With an unerring sense of timing, our dark November evenings now have the chance of being brightened by the theatrical wonder that was Morgan Lloyd Malcolm’s Emilia. An archived recording of the show’s 2019 West End production is being made available online for two weeks from 10th November.
I loved the show in its first run at the Globe and its subsequent transfer into the West End at the Vaudeville Theatre and I’m sure much of its power will be retained in its taping. And because the people behind the show really are good sorts, they’re using a pay-what-you-can model with the proceeds from the recording being shared across the entire team from the 2019 production. Continue reading “News: a stream of Emilia announced to get us through November”
The nominees for the 9th annual Mousetrap Awards are announced
These awards are voted for by young people, anyone aged 15-29 is invited to have their say as to who should pick up the trophies at the ceremony on Sunday 19th April. And while usual suspects Dear Evan Hansen, Waitress and & Juliet are leading the pack, it is nice to see such love for Small Island here too.
Mousetrap Theatre Projects strive to make London’s theatre scene accessible to young people, low-income families, mainstream and SEND state schools, and those with additional needs.
Voting is open until midnight on 23rd March via this link. Continue reading “Nominees for the 9th annual Mousetrap Awards”
Morgan Lloyd Malcolm’s Emilia transfers to the Vaudeville Theatre with all of its feminist fire and fun intact
“There’s a woman on the stage”
Is there anything currently on the London stage that is more gracefully eloquent than the moment that the transformative power of grief is writ large at a crucial point a third of the way into Emilia. It’s a rare moment of beautiful subtlety in a play that is more often considerably bolder in its sentiment but it’s also a mark of just how nuanced Nicole Charles’ production and Morgan Lloyd Malcolm’s writing is, even while some tie themselves in knots trying to square its historical and feminist credentials.
A transfer from Shakespeare’s Globe last summer (officially the 13th best show of the year doncha know) where its short run caught fire, its all-female and wonderfully diverse cast and creative team mean that all three of the Strand’s major playhouses currently have work written by women in them (I wonder when this last happened). And while that ought not to be noteworthy, god knows it still is and it all ties up rather neatly with Lloyd Malcolm’s writing. For though this is a play about a historical woman, it is also a play about all women. Continue reading “Review: Emilia, Vaudeville Theatre”
“What a remarkable tableau vivant”
Though some of Tennessee Williams’ works are considered amongst the finest plays ever written, his legacy as a truly great playwright is something that has developed posthumously. He continued to produce considerable amounts of writing until the day that he died in 1983 but its critical reception was increasingly poor and so much of the latter part of his body of work has remained neglected. His 1977 play Vieux Carré hasn’t been seen in London since 1978 (although part of it formed part of another Williams play I Never Get Dressed Till After Dark On Sundays which played at the Cock Tavern as part of a double bill of unperformed works) but now receives a rare revival at the King’s Head Theatre in north London.
Often, the delving into the little-performed parts of established playwrights’ back catalogues reveals a good reason as to why they have largely on the shelves, but Robert Chevara’s production shimmers with Southern heat and captivating character work to make this a rediscovery worth taking considerable note of. Nicolai Hart Hansen’s set design wisely strips things back to distressed brick walls, maximising the space available into which three beds, a dinner table and a throw-covered grand piano are squeezed to evoke the rooming house of Mrs Wire, on 722 Toulouse in the French Quarter of New Orleans. We start with the figure of The Writer recalling the time he spent there and switch back in time to see him as a callow young man, newly arrived from St Louis and nervously struggling with his unfamiliar surroundings. Continue reading “Review: Vieux Carré, King’s Head Theatre”
“There’s never been a society that’s not had a clock running on it”
Venturing into the lesser performed works of a playwright, even one as well-renowned as Arthur Miller, is always a tricky manoeuvre. There’s often a good reason plays collect dust on the shelf and so it takes a keen eye to spot the potential for revival and reassessment in a new production. The Finborough have become one of the premier spots in London for unearthing such gems and are hoping that they have struck gold again with Phil Willmott’s new take on Miller’s 1980 play The American Clock, which hasn’t been seen here since its first (albeit Olivier-award winning) run at the National in 1986.
The play was inspired by Studs Terkel’s oral history Hard Times and also Miller’s own recollections from the 1930s, to tell a wide-ranging tale of how the Great Depression actually played out for the American people. Using an episodic structure to work his way through stories of nearly 40 characters, the focus finally settles mainly on one well-off upper middle class family, the Baums, who are forced to relocate from their Manhattan townhouse to a relative’s spare room in Brooklyn, their struggle to deal with their changing fortunes ultimately sending mother, father and son reeling off in tragically different directions. Continue reading “Review: The American Clock, Finborough Theatre”