Creation Theatre’s Grimm Tales for Fragile Times and Broken People takes us on a delightfully dark journey through the world of fairytales
“Never underestimate the power of the full moon”
Fresh from winning an ONCOMM Award for their inventive reinvention of Wonderland in Alice – A Virtual Theme Park, Creation Theatre are continuing their exploration of the digital auditorium with their newest production Grimm Tales for Fragile Times and Broken People.
Before starting, we’re encouraged to light a candle and switch off the lights, which might seem a little much at first but actually turns out to be a highly effective method of creating a different, special, theatrical even, atmosphere far removed from the many Zoom meetings that make up so much of working life now. Continue reading “Review: Grimm Tales for Fragile Times and Broken People”
In this ‘special circumstances’ year, the Offies 2021 Awards Ceremony celebrated the creativity and resilience of artists in fringe, alternative and independent theatre in a time of crisis who have found new ways to produce fresh and inventive work for thousands of stay-at-home audiences.
The Offies are OffWestEnd’s main awards, for shows with at least 10 performances, and awards were given to the best of the shows presented before lockdown and the few who managed to go ahead in the summer
The OnComm is the new award for online shows from across the UK (and beyond) and was introduced in May 2020. Additionally, the winner of the OffFest award for theatre shows in festivals was also announced, alongside extra OneOff awards for innovative work and initiatives in 2020, especially in the light of the Covid lockdown. Continue reading “2021 Offie & ONCOMM Award Winners”
The OnComm is the new award for online shows from across the UK (and beyond) and was introduced in
1. Recording pre-lockdown (direct)
(i.e. with little or no editing)
Going Viral / Daniel Bye
Hysteria / Spymonkey
Jane Clegg / Finborough Theatre
The House Of Bernarda Alba / Graeae
2. Recording pre-lockdown (edited)
(i.e. with significant editing)
Bubble / Theatre Uncut
Cyprus Avenue / Royal Court & Abbey Theatre
SeaWall / Simon Stephens
The Encounter / Complicité Continue reading “The finalists of The ONCOMMs 2021”
Not quite ‘when shall we three Zoom again’, Big Telly Theatre’s imaginative online version of Macbeth has some impressive moments
“Present fears are less than horrible imaginings”
With its cast members scattered across Belfast, Deal, Deptford, Dublin and London, it’s a remarkable achievement in and of itself that this production of Macbeth can exist at all in these Covid-19 times. But founder and artistic director of Big Telly Theatre Zoe Seaton has been quick off the mark to explore the creative opportunities of these constraints and this marks her fifth lockdown production.
And you can see how deftly experienced hands are shaping this new kind of experience. An inspired bit of pre-show business brilliantly skewers the government’s daily Covid briefings as it introduces its own version of track and trace which is implemented on some unsuspecting audience members. It also frames the world of this production as a plaything of the weird sisters, the ones who are truly in charge here. Continue reading “Review: Macbeth, Big Telly Theatre”
Doing the Macarena with the Queen of Hearts? But of course. Alice – A Virtual Theme Park does an excellent job of blending technical innovation with live theatre
“There ought to be a book written about me”
There’s rarely a dearth of opportunities to visit Wonderland, Lewis Carroll’s ever-popular source material a frequent presence in theatres but with Alice – A Virtual Theme Park, there’s a very much 21st century take which works surprisingly well. And given Covid-19, it isn’t a play but rather a multiplatform, multiple choice experience.
Let the Cheshire Cat guide you through your Zoom settings and listen to Leda Douglas’ inquisitive Alice as she takes us down the rabbit hole, and the scene is then set for an inspired, interactive and family-friendly journey with these familiar characters, effectively curated by Creation Theatre. Continue reading “Review: Alice – A Virtual Theme Park”
I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time featuring the multitude of Hamlets he has been witness to. Recommended:
Photos: Tristram Kenton
“Fear no more the frown o’ the great”
You wait for a production of relatively little-performed Shakespeare play and then three come along in the same year. Melly Still is doing Cymbeline for the RSC in the summer, Emma Rice is reclaiming and renaming it Imogen for her inaugural season at the Globe and inside at the same venue, it is being performed as part of a run of the Bard’s late plays in the Sam Wanamaker Playhouse, directed by Sam Yates.
Ah yes, the Sam Wanamaker Playhouse. I’ve not been much of a fan of this theatre, for purely practical reasons rather than artistic ones, but with this programming that has allowed me to tick off Pericles and see Rachael Stirling, Niamh Cusack and John Light onstage, I’ve succumbed to a rash of bookings. With that, I’ve opted to be brutally honest about the experiences as a paying customer. Continue reading “Review: Cymbeline, Sam Wanamaker Playhouse”
“They killed your sister. They took over your karaoke night”
Chris Thompson had a big success with his first play Carthage at the Finborough Theatre which was a… WHY WHY WHY DELILAH. And now his follow-up play Albion has opened at the Bush…. SWING IT SHAKE IT MOVE IT MAKE IT WHO DO YOU THINK YOU ARE. It’s a bit of a challenging work as it plays with traditional structure to incorporate the fine art of karaoke as a storytelling device…HERE COMES THE HOTSTEPPER, MURDERER…(well, sometimes, and then sometimes it is just karaoke)…NAA NANANANAA NANANANAA NANANAA NANANAA NANANANAAA into its tale of how an extremist right-wing group takes root in an East End boozer.
In an interview about the show, dramaturg Rob Drummer speaks of how “the rise of the far right needs to be understood now more than ever” but it is never abundantly clear how this chosen format is an appropriate or effective one to enable such understanding. As you can see from the opening paragraph, it can be a little disarming to have characters break out into song in the middle of conversations, especially when there is a tenuous link at best but more frustrating is the lack of consistency in the way in which music is used. The interpolation of ‘The Rose’ into a key scene is a genuinely moving moment and with its verses scattered through the company, ‘Seven Nation Army’ becomes a brutally effective rallying call. Continue reading “Review: Albion, Bush Theatre”
“I know in my heart you’d find a girl who’s scared sometimes”
My first thought when I heard that they were making a musical version of 1992 film The Bodyguard supplemented by songs from Whitney Houston’s back catalogue was how on earth are they going to work my favourite of her songs, ‘I Wanna Dance With Somebody’, into that story. As it turns out, I needn’t have worried, but more of that later. Taking on the lead role in which Whitney made her acting debut is American import Heather Headley, although at this performance in the month of previews before it opens officially, we saw the alternate Gloria Onitiri (a familiar face from Avenue Q days) who made a sterling case for the vital importance of supporting Great British talent.
For those not familiar with the film, Rachel Marron is a superstar pop singer-turned-actress who, unbeknownst to her, is receiving threats from a stalker and when her entourage employ ex-Secret Service agent Frank Farmer as a new bodyguard for her, sparks fly as the undeniable attraction between them threatens his professional distance and effectiveness. Several years in the making, Alexander Dinelaris’ book adapts Lawrence Kisdan’s original screenplay with a few changes: Rachel’s sister Nicki has a greater role; the identity of the stalker is handled differently and there’s a little modernisation to reflect a more tech-savvy and social-media friendly world. Continue reading “Review: The Bodyguard, Adelphi”
“If my uncle, thy banished father, had banished thy uncle, the duke my father…”
Against my better judgement, I bought the RSC’s As You Like It ages ago when a special offer came up for it but it has languished on my hard-drive ever since as I have serious AYLI fatigue and no real desire to watch it again. It is one of those Shakespeares that seems to pop up with unfailing regularity and I’ve grown tired of it to be honest – occasionally a production will surprise with a stunning central performance as did Cush Jumbo at the Royal Exchange but usually I’m left weary by the lack of inventiveness in productions which end up blurring into one another in my mind.
And that’s how I felt in the end about this 2010 Michael Boyd-directed production featuring the Long Ensemble. It is undoubtedly well-performed: Katy Stephens’ bright intelligence is perfectly suited to the determined Rosalind and well matched with Jonjo O’Neill’s passionate Orlando, Richard Katz’s wild-haired Touchstone is well observed and having become accustomed to this group of actors, I liked the smaller parts played by the likes of Christine Entwisle, Dyfan Dwyfor and Charles Aitken. Continue reading “Review: As You Like It, Digital Theatre”