dukes, Lancaster announce the full cast of their digital co-production of The Importance of Being Earnest by Yasmeen Khan.
The full cast is Gurjeet Singh (Ackley Bridge, Wuthering Heights), Tom Dixon (Twelfth Night, Romeo & Juliet), Mina Anwar (Everybody’s Talking About Jamie, The Thin Blue Line), Nikki Patel (Trojan Horse, Coronation Street), Zoe Iqbal (Finding Fatimah, Ackley Bridge) and Melanie Marshall (Jane Eyre); with appearances from finalist of RuPaul’s Drag Race UK Divina De Campo, star of stage and screen Paul Chahidi, award-winning actor, comedian and writer Hugh Dennis, actress Harriet Thorpe (Absolutely Fabulous) and comedian Sindhu Vee. Continue reading “News, such theatre news!”
The National Theatre today announces plans to reopen in June, welcoming audiences back to the South Bank for the first time since closing last December. The Olivier and Dorfman Theatres will reopen in June 2021 with Dylan Thomas’ Under Milk Wood and new play by Jack Thorne After Life. Continue reading “News: Olivier and Dorfman Theatres to reopen in June 2021 with Under Milk Wood and After Life”
Kwame Kwei-Armah, Artistic Director of the Young Vic, today announces the cast of The New Tomorrow, a weekend of pop-up performances celebrating the Young Vic’s 50th birthday. The New Tomorrow – the first piece of live theatre at the Young Vic since the pandemic closed UK theatres in March – will interrogate the change that has come and is coming, and what the next 50 years might hold.
Ronkẹ Adékọluẹ́jọ́, Adjoa Andoh, Matthew Dunster, Paapa Essiedu, Martina Laird, Anoushka Lucas and Sophie Stone will perform short works from writers and artists Jade Anouka, Marina Carr, Jasmine Lee-Jones, Ruth Madeley, Amy Ng, Stef Smith, Jack Thorne, Isobel Waller-Bridge and Steve Waters, directed by Young Vic Genesis Fellow and Associate Director Jennifer Tang. The performance will be hosted by Kwame Kwei-Armah, and also feature speeches from activists Shahidha Bari and Tom Gill, with Kwame Kwei-Armah Jr. as DJ. Continue reading “News: amazing cast announced for the Young Vic’s The New Tomorrow”
A fatally muddled tone means Been So Long ends up less than the sum of its parts, despite glorious lead performances from Arinzé Kene and Michaela Coel
“People don’t want inclusivity mate, they want exclusivity. And something for the gluten-intolerant”
I really wanted to like Been So Long, and can imagine it having worked well on the stage (it played the Young Vic in 2009) but something has definitely been lost in translation with this screen adaptation here. It is mildly curious as the film is written by Ché Walker, scribe of the original play and the subsequent stage musical, but maybe this was a step too far?
One of the main problems for me is that crucial issue of tone. As a love story set in contemporary Camden, and in which Camden plays a central role, there’s a tendency towards gritty naturalism, particularly in showing the home lives of its protagonists, new ex-con Raymond (Arinzé Kene) and single mum of a disabled daughter Simone (Michaela Coel). Continue reading “Film Review: Been So Long (2018)”
On the one hand, that the Vault Festival has expanded to over 300 shows running over 8 weeks is fantastic news for the emerging theatremakers that it supports. On the other, it means making the choice about what to see, even tackling the catalogue alone can feel somewhat daunting. It has taken me a wee while to get round to delving into it myself, but as the festival is set to open this week, here’s some of my top tips for each week. Continue reading “2018 Vault Festival – what to see”
“I know your moustache…”
What to do when you want your new film to be a new version of one of Agatha Christie’s most famous whodunnits? Well if you’re Kenneth Branagh, you call in some of your mates to play the main characters, friends like Dame Judi Dench, Johnny Depp, Michelle Pfeiffer, Olivia Colman, Penélope Cruz, Daisy Ridley, Leslie Odom Jr., Josh Gad, and Willem Dafoe. Plus you can also get some real talent to fill the minor roles – blink and you might miss the likes of Paapa Essiedu, Miranda Raison, Hadley Fraser, Adam Garcia, even Sergei Polunin.
But if you’re Kenneth Branagh, you also cast yourself as Hercule Poirot and as he’s directing himself, there’s a sense that the sharing of some much-needed constructive feedback didn’t happen. For as his ridiculously huge moustache is placed front and centre in scene after scene, this Murder On The Orient Express feels nothing so much as a vanity project. Which is all well and good if you like that sort of thing, and I quite like Branagh as it happens, but it is absolutely fatal in a story that is intrinsically about the ensemble. Continue reading “Film Review: Murder On The Orient Express (2017)”