The full cast has been announced for the West End transfer of Robert Icke’s new adaptation of Mary Stuart. Following a critically acclaimed, sold out season at the Almeida Theatre in 2016-17, the production will open at the Duke of York’s Theatre from 15 January for a limited run before visiting Theatre Royal Bath, Salford Lowry and Cambridge Arts Theatre.
As previously announced, Juliet Stevenson and Lia Williams reprise the play’s central roles. Also reprising their roles are Rudi Dharmalingam (Mortimer), David Jonsson (Davison), John Light (Leicester), Carmen Munroe (Kennedy), Eileen Nicholas (Melville) and Daniel Rabin (Kent).
Joining the cast are Michael Byrne (Talbot), Christopher Colquhoun (Paulet), Calum Finlay (Aubespine) and Elliot Levey (Burleigh).
Two queens. One in power. One in prison. It’s all in the execution.
Schiller’s political tragedy takes us behind the scenes of some of British history’s most crucial days. Playing both Elizabeth I and Mary Stuart, Juliet Stevenson (Hamlet) and Lia Williams (Oresteia) trade the play’s central roles, decided at each performance by the toss of a coin.
Get your tickets here and have a read of my review from the Almeida here.
“Don’t marry nothing dark”
As part of winning the Genesis Award, a programme supporting creatives in the “early stages of their professional lives”, the Young Vic offers winners the chance to put their talents to work in its smaller places. This year, it is the turn of director Nancy Medina who is mounting a short run of Dael Orlandersmith’s 2002 play Yellowman in the intimate space of the Clare, though without an official press night.
It’s a brutal but fascinating look at racism within the black community, as Eugene and Alma grow up in 1970s South Carolina, negotiating the difficulties that come from having parents with different skin tones. The darker-skinned Alma is firmly on the wrong side of the tracks whist Eugene, lighter-skinned but derogatorily referred to as ‘yellow’, has a wealthier family, but one who experiences no less prejudice. Continue reading “Review: Yellowman, Young Vic”
“I have a horrible feeling that I’m a greedy, perverted, selfish, apathetic, cynical, depraved, morally bankrupt woman who can’t even call herself a feminist”
I left it a little while to watch Fleabag on television, for though Phoebe Waller-Bridge’s ascension to the ranks of hugely buzzworthy writer has been pleasing to watch, I haven’t – dare I say it – always been the hugest fan of her work. For me, the effectiveness of her writing hasn’t always matched with the audacity of its frankness and so in her plays and TV shows like Crashing, I’ve admired the path she’s taking without hugely enjoying it.
Her breakthrough piece Fleabag equally didn’t hit my buttons in the way that it did for many others, thus my delay in getting round to watching it. And as is often the case with lowered expectations, it actually surprised me by being a very effective adaptation of the play. Its world has been expanded, both physically and personally, a whole cast of supporting characters now appear but crucially, there’s the thing I was missing most at the Soho – direct eye contact. Continue reading “TV Review: Fleabag”
“Somebody gonna love you”
The Broadway production of the musical adaptation of Alice Walker’s novel The Color Purple was no great success and so it may seem an unusual choice for the Menier Chocolate Factory to bring to their Southwark home. Nor does the story of Celie, a young woman forced to bear two children by her violent stepfather who then sent them away and then married her off to a brutal partner, necessarily seem one ideal for this genre. But with the focus being on survival, on the road to self-actualisation against racial and sexual pressures, and a score blending many aspects of black music into a smooth melange, it is surprisingly effective.
There’s much potential for this to be a highly overwrought piece, but where John Doyle’s production comes into its own is in achieving a Zen-like state of calm for the show, a clean simplicity which permeates every aspect and focuses the intensity of the emotion. Doyle’s own design reconfigures the Menier to great effect, stripping it back to bleached wood and a collection of chairs; Ann Yee’s choreography finds huge elegance in as simple a movement as walking forwards and then back; and at the heart of it all, is a performance of immense grace from Cynthia Erivo as the much-maligned Celie. Continue reading “Review: The Color Purple, Menier Chocolate Factory”
“Out of this wood do not desire to go”
As the first of Shakespeare’s works that I ever read and studied, I will always have a great affection for A Midsummer Night’s Dream and to this day, it has endured as probably my favourite of his plays. Something about its otherworldly (dream-like…) free-spiritedness really appeals to me, meaning there’s little of the suspension of disbelief often necessary to make the contrivances of his other comedies work, and it is a play robust enough to take many an interpretation, whether raucuous reinventions by Filter or Propeller, last year’s clever open air take by Iris Theatre or more classically inspired ones like the Rose Kingston’s Judi Dench-starring version from 2010. It is now the turn of Regent’s Park Open Air Theatre to revisit the show (though this was my first experience of it here) with a startlingly modern interpretation as it plays in rep with Ragtime, with which it shares much of its cast, over the summer.
First things first, this was a preview, the second I believe and due to the rain on Saturday, actually the first full run-through. Things begin with some pre-show business bustling about the trailer park set, reminiscent of the Dale Farm site with travellers squaring up to each other and to the encroaching building contractors, it sets the scene well but goes on a wee bit too long for too little effect in all honesty. But once the play proper starts with its arresting, punchy modernity, Matthew Dunster’s exceptionally well-balanced production clicks smoothly into gear, folding in classical references to this fresh new take and delving into some extremely dark places alongside the oft-times hilarious humour. Continue reading “Review: A Midsummer Night’s Dream, Open Air Theatre”
“Do the thing you have to to get your client off”
Helen McCrory first came to my attention as one of the lead characters in legal ensemble show North Square. Broadcast on Channel 4 in 2000, it featured a cracking ensemble that also included Rupert Penry-Jones, Dominic Rowan and Phil Davis, yet it only had the one series which I don’t think you can get on DVD but it is available to watch on Channel 4’s 4 On Demand service.
Written by Peter Moffat, North Square is a drama set in a criminal chambers in Leeds and centres on a group of young, irreverent barristers all determined to make their mark by using unorthodox methods and unconventional approaches to counter the dusty practices of a legal profession they want to lead into the twenty-first century. They are led by their chief clerk, the highly manipulative Peter McLeish played brilliantly by Phil Davis, who is determined to make a success of this enterprise and has no scruples about negotiating with the criminal families that rule Leeds in order to maximise business opportunities even as it poses a moral quandary for some of the lawyers. Continue reading “DVD Review: North Square”
“She loves my brother – I’ll have to console myself with his pain”
Timberlake Wertenbaker’s new translation of Racine’s Britannicus updates the action to the modern day even though the story remains centred on a day in the life of Roman Emperor Nero. His power-hungry mother Agrippina manipulated things so that the succession passed to her favourite son Nero rather than rightful heir Britannicus after the death of Emperor Claudius, but her lust for power has passed down the bloodline. Rome shudders as Nero establishes himself politically, leaving Agrippina feeling increasingly marginalised, made worse by setting his gaze on his brother’s lover Junia.
Wilton’s Music Hall is such an atmospheric and idiosyncratic venue that I always want productions there to utilise it to its best potential so I have to admit to being a little disappointed by Chloe Lamford’s design which feels too modern and out of place. But Irina Brown’s direction makes inventive use of the space and also does make sense of the updating, Siân Thomas’ Agrippina channelling Thatcher vibes throughout as a woman battling in a male-dominated arena and the political intrigue that dominates everyone’s life whether they want it or not is immediately recognisable, no-one knows who to trust in this world of slippery political double-speak. Continue reading “Review: Britannicus, Wilton’s Music Hall”
With Saint Joan, George Bernard Shaw took the well-known story of Joan of Arc, a young peasant girl eventually sainted, who led the French army to victory against the English during the Hundred Years War and was repaid for her trouble by being declared a witch and burnt at the stake since she believed that she was being guided by the voice of God in her head, and created an all-too-human story filling in the gaps in the history with tales of conflicting institutions, personality clashes and a keen sense of humour of what her life must have been like.
The play is remarkably even-handed in that it presents all sides of the argument and never really comes down on the side of either Joan or her oppressors. There are no goodies and baddies here, just a girl who believes God is speaking to her and the machinery of Church and State who will do anything to ensure their power remains stable: Shaw’s message is that uncontrolled individualism threatens the established order and is rarely tolerated. Continue reading “Review: Saint Joan, National Theatre”