Lockdown may have returned but theatres are boldly looking ahead – the David Tennant-starring Good and Six the Musical are moving theatres, Haydn Gwynne is back and The Last Five Years extends at the Southwark Playhouse
CP Taylor’s Good, starring David Tennant, Fenella Woolgar and Elliot Levey and directed by Dominic Cooke, which was due to open this October, has announced new dates for 2021 and a new run at the Harold Pinter Theatre.
Produced by Fictionhouse and Playful Productions, Good was originally scheduled to begin performances at the Playhouse Theatre on Tuesday 6th October. Due to the current global situation, the production was postponed and will now preview at the Harold Pinter Theatre from Wednesday 21st April to Saturday 17st July 2021.
Current ticket holders will be given priority for the new dates and do not need to do anything. The point of purchase will be in touch with ticket holders to reschedule or refund their booking. Extra tickets for the new dates for Good at The Harold Pinter Theatre go on sale at 10am, Monday 12 October 2020. Continue reading “News: September theatre news gathers apace”
The use of real-life couples makes Episode 2 of Unprecedented a very strong entry – superb work from Gemma Arterton, Arthur Darvill and Cecilia Noble among others
“I can be there for you, even from here”
Episode 2 of Unprecedented, Headlong and Century Film’s creative rapid-response to coronavirus definitely managed to take advantage of acting households, as husbands and wives abounded (Arthur Darvill and Inès De Clercq, Gemma Arterton and Rory Keenan, Olivia Williams and Rhashan Stone), offering up a different texture than just the single person shots that dominated the first episode.
Tim Price’s Romantic Distancing, directed by Jeremy Herrin, was really rather swooningly lovely. Darvill and De Clercq playing a couple who’ve only been together for a couple of months and trying to work out if staying together, whilst isolating apart, is worth it. The switch into Once-style balladry worked beautifully for me and it’s kinda hard not to root for this pair. Continue reading “TV Review: Unprecedented, Episode 2”
Directed by Agnieszka Holland, Mr Jones delves deep into a shocking, and underexplored, piece of modern history and asks how we can so easily decide to look the other way
“What’s being done now will transform mankind”
It is remarkable how even now, epochal moments in history in which millions died can remain so unknown in the West. To my shame, I’d never heard of the Holodomor, and I’d wager not many in the UK could tell you what it was – a man-made famine in the early 1930s, a genocide against the Ukrainian people perpetrated by the Soviet government.
Agnieszka Holland’s film Mr Jones tackles this Western-blindness by exploring the story of Gareth Jones, a Welsh journalist/political adviser (how the lines are ever-blurred…) who risked his life to uncover the story and reveal it to the world, only to find that geo-political realities meant that no-one is really listening (nothing ever really changes does it?!). Continue reading “Film Review: Mr Jones (2019)”
Headlong and Century Films have today announced a cast of over 50 UK actors taking part in Unprecedented: Theatre from the State of Isolation. A series of new digital plays written in response to the current Covid-19 Pandemic, Unprecedented will be broadcast across the nation during lockdown as part of BBC Arts’ Culture in Quarantine initiative.
Written by celebrated playwrights and curated by Headlong, Century Films and BBC Arts, Unprecedented explores our rapidly evolving world, responding to how our understanding and experiences of community, education, work, relationships, family, culture, climate and capitalism are evolving on an unprecedented scale. The series will ask how we got here and what the enduring legacy of this historic episode might be. Continue reading “News: cast announced for Unprecedented: Theatre from a State of Isolation”
Renée Zellweger is sensational in Judy, a deeply moving account of Judy Garland’s final months in London directed by Rupert Goold
“I just want what everybody wants. I seem to have a harder time getting it.”
As if there were any doubt, Judy is a phenomenal success, and should see its star Renée Zellweger add to her tally of Academy Award nominations, if not the award itself. Loosely based on Peter Quilter’s play End of the Rainbow, it recalls the final year of Judy Garland’s life as a roll of the dice sees her decamp to London to perform in a series of concerts that she hoped would reignite interest in her career whose light was seriously fading in the US.
But years of substance abuse and the relentless ride of showbusiness have taken a serious toll, even just turning up on time proves a struggle (hard relate!) and that iconic voice can no longer be relied upon. Thus Tom Edge’s screenplay takes a slightly more realism-based approach than the play to show us the riskiness that accompanied Judy’s every step towards a stage and the slow, crushing realisation of what her life has amounted to. Continue reading “Film Review: Judy (2019)”
The best TV show you haven’t heard about? Harlots just might be it!
“When the time comes, I hope your quim splits”
I suppose that it is good that we have so many more options for good television to be made these days. The flipside to that is that it can be harder to keep track of it all. Harlots is fricking fantastic, a hugely enjoyable and high quality drama but airing on ITV Encore (and Hulu in the US), it has languished in the doldrums of the unfairly unheralded.
A glance at the castlist shows you how much of a waste this is. Samantha Morton and Lesley Manville at the head, Jessica Brown Findlay, Hugh Skinner and Dorothy Atkinson among the supporting, Fenella Woolgar, Danny Sapani and Kate Fleetwood popping up now and again too. This is luxury stuff and yet criminally few know about it. Continue reading “TV Review: Harlots Series 1”
Not even Judi Dench can save this irresponsible look at the British colonial legacy, Victoria and Abdul nevertheless takes two Oscar nominations into the ceremony.
“It is imperative that the royal colon receives a little roughage”
AKA The Other V&A. You can see the rationale behind Victoria and Abdul, allowing Dame Judi Dench to reprise her much-loved role from Mrs Brown with another 20 years under her belt. And directed by Stephen Frears from a screenplay by Lee Hall, hopes were reasonably high.
What results though, is a film that indulges in an irresponsible kind of historical revisionism, a refusal to engage with and interrogate the reality of British colonial rule. Hall’s version of Victoria is allowed to be coyly ignorant of the looting of Indian treasure, a champion of diversity too in an improbable twist. Continue reading “Oscar Week Film Review: Victoria and Abdul”
“What does one do with the pickled walnut?”
The Hampstead’s failure to engage properly with issues of female creative representation on its main stage (out of seven shows for 2017, only one was written by a woman and none were directed by women) has meant it has dropped off my must-see list of theatres. But on reading the synopsis of Patrick Hamilton’s The Slaves of Solitude – adapted by Nicholas Wright, directed by Jonathan Kent, designed, lit and sounded out by men too natch – with its lead female protagonist, I was persuaded to revisit my stance.
And in some ways, I’m glad I did. For that leading character, Miss Roach, is played by the ever-marvellous Fenella Woolgar and she’s partnered by Lucy Cohu, another favourite actress, and there are moments in this gently played Second World War-set story that shimmer with effectiveness. Bombed out of her home by the Blitz, Miss Roach (“I do have a first name, but I don’t encourage people to use it”) finds herself swept up in a different type of conflict at the Henley-on-Thames boarding house where she now resides. Continue reading “Review: The Slaves of Solitude, Hampstead Theatre”
South London based site-specific theatre company Baseless Fabric are presenting David Mamet’s rarely performed short plays Reunion and Dark Pony in libraries across South London as part of National Libraries Week 2017. The plays are two of David Mamet’s earliest work, first produced in the US in 1976 and 1977 respectively and both feature David Schaal and Siu-see Hung in their casts.
Both of the plays explore father and daughter relationships and the audience will be immersed in the worlds of these plays in the unique and atmospheric library environments during National Libraries Week 2017 to raise awareness of exciting events happening in local libraries and bring theatre to people in their local library space. Artistic Director Joanna Turner directs with Set & Costume Designer Bex Kemp, creating a site-responsive design in each library space.
Mon 9th Oct 7.30pm – Durning Library, SE11 4HF (nearest station: Kennington)
Tue 10th Oct 7.30pm – John Harvard Library, SE1 1JA (nearest station: Borough)
Wed 11th Oct 7.30pm – John Harvard Library, SE1 1JA (nearest station: Borough)
Thu 12th Oct 7.30pm – Merton Arts Space, Wimbledon Library, SW19 4BG (nearest station: Wimbledon)
Fri 13th Oct 7.30pm – Merton Arts Space, Wimbledon Library, SW19 4BG (nearest station: Wimbledon)
Sat 14th Oct 3pm – Earlsfield Library, SW18 3NY (nearest station: Earlsfield)
Sat 14th Oct 7.30pm – Battersea Library, SW11 1JB (nearest station: Clapham Junction)
Sun 15th Oct 6pm – Clapham Library, SW4 7DB (nearest station: Clapham Common)
Continue reading “Round-up of news and treats and other interesting things”
“Ladies and gentlemen, please remain calm. I’m sure it’s just another false alarm”
Oh The Halcyon – shafted by the overwhelming desire for it to be the new Downton, or maybe the unfriendly Monday evening slot, or maybe the fact that Charlotte Jones’ serial never quite honed in on what it wanted to be. Following the fortunes of a luxury London hotel during the first couple of years of the Second World War, it took all possible opportunities to explore a society on the cusp of major change. But between the aristocrats who owned it, the aristocrats who stayed there, the lower classes who work there, and the multitudes of people affiliated to all these lives, the canvas was far too wide.
The hints were there right from the off in episode 1 which struggled to introduce even just its leading players in its running time, whilst still proving most tantalising, due to its cracking cast and its sumptuous design (those costumes!). At the heart of The Halycon lay the antagonistic relationship between Olivia Williams’ Lady Hamilton and Steven Mackintosh’s Mr Garland, owner versus manager as they butted heads over practicalities in the face of an ensuing Blitz but though their scenes were electric, they were given too little too late together to exploit this to its fullest. Continue reading “TV Review: The Halcyon Series 1”