Kwame Kwei-Armah, Artistic Director of the Young Vic, has announced the start of the Young Vic’s 50th birthday with a year-long programme of work entitled We are the New Tide, dedicated to the theatre’s milestone birthday.
The 50th birthday year of work begins with three major commissions:
- The New Tomorrow– for the first piece of live theatre since the pandemic closed UK theatres, this weekend festival of speeches and monologues asks what the next fifty years hold. Writers and artists Jade Anouka, Marina Carr, Jasmine Lee-Jones, Ruth Madeley, Amy Ng, Stef Smith, Jack Thorne, Isobel Waller-Bridge and Steve Waters will explore the change that has come and is coming. Cast to be announced.
3 & 4 October, 4pm, Main House, free
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”
It’s that time of year again and getting in early with the announcement of their nominees is What’s on Stage. Voted for by the public, they’re often skewed a little towards the bigger ‘names’ but this year’s set of nominations are relatively controversy-free. There’s something a little odd about the way that regional theatre has its own separate category but its actors appear in the main ones – I feel like regional theatre productions should either be considered entirely in or out, rather than this halfway house.
Naturally, big shows rule the roost – 42nd Street and Bat out of Hell lead the lists with 8 nominations apiece – and they’ve even found a way to shoehorn in Hamilton by nominating it for the two new categories of Best Cast Recording (which somehow includes Les Mis??) and Best Show Poster, thus being able to get round it not actually being open yet and grabbing the requisite headlines once it does, inevitably, win.
BEST ACTOR IN A PLAY SPONSORED BY RADISSON BLU EDWARDIAN
Andrew Garfield, Angels in America
Andrew Scott, Hamlet
Bryan Cranston, Network
David Tennant, Don Juan in Soho
Martin Freeman, Labour of Love
BEST ACTRESS IN A PLAY
Eve Best, Love in Idleness
Imelda Staunton, Who’s Afraid of Virginia Woolf?
Olivia Colman, Mosquitoes
Natalie Dormer, Venus in Fur
Tamsin Greig, Labour of Love Continue reading “2018 What’s On Stage Award nominations”
“The world is made for men, not for women”
Does the world really need more Oscar Wilde? A whole season’s worth? One of the less inspiring decisions of the year was this takeover of the Vaudeville by the Classic Spring Theatre Company. Perhaps aware of this, Dominic Dromgoole has identified something the world really does need more of – Eve Best in our theatres (and later in the season, Kathy Burke directing). But is that enough to mitigate the resuscitation of this lesser-performed work.
Well almost. There’s no pretending that A Woman of No Importance is a particularly great play which has been languishing unfairly in the doldrums. But it does have the bonus of being a women-heavy play and one with an intriguingly strong thread of feminist thought to it. After a dalliance that resulted in a child, Mrs Arbuthnot’s social ruin is contrasted with Lord Illingworth’s consequence-free escape but 20 years down the line with their son all grown up, their paths cross again. Continue reading “Review: A Woman of No Importance, Vaudeville”
Despite having little interest in a season of Oscar Wilde plays, the predictably excellent cast for A Woman of No Importance means that my resistance will be utterly futile as the full cast joining the previously announced Eve Best from 6th October at the Vaudeville Theatre has now been announced.
Joining Best is Anne Reid, Eleanor Bron and William Gaunt, and now completing the cast is Emma Fielding, Dominic Rowan, Crystal Clarke, Harry Lister-Smith, Sam Cox, William Mannering, Paul Rider and Phoebe Fildes.
Directed by Dominic Dromgoole, the play is the first in his new company’s year-long season celebrating the work of Irish playwright Oscar Wilde and it has also been announced that a series of talks will take place before certain performances of A Woman of No Importance. Oscar Wilde’s grandson Merlin Holland will give the first pre-show talk on 14th October, offering an insight into Wilde’s life and work. On 19th October, Stephen Fry will reflect on his time plying Oscar Wilde in the 1997 film Wilde. On 11th November, Frank McGuinness will consider Wilde alongside Ibsen and Strindberg in ‘Wilde the European’, and on 7th December, Franny Moyle will explore “Wilde’s women.”
Tickets for A Woman of No Importance can be bought from Amazon Tickets here.
You go away for a week, hoping they’ll put any exciting news on hold but no, there were headlines aplenty…
Michelle Terry being revealed as Emma Rice’s successor as Artistic Director of the Globe. I think this is a brave and inspired choice, for Terry is a deeply intelligent actor (Tribes, Light Shining in Buckinghamshire, Cleansed) and a superb Shakespearean at that (A Midsummer Night’s Dream, As You Like It, The Comedy of Errors).
Rice seemed to consider Shakespeare a puzzle that needed unlocking for (new) audiences but you were left wondering if there was a touch of square peg round hole syndrome in the way the plays were manhandled. It is tempting to think that Terry will be a smoother fit whilst maintaining a sense of adventurousness (she played Henry V after all) although this is, of course, pure conjecture. Still, exciting times ahead. Continue reading “Round-up of news, treats and other interesting things”
“I hate her being the mistress of a rich, old voluptuary”
I wasn’t intending to revisit Love In Idleness, newly transferred to the Apollo Theatre for a limited 50 performance run, as first time round, I wasn’t the biggest fan of the show at the Menier Chocolate Factory. I got a little caught up in the strange genesis of the show and the fact that I was half-remembering the plot of Less Than Kind in real time, which proved to be rather distracting. But there’s no denying the sheer star quality of Eve Best and who am I to turn down any chance to see her.
And I’m glad I returned as I found myself enjoying the play a lot more second time round. Taking it for what it is, which is a Rattigan curiosity rather than a revelatory (re)discovery, this light-hearted comedy is actually an interesting addition to the West End’s early summer. Its main joy remains the relaxed but realistically palpable chemistry between Best and Anthony Head, as widow Olivia and government minister Sir John Fletcher whose relationship comes under strain when her son Michael returns from four years evacuated to Canada. Continue reading “Re-review: Love in Idleness, Apollo Theatre”
“There’s no situation in the world that can’t be passed off with small-talk”
Overlord of all that is authentic in British theatre, Trevor Nunn is now further redefining authenticity by presenting us with a Terence Rattigan premiere, cobbled together from two pre-existing versions of the same play. Love in Idleness was originally known as Less Than Kind (which itself was seen at the Jermyn Street back in 2011) but was rewritten at the behest of its stars, a commercially minded decision which proved fatal to Rattigan’s reputation. And rather than choose one or the other, Nunn has fashioned something new (but assumably still authentic), named for the later version.
Sadly, that sense of compromise lingers strongly here. Fans of Rattigan were utterly spoiled by pitch-perfect interpretations of After the Dance and Flare Path (also by Nunn) at the beginning of this decade and again last year with an excoriating The Deep Blue Sea, so knowing the emotional force with which he can devastate us can only leave you disappointed at the tonally strange and inconsequential comedy of sorts with which we’re presented here. Only the long-awaited return of the marvellous Eve Best to the London stage imbues the evening with the quality it scarcely deserves. Continue reading “Review: Love in Idleness, Menier Chocolate Factory”
“It’s the Middle East Shlomo, enemies is what you make”
Only by chance did I find out that The Honourable Woman was leaving Netflix at the end of this month, so I quickly took the opportunity to catch up with Hugo Blick’s political spy thriller and as is so often the case with these things, was left wondering how I could have taken this long to watch it.
Political intrigue and personal drama coming from kidnapped children, suspicious suicides and betrayals ranging from old blood feuds to intra-familial conflict set the scene immediately for a typically dense and complex story from Blick, centred on a refreshingly new take on the Israeli-Palestinian conflict and the seeming impossibility of finding a solution when the wounds of the past are still felt so keenly and deeply. Continue reading “TV Review: The Honourable Woman”
“Come, sit on me”
The Taming of the Shrew
Christopher Haydon takes Eve Best and John Light over to the Villa Businello-Morassutti in Padua, to make me sure that the world is in need of a proper production of the Best/Light Shrew as they spar achingly, beautifully, with each other. Toby Frow’s rambunctious 2012 production also comes up a treat with Samantha Spiro and Simon Paisley Day equally impressing. Continue reading “The Complete Walk, from the comfort of your sofa #10”