As a multi-authored, rapid-response foray into theatre-making, structured loosely around the section of a newspaper, it possesses an up-to-the-minute urgency that is rarely captured seen onstage. Pithy soundbites from Boris Johnson are torn apart (in the corking Crocus of Hope that forms the first page), the hollowness of Emily in Paris is exposed, and there’s variety in the vitriol too. Continue reading “Review: Royal Court’s Living Newspaper #3”
Living Newspaper #3 is written by Travis Alabanza, Gurpreet Kaur Bhatti, Nick Bruckman, Anupama Chandrasekhar, Zain Dada, Josh Elliott, Rabiah Hussain, Sami Ibrahim, Karen Laws, Eve Leigh, Chloë Moss, Anthony Neilson, Margaret Perry, and Rebecca Prichard.
The whole edition, which includes 15 filmed performances ranging from 2 – 15 minutes, is available to watch on the Living Newspaper Player until Sunday 11 April; so – much like an online paper – you can catch up on the news and supplements when it best suits you.Continue reading “News: writers and cast for Living Newspaper #3”
National Theatre reveals full cast for Dick Whittington including faves Melanie La Barrie and Amy Booth-Steel
As previously announced, pantomime comes to the National Theatre with Jude Christian and Cariad Lloyd’s hilarious and heartfelt version of Dick Whittington. First staged at Lyric Hammersmith in 2018 and freshly updated for 2020, Ned Bennett’s production will open in the socially distanced Olivier theatre on 11th December, lockdowns permitting, and tickets are now on sale.
The full cast includes Melanie La Barrie as Bow Belles, Dickie Beau as Sarah, Amy Booth-Steelas Queen Rat, Laura Checkleyas Mayor Pigeon, Lawrence Hodgson-Mullings as Dick Whittington, Georgina Onuorah as Alice and Cleve September as Tom Cat. Beth Hinton-Lever,Travis Kerry,Jaye Marshall, Ken Nguyen,Tinovimbanashe Sibanda and Christopher Tendai also join the company. Continue reading “News: National Theatre reveals full cast for Dick Whittington”
Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!)
Extraordinary Public Acts for a National Theatre
The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions. A truly joyous and momentous occasion.
No doubt about it, Nikolai Foster’s production of West Side Story for Curve Leicester is damn close to musical theatre perfection
“Could it be, yes it could something’s comin’, something good”
The Royal Exchange may have gotten there first this year but Nikolai Foster’s production of West Side Story for Leicester’s Curve proves an absolute triumph. Going down a similar route of featuring brand-new choreography, here by Ellen Kane, the familiar becomes something refreshing and new and hugely emotionally satisfying. From its opening moments which set the anti-immigrant tone like never before, through Musical Supervisor Sarah Travis’ incredible treatment of this iconic Bernstein score, to Kane’s sensational set-pieces which fill every inch of the Curve’s stage, this is damn close to musical theatre perfection.
It works so well because for all of the epic sweep of its Romeo and Juliet-inspired story, this is a very intimate reading of it. Jamie Muscato and Adriana Ivelisse really are exceptional as the ill-fated lovers Tony and Maria, delivering an unforced chemistry that is sweetness personified. Theirs is a heady, instant passion that feels so natural as to be entirely captivating. Their flirting is delicately but determinedly done – there’s no mistaking what ‘Tonight’ holds here – and something ignites in them when together. And as understated as their acting is, magic happens when they start to sing. Muscato’s ‘Maria’ is as good as I’ve ever heard in my life, as natural as breathing and then taken up to the heavens with a touch of wonder with his deeply expressive tenor. And Ivelisse’s thrilling soprano imbues ‘I Feel Pretty’ with just the right amount of character to refresh its familiar rhymes. Continue reading “Review: West Side Story, Curve”
The Public Acts programme produces another winner in As You Like It at Queen’s Theatre Hornchurch, community theatre at its absolute best
“All the world’s a stage And everybody’s in the show Nobody’s a pro”
I knew it would take something special to tempt me out of my summer hiatus and given that last year’s Pericles ended up being my show of the year, odds were that this year’s Public Acts production would be the one. And sure enough, Shaina Taub and Laurie Woolery’s adaptation of As You Like It at the Queen’s Theatre Hornchurch was another truly joyous event, a real celebration of community theatre and all its glorious power to involve, instruct and inspire.
And with a company that totals over 100 people, it is not hard to see why. Just the mere fact of seeing that many people on a stage is enough to warm the cockles, particularly when it genuinely embraces diversity in race, ability, age and more. Throw in an ebullient, musical take on Shakespeare’s comedy and a creative team clearly relishing letting their imagination run wild and the result is completely beguiling, emotionally true and really quite affecting – they were tears of happiness honestly! Continue reading “Review: As You Like It, Queen’s Theatre Hornchurch”
Way down in Hadestown at the National Theatre is one of the best musicals of the year
“Damned if you don’t. Damned if you do. Whole damn nation’s watching you”
I loved Hadestown so much that I had booked to see it for a second time before I even got home from the first. Read more about that trip here, including me trying the National’s new smart caption glasses, and read on for a review that focuses properly on Anaïs Mitchell’s brilliant musical here. An adaptation of the tale of Orpheus and Eurydice, developed with director Rachel Chavkin, it riffs on the myth by relocating the action to a dive bar in the Deep South and redefines hell for our capitalist age. And they fill the Olivier with music, such music, that transforms Hadestown into the kind of experience that lingers long in the mind.
Mitchell’s score succeeds so much because it establishes such an identity for itself that it dares you not to be seduced into the world of the gods, or at least New Orleans. At its best, its simply elemental – ‘Way Down Hadestown’ has the kind of tune that sounds like it has always existed and will not quit your brain anytime soon. And as you collect the influences – hints of Jason Robert Brown on ‘All I’ve Ever Known’, the Johnny Cash-esque call and response of ‘Why We Build The Wall’, the straight up musical theatre emotion of ‘Wait For Me”s chorus, to name but a few – you realise a new form of Americana has evolved here. Continue reading “Review: Hadestown, National Theatre”
I try out the new smart caption glasses while watching Hadestown at the National Theatre and am blown away both by the show and the frankly amazing technology
“Eurydice knew how to survive Orpheus…knew how to live”
The exceedingly kind folk of the National Theatre allowed me to go and see Hadestown a few days after the press night, as I was most keen to have a try of the Smart Caption Glasseswhich were brought into circulation on Friday. Acclaimed as “a revolutionary new way for people with hearing loss to enjoy performance”, for once the blurb more than lives up to its billing as I found them to be truly innovative and potentially life-changingly good.
Without wishing to open a whole can of worms about access and diversity within the critical community, it has to be said that as a (deaf) reviewer, I never get to go to captioned performances. If and when they’re scheduled, the timetables just don’t allow for it, so – as in most of my daily life – I make do. I hear what I hear and guess the rest. So the idea of this facility becoming available was one I was most keen to investigate at the earliest opportunity.Continue reading “Review: Hadestown, via smart caption glasses at the National Theatre”