Eleanor Rhode offers up a vibrantly contemporary production of King John for the RSC, with a striking lead performance from Rosie Sheehy
“Mad world! mad kings! mad composition!”
You wouldn’t normally turn to King John for an eye-openingly modern piece of Shakespeare but this 2019 RSC production really seems to buck the trend. Vibrantly directed by Eleanor Rhode with some superb design work from Max Johns, it’s ostensibly set somewhere in the mid-20th century, powerful parallels emerge with the vagaries of our contemporary administration.
Rosie Sheehy is a vivid presence as the titular monarch, full of artifice in her public persona but unable to stop a full moral disintegration eating away from within. And Charlotte Randle is awesome as Constance, the King’s sister-in-law and mother to a rival pretender to the throne. pushing home the personal costs of a cut-throat political system that takes no prisoners in any of its battles.
Photo: Steve Tanner
King John is available to watch on Britbox
Rafe Spall and Esther Smith impress in British comedy Trying, helped by the likes of Imelda Staunton and Cush Jumbo
Just a quickie for this, as I’ve only just started to actually have a look at what is on AppleTV since they decided to extend my free trial. Created and written by Andy Wolton, Trying is a rather sweet and very typically British sitcom that follows Jason and Nikki, a 30-something couple as they struggle to conceive naturally and decide that they would like to adopt. Led by Rafe Spall and Esther Smith, the show is lots of fun and is blessed with some wonderful supporting performances.
Forever skirting that comedy/drama line, Trying is unafraid of tackling some rather meaty issues. Infertility and what that does to a couple, the inequities of the adoption system, funding for ESOL classes… And even the simplest idea of how relationships grow and are tested by the act of self-reflection – how do you measure achievement when London property prices lock you into renting forever and opportunities to climb the job ladder are way too few and far between. Continue reading “TV Review: Trying (Apple TV)”
We’re beginning to see the fruits of some more of the lockdown programming that has seen theatres across England respond in a variety of impressive ways
Nottingham Playhouse’s Unlocked Festival continues to rocket up the must-see list as it announces more details. Their local writing commission has ended up with two winners – Wayward Thread’s Hand Me Down and Lapelle’s Factory’s Shuck, both of which will now receive work-in-progress performances as part of the festival.
Casting has also been announced for James Graham’s Bubble, which will star the marvellous Pearl Mackie and the equally marvellous Jessica Raine. They join the likes of Mark Gatiss and Jade Anouka reading ghost stories on
Halloween, new work from Naomi Obeng and a concert starring Rosalie Craig, Sandra Marvin and Jodie Prenger. Continue reading “News: October UK theatre news update”
I round up some of the recent casting news, including Queen Margaret at the Royal Exchange, Wasted at the Southwark Playhouse, Measure for Measure at the Donmar and The Woods at the Royal Court.
Shakespeare wrote more lines for Queen Margaret than he did for King Lear yet we know very little of her. Jeanie O’Hare re-acquaints us with one of Shakespeare’s major but rarely performed characters in her new play Queen Margaret. In a production that draws on original language from Shakespeare, director Elizabeth Freestone and Jade Anouka as Margaret, retell an iconic moment in British History through the eyes of the extraordinary Margaret of Anjou. This captivating exploration of The Wars of the Roses seen through the eyes of this astonishing, dangerous and thrilling woman opens the Royal Exchange’s Autumn Winter 2018/19 Season.
Anouka is joined by Islam Bouakkaz (Prince Edward/Rutland), Lorraine Bruce (York), Samuel Edward-Cook (Suffolk/Clifford), Dexter Flanders (Edward IV), Helena Lymbery (Hume), Lucy Mangan (Joan of Arc), Roger Morlidge (Gloucester), Kwami Odoom (Somerset/Richard), Bridgitta Roy (Warwick) and Max Runham (Henry VI). Continue reading “Casting news aplenty!”
“Plagues! Confusions! Darkness! Devils!”
Technical difficulties around health and safety meant that Suba Das’ production of The Revenger’s Tragedy had to be rapidly reconceived from its intended promenade aspect but little can excuse shining a bright light into the eyes of part of the audience for 15 minutes. Thomas Middleton’s Jacobean blood-fest now sits still in the Victorian music hall surroundings of Hoxton Hall, but seriously lacks the basic thread of storytelling that such a complex play requires.
Vindice is determined to wreak a terrible revenge on the duke who poisoned his beloved fiancée and doesn’t care who get sucked into his machinations, whether it is the corrupt extended family of the duke, or his own (slightly) more innocent relations. This is a barely comprehensible world of deep selfishness, punctuated with episodes of extreme violence and illicit lust, and so needs a strong directorial hand to try and impose if not sense, then at least an interpretation of great clarity and focused intent. Continue reading “Review: The Revenger’s Tragedy, Hoxton Hall”