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”
The Half – Photographs of Actors Preparing for the Stage by Simon Annand
Just a quickie for this book as The Half – Photographs of Actors Preparing for the Stage by Simon Annand was released in 2008. But with an imminent new exhibition of these photos and a bargainous copy of the book popping up on Ebay, I thought I’d take the plunge.
And I’m glad I did as it is a proper work of art in its own right. Annand has been photographing actors for over 25 years and as such, has a veritable treasure trove of shots to share with us, resulting from the trusting relationships he has built up with so many, from the new kids on the block to veritable dames. Continue reading “Book review: The Half – Simon Annand”
Created by playwright Ella Hickson (The Writer) and sound designers Ben and Max Ringham, ANNA is directed by Natalie Abrahami with real ingenuity, as individual audio headsets are used to give us a unique perspective on a play, directly from the viewpoint of Phoebe Fox’s Anna. It didn’t work for me.
Running time: 65 minutes (without interval)
Photos: Johan Persson
ANNA is booking at the National Theatre until 15th June
The news of Tim Pigott-Smith’s passing at the age of 70 yesterday was a terrible shock, not least because he was still in a rich creative vein – a tour of Death of a Salesman was scheduled for next month and the long-anticipated TV adaptation of his multi-award-nominated turn in the lead role of King Charles III is due later this year.
This tribute from Mike Bartlett is beautifully done. Continue reading “Round-up of news and treats and other interesting things”
“They took his life. They took MY life”
There’s something fiercely elemental about Kristin Scott Thomas’ extraordinary performance as Electra that makes it the perfect choice for the in-the-round setting that the Old Vic has wisely kept for a season of work. The sheer depth of feeling she generates like a vortex that sucks us all in, with her at its dark heart, hollowed out by grief and howling through the floor at Persephone to unleash the power of the underworld or perhaps just swallow her whole to release her from the torment of her existence.
Why so sad? Well, her father Agamemnon sacrificed her sister Iphigenia which annoyed her mother Clytemnestra (along with his schtupping Cassandra) who then murdered Agamemnon with her new lover (and his cousin) Aegisthus. Electra thus swore to avenge her father’s death, sending away her young brother Orestes to return when he was old to enough to fulfil the deed, and remaining rebelliously in court with her sister as an almost impossibly embittered soul. Continue reading “Review: Electra, Old Vic”
“Don’t you think I should be wearing underwear for this?”
The major stresses and ongoing strife of family life in all its messiness is at the heart of Dan LeFranc’s The Big Meal, the sole US input into the main HighTide programme, which has already played a short run at Bath’s Ustinov theatre. Taking the idea that much of importance happens around the dinner table, LeFranc explores 80 years of a couple’s life through five generations of a family in an ambitiously sprawling framework which sees time following an anything-but-linear path, swathes of dialogue overlapping noisily with each other and a ton of food. And through the cacophony, it does manage to become something rather exhilarating.
It’s a dizzying experience though, and Michael Boyd’s direction manages to somehow embrace the audience into this strange world but keep us discombobulated within it. Sam and Nicole are the couple whose initial meeting in a diner is swiftly followed by the ‘ding’ that indicates passage of time and we see that they’re married with kids and so on and so forth, each ‘ding’ changing something which further complicates the ever-growing family and their troubled dynamic, which essentially boils down to life’s a bitch and then you die, during a silent Last Supper montage. Oh and yes, you will end up like your mother. Continue reading “Review: The Big Meal, HighTide”
“245 women silks ever, out of tens of thousands”
I do love a legal drama and so too does Peter Moffat. I’m forever grateful for him for the Helen McCrory-starring joy that was North Square and I’ve recently caught up with the two series of Criminal Justice that he was responsible for, so it was only natural that I should be a big fan of Silk. But as the time pressures of a busy theatre schedule rarely let go, it wasn’t something I had time to watch live and it was only with its arrival on Netflix that I was able to catch up with it. The show focuses on a single chambers with two leading lights both hoping to be appointed Queen’s Counsel, “taking silk” as it were, and dealing with the pressures of life at the Bar.
Casting Maxine Peake and Rupert Penry-Jones as the rivals Martha Costello and Clive Reader works extremely well – her fierce intelligence and emotional counterbalance being perfectly portrayed by the ever-strong Peake and Penry-Jones making Reader something of an arrogant buffoon yet one with some redeeming qualities as he competes and consoles, seduces and shines his way through life. Over the six episodes, the focus is mainly on Martha and her dilemmas as she finds herself pregnant at a time of huge professional significance, but the series as a whole makes for a modern and exciting version of a legal drama. Continue reading “DVD Review: Silk, Series 1”
“If ever there were such a one, I am she”
Perhaps with an eye to the crowded marketplace that is London theatreland and trying to find a niche for itself, the St James Theatre has taken to transferring in productions, providing a mid-sized space for shows like Finborough transfer London Wall, Northern Broadsides’ Rutherford and Son and now The American Plan, fresh from the Theatre Royal Bath. Some of the risk may be mitigated this way but the choice of play remains equally important and with Richard Greenberg’s 1990 work, I’m not so sure they’ve hit on a great success.
David Grindley first directed this play in New York in 2009 and clearly enamoured of it, has returned to the show and assembled an excellent cast to do so, not least Diana Quick, Doña Croll and Emily Taaffe. And he undoubtedly encourages some marvellous performances from them and the men of the cast, Luke Allen-Gale and Mark Edel-Hunt, but it just never struck me as a play that was worth reviving – it’s heavy-handed, tonally confused and ultimately for me, just not engaging enough. Continue reading “Review: The American Plan, St James Theatre”