Jermyn Street Theatre has announced casting for its marathon performance of Homer’s The Odyssey, translated by Emily Wilson.
James Purefoy (Rome, Fisherman’s Friends, Churchill) stars as Odysseus, the Greek hero whose ten-year journey home from Troy is the heart of Homer’s epic poem. Purefoy is joined by Susannah Harker (Pride and Prejudice, House of Cards) as his wife Penelope, new graduate Chirag Benedict Lobo as his son Telemachus, renowned Shakespearean actor Michael Pennington as his father Laertes, Clare Perkins (Emilia, Sweat) as Athena, the goddess who guides his journey, and Marion Bailey (The Crown, Mr Turner, Vera Drake) as his devoted nurse Eurycleia. The ensemble cast is completed by Jim Findley, Sam Crerar, David Sturzaker and Robert Mountford, all returning to Jermyn Street Theatre. Continue reading “News: James Purefoy leads all-star cast for the Jermyn Street’s epic Odyssey”
The Bletchley Circle – San Francisco sees half the original crew decamp to the US and you really, really wish that they hadn’t
“People don’t just walk in here and solve crimes”
The injection of dollars has revived the fortunes of many of a TV show but as with the case of Torchwood, it can come at quite the cost. Financed as a British and Canadian co-production The Bletchley Circle – San Francisco came as a spin-off of The Bletchley Circle but as it lost half its cast on the trip over the ocean, it also lost more than half the magic that made it work.
The series follows Millie (Rachael Stirling) and Jean (Julie Graham) as they decamp to San Francisco when a couple of murders there follow the pattern of the killing of one of their former colleagues Claire. Naturally, they fall in with a pair of former US codebreakers Iris (Crystal Balint) and Hailey (Chanelle Peloso) to try and crack the case the best way they know how. Continue reading “TV Review: The Bletchley Circle – San Francisco”
Hattie Morahan makes a more than able replacement for Anna Maxwell Martin in Series 2 of The Bletchley Circle
“Well ladies, let’s get cracking”
Series 2 of The Bletchley Circle at least has one more episode in it than the first, as it takes the form of two two-part stories but as it is the last season, it is also tinged with sadness. It is also a little curiously structured as Anna Maxwell Martin’s Susan departs after the first story, allowing Hattie Morahan’s Alice Merren – who appears as the protagonist of the opening mystery – to step up and replace her in the group for their final case.
Alice just happens to be another former colleague from Bletchley Park who, as the series opens, is awaiting trial for killing her old flame from those Bletchley days. Julie Graham’s Jean is sure she must be innocent and so reconvenes Lucy, Millie and a reluctant Susan to try and prove her innocence and solve the mysterious connections to a place called Porton Down… Continue reading “TV Review: The Bletchley Circle Series 2”
It is Caryl Churchill’s turn to get the Tristram Kenton treatment from the Guardian’s archive, and what an impressive array of talent that have understandably flocked to this most remarkable of playwrights:
Photos: Tristram Kenton
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
Keira Knightley is excellent in the all-too-relevant Official Secrets, a film full of theatrical talent
“Just because you’re the Prime Minister doesn’t mean you can make up your own facts”
I’m not quite sure how I managed to let Official Secrets pass me by late last year, given how thesp-heavy its cast is. Practically every scene is filled with familiar faces of much-loved actors, so getting to catch up with it now was a real pleasure. Based on the book The Spy Who Tried to Stop a War by Marcia & Thomas Mitchell, Gavin Hood’s docudrama is eminently watchable and a salutary reminder of how far governments are willing to (over)reach in the face of uncomfortable truths.
It is based on the true story of Katharine Gun, a low-level GCHQ employee who leaked a secret memo that exposed the lengths that the US and UK were willing to go to in order to secure backing for their invasion of Iraq in 2003, in the face of the lack of any tangible WMDs. She copies the memo for a media friend, a front-page scoop follows and thus the consequences of breaching the Official Secret Act are brought to bear. Continue reading “Film Review: Official Secrets (2019)”
As a means of bringing joy and creativity into homes during these uncertain times, the Rose is launching the ‘Readings from the Rose’ initiative
Several prominent actors and creatives in the industry have filmed themselves reading their favourite poems and the Rose will be releasing one reading every day at 1pm across 14 days.
These readings can be accessed by anyone completely free of charge on the Rose’s YouTube and Instagram channels, in the hope that they will bring some light entertainment to audiences while theatres are dark. Continue reading “News: Readings from the Rose launched”
Tennessee Williams’ Orpheus Descending may not be his greatest play but Tamara Harvey’s production for the Menier Chocolate Factory proves most affecting in the end
“What on earth can you do on this earth but catch at whatever comes near you, with both your fingers, until your fingers are broken?”
Any project that tempts Hattie Morahan back onto the stage has to be worth checking out (qv Anatomy of a Suicide, A Doll’s House, but maybe let’s not mention The Dark Earth and the Light Sky…). Orpheus Descending, a Menier Chocolate Factory & Theatr Clwyd co-production directed by Tamara Harvey, proves no exception, bolstered by the presence of the ever-excellent Jemima Rooper in the cast, plus a brooding Seth Numrich.
Orpheus… is something of a minor Tennessee Williams work (one I didn’t much enjoy when I saw it at the Royal Exchange a few years ago) but one which feels stronger here. Navigating the stifling heat and social strictures of smalltown Deep South in the 1950s, Lady seeks escape from her loveless marriage and small-minded neighbours. And in the arrival of handsome drifter Val Xavier, it seems she might have found it – doesn’t it? Continue reading “Review: Orpheus Descending, Menier Chocolate Factory”
I’d thought I didn’t need to see Richard II again for a good while but Michelle Terry’s tenure at the Globe is most certainly testing that resolve. The forthcoming production there is to be staged by the first-ever company of women of colour in a Shakespeare play on a major UK stage. Co-directed by Adjoa Andoh and Lynette Linton, Adjoa will also play the titular role. Continue reading “Theatre news round-up”