Curve Leicester’s The Color Purple – at home sounds like a dream with an excellent cast but I’m not sure it truly benefits from being filmed
“She got them heebies and jeebies”
It is a bit of a shame that The Color Purple – at home, has to follow Curve Leicester’s exceptionally good production of Sunset Boulevard as they reimagine their planned autumn/winter season in concert form. For where the already cinematic Sunset blossomed in the marriage of theatre and film, The Color Purple doesn’t reap anywhere near the same level of benefit from this treatment.
Part of the problem lies in the essential nature of the shows. Sunset is full of distance and estrangement which is perfect with there’s a 2m social distancing rules in place but The Color Purple is about intimacy and connection at its heart, and that is sadly – but necessarily – missing here. Continue reading “Review: The Color Purple – at home, Curve Leicester”
Following the success of its recent five-star production of Sunset Boulevard – at Home, Curve has announced plans to also stream The Color Purple online between Tue 16 Feb and Sun 7 Mar, in association with Birmingham Hippodrome.
Whilst the planned run of live performances is now sadly cancelled due to the uncertainty around national restrictions, Curve will safely bring together the 2019 award-winning company to stream the production for audiences to watch online. The Color Purple – at Home will be a fully reimagined concert version of the 2019 production, co-produced by Curve and Birmingham Hippodrome. Continue reading “News: Curve to stream The Color Purple at Home”
One of the joys of seeing so much theatre in London is that sense of seeing any number of actors at the beginning of their careers and Tristram Kenton has been doing that for years now. Here’s just some of those big names as whippersnappers on the British stage:
Photos: Tristram Kenton
“On the dank and dirty ground…”
Joe Hill-Gibbins’ idiosyncratic 2015 take on Measure for Measure filled the Young Vic with inflatable sex dolls so it should come as little surprise that for his A Midsummer Night’s Dream, he and designer Johannes Schütz have transformed the stage into a muddy paddock. With just a mirrored back wall to add to the set, the scene is thus set for an exploration of the “subconscious” of this most oft-seen (particularly in the year gone by) of Shakespeare’s plays.
There’s some great work, delving into the murkiness of the relationships here. Far from spirits “of no common rate”, these royal fairies feel like a real married couple in the throes of having to work things out yet again, Michael Gould’s Oberon’s manipulations as much as anguished as angry, and Anastasia Hille’s Titania relishing the removal of the ball and chain as she plays sex games with Bottom, roleplaying the attending fairies in a witty twist. The intensity of their connection repeats itself later in another clever connection. Continue reading “Review: A Midsummer Night’s Dream, Young Vic”
“Laugh to scorn the power of men”
Who’d’ve thought 2013 would turn out to be the year of the impressive Malcolm? After Alexander Vlahos’ strongly defined interpretation of a fast-maturing young man for the MIF’s Macbeth in the summer, so now Philip Cumbus makes his own successful stab at the character for the Globe’s take on the Scottish Play, making him an unmistakeable stateman from the off even if he hides it well. The production is most notable for marking the directorial debut of that product-of-a-star-dancing Eve Best and a striking one it is too – whereas Lucy Bailey went all-out Dante back in 2010, Best treats it with a much lighter, even comedic, touch.
It’s a bold choice and one that is just so different that in the trickier moments, it was hard to tell whether I felt it was genuinely unsuccessful or rather that it was just so unexpected. Generally speaking, the vein of black comedy that was teased out was stronger than the broader strokes that often appear in Globe comedies, but the sound of so much laughter in the play did feel at odds with its increasingly darkening horizons, the creeping sense of horror never really materialises as the tonal balance of the production makes it hard for the actors to shift modes and carry the audience with them. Continue reading “Review: Macbeth, Shakespeare’s Globe”