The Old Vic today announces the writers and performers for HOME?, the next in the One Voice series of monologues presented for free as part of Your Old Vic. Curated by actor and refugee-child Noma Dumezweni, HOME? brings together global voices, stories and experiences to mark Refugee Week 2021 across three new commissions, created in collaboration with refugee artists.
The three specially commissioned monologues are: Now I’m Gonna Get Paid, written by Dina Nayeri and performed by Betsabeh Emran, The Displaced, written by Viet Thanh Nguyen and performed by Elizabeth Chan, Taheen Modak, John Pfumojena and Michael Phong Le, and Then and Now, written by Natasha Walter and performed by Harriet Walter. All three of the monologues are directed by Old Vic Baylis Director, Katy Rudd.
The series of world premiere monologues will celebrate and recognise those who have sought safety from their homes, their place within our collective community and the journey that it took to get there. Continue reading “News: writers and performers announced for Old Vic’s Home?”
After a brilliantly brutal opening, the third series of No Offence twists into something different as the team face off against the far-right
“We’ve all led each other to each other”
The third series of No Offence started with a real bang as they kept us all on our toes by offing one of its lead characters. And though things calmed down considerably, the ongoing main story of Friday Street’s battle against the rising far-right threat offered an interesting spin for the series.
Paul Abbott’s writing always excels when it puts its characters in the forefront and it’s no different here. Dealing with grief (in their own inimitable way) only added to the portrayals, as Joanna Scanlan, Elaine Cassidy and Will Mellor all rose to the occasion, and it was great to see more of Paul Ritter’s maverick forensics guy. Continue reading “TV Review: No Offence Series 3”
Anna Maxwell Martin shines in funny new sitcom Motherland
“It’s better now I’ve got this nanny…”
Between Father Ted and The IT Crowd (I’ve never seen Black Books), Graham Linehan has quite the sitcom-that-I-love pedigree so I’ve been keen to see what his latest Motherland would bring, after an entertaining pilot aired last year.
Written with Sharon Horgan, Helen Linehan and Holly Walsh, the show follows Anna Maxwell Martin’s perma-harassed Julia as she struggles to deal with her mother declining to help out with childcare and the school run. As she’s caught between the hyper-efficiency of the Alpha mums and the schlubby friendliness available at the opposite end of the scale, it’s a highly entertaining take on working parenthood. Continue reading “TV Review: Motherland (Series 1)”
“Sorry I go a bit weird and wonky sometimes”
On the third day of Christmas, Black Mirror gave to me…three cheating lovers
The Entire History of You is the final part of the first series of Charlie Brooker’s Black Mirror and finds itself somewhere in the middle of the preceding two episodes in terms of its sci-fi/reality interface. Here, future technology has advanced so that people have ‘grains’ implanted that record memories and allow them to played back whenever but the story it is used to tell is an all-too-familiar one of human jealousy.
Toby Keggell’s Liam is an unhappy lawyer whose miserable state of mind after a difficult work appraisal leads him to suspect his wife, Jodie Whittaker’s Ffion, of having an affair with a former lover called Jonas, a suave Tom Cullen. It played out eerily effectively, especially in the look on people’s faces when ‘recalling’ but never really took flight into as superlative a piece of television as episodes one or two. Continue reading “12 Days of Christmas – Black Mirror 1:3”
“You can’t put a price on avoiding deep vein thrombosis”
I sat down to watch the new episodes of Last Tango in Halifax on the iPlayer but only as it started, did I realise that I had somehow neglected to watch Series 3 when it aired a couple of years ago. So having tracked it down, I indulged in a good old binge of quality Sally Wainwright drama. I loved Series 1 and Series 2 but in the final analysis, found this third season to be a little disappointing by comparison.
Since we’re more than two years down the line now, I think I can safely discuss the main reason for this – the killing-off of Nina Sosanya’s Kate in an unexpected incident of Dead Lesbian Syndrome. It was a high value example of the trope as well, considering it happened on the day after her wedding to Sarah Lancashire’s Caroline and whilst she was heavily pregnant with the child they intended to raise together. Continue reading “TV Review: Last Tango In Halifax Series 3”
“I’m stunned with wonder”
When Rupert Goold first announced the #AlmeidaGreeks season with all its familiar titles, I don’t think anyone could have predicted how genuinely epic a sweep of theatrical innovation it would usher in. From the extraordinary Oresteia to the shattering Bakkhai and Medea, the radical main house programme has been supported by a wide range of supplementary activity, not least the 16 hour, 60+ actor retelling of The Iliad (which can now be viewed in full on the Almeida website).
So it’s only natural that as the season draws to an end, it is bookended by another Homeric extravaganza in The Odyssey, again with 60 odd actors participating in a 12 hour non-stop feat of major storytelling which was live-streamed on t’internet. And conscious of raising the ante, directors Rupert Goold and Robert Icke took us on a literal journey, putting the players in taxicabs, boats, buses, trekking across rooftops and down busy streets to bring Ithaca to Islington as Odysseus winds his way home. Continue reading “Review: The Odyssey, Almeida/Live-stream”
“The problem with Hannes is…”
One can always rely on the Arcola to bring interesting writing to light and in the form of the VOLTA International Festival, Artistic Director Andrea Ferran has managed that four times over, bringing together new work by four celebrated international writers, translated into English for the first time – Christopher Chen, Jonas Hassen Khemiri, Ewald Palmetshofer and Roland Schimmelpfennig. With four directors, James Perkins designing and an ensemble covering all the shows, it proved to be a fascinating festival and one which deserves more attention than it received.
Caught by San Francisco-based Christopher Chen twists wonderfully around notions of truth and fiction as three separate but interlinked scenes toy with how art plays with and changes under our perceptions. Cressida Brown’s direction cleverly plays up how we all find our own truth in everything, no matter how the subject is approached, preconceived notions shaping us even as they’re deconstructed and always, always making us think about what we’ve just seen. Chen takes no prisoners in the complexity of some of his thinking but it’s fascinating stuff indeed. Continue reading “Review: VOLTA Festival 2015, Arcola Theatre”
“There’s an end of outward preaching now. An end of perfection. There may be a time.”
Between this and Rules for Living, that’s two consecutive openings at the National Theatre that have been written and directed by women. Coincidence that it comes at a moment of regime change, who knows? Those more inclined to actual research might possibly tell you it’s more common you’d think but I doubt it. In any case, it’s pleasing to see Caryl Churchill getting a major production of one of her lesser-performed works at the hands of the talented Lyndsey Turner, who will soon be turning her hand to Benedict Cumberbatch’s Hamlet.
And it is an ambitious mark she has made here with Light Shining in Buckinghamshire, exploding the original six-strong casting of the show to a company of nearly twenty actors, supported by a community company of forty-odd supernumeraries. She needs the bodies too, to fit around an audacious design feat from Es Devlin which is best experienced with fresh eyes if possible, so no spoilers here. It is an inspired choice though, that both sets the scene perfectly for this world of political debate but also deconstructs meaningfully as the full scope of that debate becomes increasingly clear. Continue reading “Review: Light Shining in Buckinghamshire, National Theatre”
“Right now I’m too young to know
How in the future it will affect me when you go”
One of the most striking moments in Phyllida Lloyd’s recent production of Henry IV for the Donmar Warehouse was Sharon Rooney’s extraordinary take on Lady Percy, skewering previous notions of the character to make her a vibrant and passionate equal to her husband. And as she bade him farewell, a lament struck up to the tune of Glasvegas’ ‘Daddy’s Gone’, capping off a performance provoked as much thought about Shakespearean gender roles as did the overall all-female casting. Continue reading “‘Sharon Rooney and the Henrys’ release their cover of Glasvegas’ ‘Daddy’s Gone’”
“What manner of man is he?”
Every time Harriet Walter speaks as the eponymous character, she utterly justifies (not that it needs any justification, mind) the all-female casting of the Donmar Warehouse’s Henry IV, such is the achingly rich poetry that she brings to the verse. Coming in second in what is being loosely termed a ‘prison trilogy’ after a cracking take on Julius Caesar back in 2012, the production reunites director Phyllida Lloyd with Walter and some others from that company to impose their institutional stamp on another of Shakespeare’s works (and yes, it does mean those chairs are back in the stalls!).
Here, the scope of Henry IV Part I and II has been telescoped down to just two hours and in reality, could well be called Henry IV Part I+ as it focuses mainly on a raucously rendered take on that play and throws in excerpts from Act IV Scene V and Act V Scene V from its sequel to round off the stories of Henry IV, Prince Hal and the bounteous Falstaff. It’s an audacious approach but one that really pays off, suggesting that maybe Shakespeare could have done with an editor after all – others may disagree but there’s little that’s really lost in jettisoning a whole heap of supporting characters and their scenes in this instance. Continue reading “Review: Henry IV, Donmar Warehouse”