I might have taken a break from reviewing in June, but I didn’t stop going to the theatre – I had too many things already booked in. Here’s some brief thoughts on what I saw.
Betrayal, Harold Pinter
Shit-Faced Shakespeare – Hamlet, Barbican
The Knight of the Burning Pestle, Cheek By Jowl at the Barbican
Somnium, Sadler’s Wells
Les Damnés, Comédie-Française at the Barbican
Vanya and Sonia and Masha and Spike, Theatre Royal Bath
Blithe Spirit, Theatre Royal Bath
The Hunt, Almeida
Present Laughter, Old Vic
Europe, Donmar Warehouse
The Deep Blue Sea, Minerva
Plenty, Chichester Festival Theatre
Pictures of Dorian Gray, Jermyn Street
The Light in the Piazza, Royal Festival Hall
Hair of the Dog, Tristan Bates Continue reading “June theatre round-up”
Jane Horrocks and Rupert Graves shine in Pinter Five, featuring The Room, Victoria Station and Family Voices at the Harold Pinter Theatre
“You know where you are here”
Pinter Five sees Patrick Marber, someone who could call Harold Pinter a friend and colleague, take the directorial wheel as he presents a triple-bill of The Room, Victoria Station and Family Voices, delving further into the wealth of short plays left behind by the playwright.
The first half is taken up by Pinter’s first play, 1957’s The Room, a prototype for so much of what was to come as he settled into his distinctive voice. The air of menacing strangeness looming over seemingly everyday situations, visitors who disrupt and disturb, relationships that can never be quite pinned down… Continue reading “Review: Pinter Five, Harold Pinter Theatre”
The National Theatre’s New Views playwriting competition for 14 to 19-year-olds throws up some real winners in its shortlist.
This year’s New Views programme saw the National Theatre engage with 74 schools across the UK, offering workshops with writers like Luke Barnes, Dawn King, Winsome Pinnock and Chino Odimba to help 14 to 19-year olds learn about writing plays. Over 300 plays were then submitted and 10 shortlisted. The winning play – If We Were Older – is receiving a full production and the other 9 are getting the rehearsed reading treatment, some of which I was able to catch.
I really enjoyed It’s More Than Okay Levi by Robert Lazarus (Haberdashers’ Aske’s Boys’ School, Hertfordshire) – crying at plays about Alzheimer’s is my jam (the kind of emotional torture I like to put myself through…) and even in the reduced circumstances of this reading, I have to say there was a tear or two prickling away. Continue reading “Review: New Views – Rehearsed Readings”
The Jamie Lloyd Company, Ambassador Theatre Group, Benjamin Lowy Productions, Gavin Kalin Productions and Glass Half Full Productions present an extraordinary season of Harold Pinter’s one-act plays on the tenth anniversary of the Nobel Prize winner’s death, performed in the theatre that bears his name.
Pinter at the Pinter is a unique event featuring all twenty short plays written by the greatest British playwright of the 20thCentury. They have never been performed together in a season of this kind. Continue reading “Pinter at the Pinter”
Full casting for Michael Boyd’s much anticipated production of The Cherry Orchard is announced today as rehearsals begin for the Bristol Old Vic and Royal Exchange Theatre co-production. Rory Mullarkey’s brand-new translation will be directed by Boyd, celebrated former Artistic Director of the Royal Shakespeare Company (RSC). Having studied Russian and trained as a director in Moscow, extraordinarily, he will be directing Chekhov – the literary love of his life – for the first time. Continue reading “Full cast announced for Michael Boyd’s The Cherry Orchard”
“Tell me ma…something…somebody”
I’ve not had the opportunity to see Sophie Treadwell’s Expressionistic classic Machinal so when a Guildhall School production appeared on my radar, I seized the chance. Seeing drama school shows also provides that elusive chance of seeing stars in the making – a production of The Last Five Years I caught here in 2010 featured the fresh young faces of Freddie Fox and Lily James. Treadwell’s 1928 play though has an extraordinary power in its searing exploration of a woman’s struggle against accepted notions about marriage and motherhood in a society defined by men and in Edward Dick’s staging here with 18 members of the final year actors, the narrative expands to encompass women’s experiences more generally.
Each taking their turn to don a distinctive red curly wig to take on the role of Young Woman in the nine scenes of the play, Amber James, Elaine Fellows, Rebecca Lee, Katrina McKeever, Emma Naomi, Marina Bye, Alice Winslow, Emily-Céline Thomson and Charlie Bate all made their own impressions in their own way on this character inspired by Ruth Snyder, a US housewife convicted and executed for the murder of her husband. Amber James’ anguish at the end of the day in the stenographer’s office, Alice Winslow’s downtrodden wife and Emily-Céline Thomson’s crumbling defendant stood out for me but what was impressive was the way in which the performances of the nine actors managed cohere into a powerful single entity whilst still differentiating themselves. Continue reading “Review: Machinal, Guildhall”