Late summer casting news

Vivienne Acheampong, Adelayo Adedayo, Ray Emmet Brown, Ernest Kingsley Jnr, Tamara Lawrance, Rudolphe Mdlongwa, Mark Monero and Cecilia Noble have been cast in the UK premiere of Is God Is written by Aleshea Harris and directed by Royal Court Associate Director Ola Ince. 

Is God Is by Aleshea Harris will run in the Royal Court Jerwood Theatre Downstairs from Friday 10 September 2021 – Saturday 23 October 2021 with press night on Thursday 16 September 2021, 7.30pm.

With set design by Chloe Lamford, costume design by Natalie Pryce, lighting design by Simisola Lucia Majekodumni, composition by Renell Shaw, sound design by Max Perryment, movement direction from Imogen Knight, choreography by Jordan ‘JFunk’ Franklin and special effects design by Susanna Peretz. The associate designer is Shankho Chaudhuri, the assistant director is Leian John-Baptiste, the dialect coach is Dawn-Elin Fraser and the fight director is Philip D’Orléans. Continue reading “Late summer casting news”

TV Review: Jonathan Creek, Series 1

I turn to a rewatch of Jonathan Creek to get me through Week 2 of Lockdown #2 and enjoy the freshness of the first series

“No one could have killed your husband and then left this room”

Starting in 1997 and memorably co-opting Saint-Saëns’ renowned ‘Danse Macabre’ for its theme tune, mystery crime thriller Jonathan Creek occupies a happy place in my TV memories, so I was a little hesitant at first in case it didn’t match up to how I remembered.

From cracking seemingly impenetrable alibis, to working out how to escape a nuclear bunker, to locked room mysteries of all sorts, it turns out David Renwick’s writing holds up rather well. The plotting is sufficiently twisty that it is nigh on impossible to figure out who and certainly howdunnit and I remembered none of the important details so it was like watching it anew. Continue reading “TV Review: Jonathan Creek, Series 1”

2018 BroadwayWorld UK Awards Shortlist

Best Actor in a New Production of a Musical
Alex Wadham, The Full Monty: The Musical, Old Joint Stock Theatre, Birmingham
Giles Terera, Hamilton, Victoria Palace Theatre
Jamal Kane Crawford, Fame, UK Tour
Jamie Muscato, Heathers The Musical, The Other Palace/Theatre Royal Haymarket
Louis Maskell, The Grinning Man, Trafalgar Studios
Marc Antolin, Little Shop of Horrors, Regent’s Park Open Air Theatre

Best Actor in a New Production of a Play
Aidan Turner, The Lieutenant of Inishmore, Noël Coward Theatre
Ben Batt, The York Realist, Donmar Warehouse/Crucible Theatre, Sheffield
Ian McKellen, King Lear, Chichester Festival Theatre
Matthew Tennyson, A Monster Calls, Old Vic
Reed Birney, The Humans, Hampstead Theatre
Tyrone Huntley, Homos, Or Everyone in America, Finborough Theatre Continue reading “2018 BroadwayWorld UK Awards Shortlist”

Review: Oslo, National Theatre

“The Americans cannot stand it when others take the lead”

What does it take to get peace in the Middle East? Some determined Norwegians and a plate or two of tasty waffles apparently… At a leisurely three hours in length and set around the Oslo Peace Accords, JT Rogers’ Oslo might not on the face of it seem like theatrical gold but it won a Tony on Broadway and such was the confidence in this production that a West End run was booked in to follow its short engagement at the National before a ticket had even been sold.

And it is a confidence that has paid off handsomely. Bartlett Sher’s direction has an epic sweep to its depiction of world affairs but Rogers’ writing shines through its focus on the intimate detail, on the personal struggle, sacrifice and success of the individuals who managed to break the Israeli-Palestinian deadlock and work towards the unimaginable – a lasting peace. History has shown us the reality of that, something acknowledged in a coda here, but it is still thrilling to watch. Continue reading “Review: Oslo, National Theatre”

Review: Persuasion, Royal Exchange

“We cannot all live in a fairytale”

 
I’ve been looking forward to Jeff James’ reinterpretation of Jane Austen’s Persuasion ever since it was announced, James having worked with Ivo van Hove as an associate director and the evidence of his work that I’ve seen thus far (in La Musica) really impressing. The influence from the Belgian master is palpable but it is manifesting itself in fascinating ways, interrogating notions of adaptation and theatrical experience in ways that we too rarely see in the UK.

You see it in the ways that he uses the relatively inflexible space of the Royal Exchange (IMHO van Hove rarely gets the credit he deserves for the way in which he reinvents theatrical space) and the way he positions his actors, saying so much about relationships and their dynamics without a word. And Alex Lowde’s supremely contemporary design boldly situates this Regency drama in the here and now, shifting even within itself in showing us Anne Elliot’s world. Continue reading “Review: Persuasion, Royal Exchange”

Casting news for Persuasion and Anatomy of a Suicide

 
I’ve already written of my excitement for the forthcoming Persuasion  and the announcement of the cast hasn’t lessened the thrill at all. Lara Rossi takes on the role of Austen’s heroine Anne alongside Samuel Edward-Cook as Captain Wentworth. The cast is completed by Geraldine Alexander, Antony Bunsee, Helen Cripps, Cassie Layton, Caroline Moroney, Dorian Simpson and Arthur Wilson. 

Directing them is Jeff James, “one of the UK’s most original young theatre makers”, who has adapted and is directing this bold retelling of Jane Austen’s final masterpiece at the Royal Exchange Theatre. Designed by Alex Lowde this contemporary production of Austen’s beautifully crafted novel discards the bonnets and trappings of formal life for a startlingly modern vision of Austen. Developed in collaboration with dramaturg James Yeatman and with sound design from the award-winning Ben and Max Ringham, Persuasion runs from 25 May to 24 June 2017.

Continue reading “Casting news for Persuasion and Anatomy of a Suicide”

Review: In Skagway, Arcola Theatre

“I want some nice tasty salty-in-the-mouth cheese. CHEEEEEEEESE!!!”

One of the reasons I like going to the Arcola is that the Sainsburys nearby stocks one of my favourite cheeses in the world – Grandma Singleton’s tasty Lancashire if you’re interested – and so I duly made my trip to the Kingsland Shopping Centre before making my way over to the Arcola for In Skagway. So it was quite amusing to hear one of the characters talk about wanting cheese during the play – if only it had been amusing in a good way.

For I really didn’t enjoy the play at all. Karen Ardiff’s story of four women stuck in the Alaskan town of Skagway at the tail end of the gold rush failed to grab me from the start, her characterisations simultaneously thinly drawn and utterly predictable, her dialogue so full of cliché as to be laughable. Throw in a lead character who has had a stroke and so communicates via voiceover, numerous flashbacks and dreamlike sequences and there’s something close to an unholy mess. Continue reading “Review: In Skagway, Arcola Theatre”

Review: Amygdala, Print Room Balcony

“I should imagine perspective plays a part”

Geraldine Alexander’s last stage outing in The Empty Quarter was pretty astoundingly good so I was intrigued to see how her debut as a playwright would turn out in Amygdala, tucked away in a found space at The Print Room. Hermione Gulliford plays Catherine, a successful lawyer with a busy family life who finds herself unravelling when a chance encounter on a bus leads to a heady affair with a handsome young man, Alex Lanipekun’s Joshua, but one with terrible consequences.

In the aftermath, Jasper Britton’s psychiatrist Simon is charged with trying to fix the emotional wreckage, the damage done to the ‘amygdala’ – the part of the brain where emotion and memory reside – but in delving into her psyche, he unwittingly stirs part of his own. It is a simply drawn play – although one full of densely complex thoughts and writing – but one in which both of Catherine’s key relationships feel curiously unrealistic – the therapist’s couch unleashes a high degree of unprofessionalism and the affair feels a little convenient. Continue reading “Review: Amygdala, Print Room Balcony”

Review: The Empty Quarter, Hampstead Downstairs

“It’s easy to get carried away here, it happens to everyone”

Alexandra Wood’s The Empty Quarter may find itself the victim of slightly unfortunate timing – a play about tough working conditions in the oil-rich Gulf States would lead many, who have seen recent headlines, to thoughts of the horrendous plight of migrant workers in Qatar. That the play is actually about a much higher grade of worker in Dubai, housed in palatial flats and raking in a healthy tax-free income, may initially throw you, but the story it tells of the strictures of life on the Arabian Peninsula has its own compelling drama.

From the outset, it is clear that mid-twenties couple Greg and Holly haven’t quite taken to Dubai like the proverbial duck to water. What seemed attractive in the brochures seems unreal and hollow in the flesh, the comparative social isolation is particularly hard for Holly who isn’t working and an ill-advised jaunt into the desert resulted in something like second-degree burns. But when Greg takes matters into his own hands and quits his job, they discover that the rules are entirely different out here and that they’re in for the long haul whether they like it or not. Continue reading “Review: The Empty Quarter, Hampstead Downstairs”

Review: Strange Interlude, National Theatre

“What am I doing here?”

When a revival of Eugene O’Neill’s Strange Interlude was first announced as part of the National Theatre’s summer programme, the five hour running time of the original struck a note of fear in many a heart of those who are used to the cheap seats in the Lyttelton Theatre. And though it has been trimmed down to 3 hours 20 minutes in Simon Godwin’s production, it still proves something of a considerable challenge – not least because I could not see for the life of me why it has been revived.

Due to its length and winning a Pulitzer Prize in 1928, it is no surprise that it ticks the ‘rarely performed classics’ box and featuring an absolute doozy of a central female role in Nina Leeds, it is no typical piece of theatre. Sadly, its main innovation – characters speaking their many, many internal thoughts out loud as asides – is one which felt far too similar to last week’s Passion Play to really impress. And it also makes what ought to be more seriously considered drama into an unexpected campfest that feels more like an American soap opera like Dynasty or Sunset Beach but with none of the schlocky enjoyment. Continue reading “Review: Strange Interlude, National Theatre”