Louise Jameson in The Diva Drag at The Hope
Lydia Larson in Skin A Cat at The Bunker
Sarah Ridgeway in Fury at Soho Theatre
Jenna Russell in Grey Gardens at Southwark Playhouse
Best Supporting Female
Lynette Clarke in Karagula at The Styx
Joanna Hickman in Ragtime at Charing Cross Theatre
Sasha Waddell in After October at The Finborough
Fiston Barek in The Rolling Stone at The Orange Tree
Phil Dunster in Pink Mist at The Bush
Paul Keating in Kenny Morgan at The Arcola
John Ramm in Sheppey at The Orange Tree Continue reading “2017 Offie Award Finalists”
“’Tis the time’s plague when madmen lead the blind”
Though no spring chicken myself, I’m not quite the right age to be truly excited about Oscar winning actress-turned politician-turned actress again Glenda Jackson’s return to the stage. I was more intrigued than truly excited when she was announced in the title role of Deborah Warner’s King Lear for the Old Vic for though I’m well aware of who she is, her film and TV credits never broke through into what I was watching either back then or since. (Feel free to recommend her must-see performances – I’ll add them to the list of things I’ll get round to watching one day.)
But I’m always here for casting decisions that shake the established order somewhat and with Celia Imrie, Jane Horrocks and Rhys Ifans in the cast too, there was no chance I wouldn’t go see this. Full disclosure though, I went to the final £10 preview so treat this review how you will. For it is simultaneously an effortful and frustratingly vague production that never truly convinces of the attempted scope of its artistic vision. Fortunately, this often-times ephemeral and occasionally perplexing Lear is anchored by a striking performance from Jackson. Continue reading “Review: King Lear, Old Vic”
“Memories fade. Memories contort and change”
First seen last year at the Royal Exchange in Manchester and Leeds’ West Yorkshire Playhouse where it was partially cross-cast with a striking reinvention of Anna Karenina, Chris Urch’s The Rolling Stone has kept on rolling down to Richmond where it has now opened at the Orange Tree. And at its helm, Ellen McDougall continues to prove herself one of the more exciting and inventive of a new generation of directors, with a simple but searing production.
The title comes the name of a Kampala newspaper that outed gay Ugandans by publishing their names and addresses and calling for their execution and Urch examines its fallout in the micro-perspective, looking at how it played out for one family. Joe has just become pastor of an Anglican church, under the aegis of the manipulative Mama, but neither are aware that Joe’s younger brother Dembe is happily cavorting with a mixed-race doctor from Northern Ireland called Sam. Continue reading “Review: The Rolling Stone, Orange Tree Theatre”
2016 is nearly upon and for once, I’ve hardly anything booked for the coming year and what I do have tickets for, I’m hardly that inspired by (the Garrick season has been ruined by the awfulness of the rear stalls seats, and I only got Harry Potter and the Cursed Child tickets due to FOMO). Not for the first time, I’m intending to see less theatre next year but I do have my eyes on a good few productions in the West End, fringe and beyond. Continue reading “20 shows to look forward to in 2016”
I realise I’m just adding (belatedly) to the plethora of 2015 features already published but so many of them trod the boringly familiar ground of forthcoming West End shows (and in the Evening Standard’s case, managed to recommend booking for three shows already sold out from their list of six). So I’ve cast my net a little wider and chosen a few random categories for just some of the shows I’m recommending and looking forward to in 2015.
Continue reading “Looking ahead to 2015”
“The problem is, citizenship isn’t automatically acquired through naturalisation”
I was initially quite hesitant about booking to see Routes – the murkily complex worlds of immigration and what was the UK Border Agency (UKBA) are all too familiar to me from aspects of my work and so I wasn’t sure that I wanted to see a dramatic interpretation of the painful intricacies of the legal system that so many people are forced to endure. And though Rachel De-lahay’s play, her second for the Royal Court, has a vivid compassion and a burning sense of injustice, it never really dealt sufficiently with its subject matter for my liking, barely scratching at the surface of something so rotten in the state of Great Britain.
She intertwines a number of stories, all to do with immigration and citizenship and how precious the rare flashes of humanity are, that survive in this system. Fiston Barek’s teenage Bashir has spent most of his life in the UK but at the slightest hint of trouble, finds his indefinite leave to remain under threat and a forcible return to Somalia on the cards. His roommate in his hostel is Calvin Demba’s Kola, a troubled youth offender disowned by his parents, one of whom works for the UKBA. And in Nigeria, Peter Bankolé’s Femi is trying to beat the system by buying a fake identity to be able to join his family in the UK. Continue reading “Review: Routes, Royal Court”
“Love between sexes is war”
Laurie Slade’s adaptation of Strindberg’s The Father was commissioned for Coventry’s Belgrade Theatre last year, but now makes its radio debut as part of Radio 3 season of classics focusing on the changes for women in the late nineteenth century. It is a blistering look at the power struggle in a marriage as two middle-class parents differ hugely on the upbringing of their daughter and clash monumentously in an all-out war to get their own way.
The decks are hardly equally stacked in this version of the battle of the sexes, Strindberg’s own response to Ibsen’s novel take on gender relations in A Doll’s House, as Laura unleashes the limited tools at her disposal to blacken the name of the Captain and cast seeds of doubt about the paternity of Bertha, literally stopping at nothing as the thin line between love and hate drives her to ever more extreme action. Continue reading “Review: The Father / The Broken Word, Radio 3/4”
“It’s a bit niche isn’t it Michael…”
Love the Sinner is a world premiere of a play by Drew Pautz, slotting into the Cottesloe at the National Theatre. The play looks at a number of the key moral challenges facing the Christian church, starting off at a conference of international bishops somewhere in Africa trying to reach consensus on how Christianity has to come to deal with homosexuality in the modern world. We then see one of the volunteers at the meeting, Michael, after a brief sexual encounter with one of the African porters and follow him as he returns to his closeted lifestyle back in the UK and battles his own personal demons and the challenges that his faith poses in an evermore secular world.
Whilst Love the Sinner may look at some of these moral challenges, it doesn’t attempt to address any of them to any depth to quite frustrating effect. The opening scene concerns a sequestered group of bishops from different countries trying to come to agreement over the Church’s position on homosexuality and how to deal with same-sex relationships. The issues are bounded about for a bit with the African side defending their homophobic intolerance in the face of the pleas of the more liberal Western clerics, but then once the scene ends, the topic is dropped without resolution. Continue reading “Review: Love the Sinner, National Theatre”