Best Drama Series
The Crown (Netflix)
I Hate Suzie (Sky Atlantic)
Gangs of London (Sky Atlantic)
Save Me Too (Sky Atlantic)
Adult Material (Channel 4)
I May Destroy You (BBC One)
Normal People (BBC Three)
Small Axe (BBC One) Continue reading “2021 British Academy Television Awards nominations”
The National Theatre has today announced that two new filmed productions have been added to its streaming service National Theatre at Home: the Young Vic’s Cat on a Hot Tin Roof and the National Theatre and Out of Joint’s co-production Consent. Continue reading “News: National Theatre adds Cat on a Hot Tin Roof and Consent to streaming platform”
– Tom Hiddleston, Kristin Scott Thomas, Kit Harington, Simon Russell Beale, Indira Varma, Zawe Ashton and many more announced
– Happy Birthday, Harold will take place on what would have been the Nobel Prize winning playwright’s 88th birthday on October 10th
– Charity event will raise money for Amnesty International and Chance to Shine
– Tickets are on sale now
Continue reading “The Jamie Lloyd Company announces cast for charity gala to celebrate Harold Pinter’s birthday”
I’m somewhat seduced by the Pinter Two double bill of The Lover and The Collection at the Harold Pinter Theatre – fetch the olives!
“Did you show him the hollyhocks?”
Truth be told I’m not much of a Pinter fan though I do find the occasional production to be sufficiently compelling to keep me coming back to test my prejudices. And so the Pinter at the Pinter season certainly piqued my interest, if getting me rushing out of the door to book – it took a crucial recommendation to get me to the Harold Pinter for Pinter Two – The Lover/The Collection and I have to say I’m glad I allowed myself to be persuaded.
Both directed by Jamie Lloyd, they offer complementary but contrasting 60s aesthetics (beautifully realised in Soutra Gilmour’s design) – the first part more a sitcom going strange, the second a darker, more mysterious prospect from the off. And cast to the hilt in some of the most luxurious casting a single West End season has ever garnered, it’s all really rather captivating. Continue reading “Review: Pinter Two – The Lover/The Collection, Harold Pinter Theatre”
It’s a no for me for The Miniaturist
“Cornelia will fetch you a herring”
I haven’t read Jessie Burton’s 2014 novel The Miniaturist so I came into watching it with zero expectations. But even then, I wasn’t expecting that…!
To steal from the Guardian, the plot was “an everyday tale of girl marries man, moves from the sticks to old Amsterdam, discovers he’s gay, husband’s boyfriend stabs the dog, girl gets spooky doll’s house in which the miniature replicas begin changing to reflect real life, hubby is thrown into the sea while lashed to a stone wheel after suicidal courtroom speech denouncing Hanseatic cant, girl sells loaf/cones of sugar, and almost all, um, live happily ever after”.
But much as I love a story from Amsterdam, I found this a real challenge. The 90 minute episodes didn’t help, nor the heavy-handed shifts in tone which were a constant jolt. Maybe I should read the book instead…
“The human animal is a beast that dies but the fact that he’s dying don’t give him pity for others”
Whatever the reasons behind the decision to open Benedict Andrews’ Cat On A Hot Tin Roof directly into the West End, a first for the Young Vic, you can’t help suspect that it has been informed by the extraordinary success of their 2014 collaboration on A Streetcar Named Desire. Equally, it is tempting to feel the play would be better off on The Cut, the better for its intimacy to really sizzle.
There’s certainly the attempt to raise the temperature – Andrews has his leads Jack O’Connell and Sienna Miller in various states of undress for large swathes of the play – but for all the skin exposed, there’s little sexuality between Tennessee Williams’ central couple, the reasons for which are painstakingly revealed later on. And ultimately it is a disconnect that reads better than it plays. Continue reading “Review: Cat On A Hot Tin Roof, Young Vic at the Apollo”
Outstanding British Contribution to Cinema
Arrival – Dan Levine, Shawn Levy, David Linde, and Aaron Ryder
I, Daniel Blake – Rebecca O’Brien
La La Land – Fred Berger, Jordan Horowitz, and Marc Platt
Manchester by the Sea – Lauren Beck, Matt Damon, Chris Moore, Kimberly Steward, and Kevin J. Walsh
Moonlight – Dede Gardner, Jeremy Kleiner, and Adele Romanski Continue reading “70th British Academy Film Awards nominations”
“It’s very peaceful…”
It’s often that the mind thinks to compare Peter Gill with Simon Stephens but sitting through the former’s self-directed new play As Good A Time As Any in the surroundings of the Print Room at the Coronet cinema in Notting Hill, one couldn’t help but wonder what a different director might have made of it. The playtext for Stephens’ Carmen Disruption allows for, even actively encourages, directorial innovation, offering up a world of theatrical potential (in this case, ingeniously realised by Michael Longhurst) but there’s little of that imagination spilling forth from Gill.
Which is not to denigrate the quality of the writing here, which has a hypnotically compelling quality that transports its naturalism to a higher plane. The play consists of eight women sharing their everyday thoughts in all their banal humdrumness, divided into five choruses that break up the rhythm and interweaving with each other to demonstrate that no matter how different we think we are from the person across the street, the stranger sat opposite on the tube, the seatmate in a never-changing waiting room, we’re all pretty much the same, thinking pretty much the same thoughts. Continue reading “Review: As Good A Time As Any, Print Room”
The Welfare State…”
The Theatre Uncut initiative was set up in 2010 as a response to the proposed government cuts in arts spending as it invited a number of playwrights to write short plays which would then be available to download and perform “rights-free in a week of mass theatrical action”. An impressive array of writers – Neil LaBute, Mark Ravenhill, Lucy Kirkwood – have gotten involved across the past few years and one of this year’s best new plays – Clara Brennan’s Spine – started life in this format in 2012.
Devised as a way of creating a rapid response to current political concerns, this year’s theme has coalesced around the provovation ‘Knowledge is Power, Knowledge is Change’ and the five writers collaboratively involved are Anders Lustgarten, Clara Brennan, Inua Ellams, Vivienne Franzmann and Hayley Squires. And a motley crew they make up, punching hard with a raw energy that is variable and visceral and vocal and vibrant. Continue reading “Review: Theatre Uncut 2014, Soho Theatre”
“I just called to say I…”
And so Secret Theatre continues, on their fifth production now which has been devised by themselves and has a shorter run than usual as it will apparently be going to Edinburgh. So press reviews have been scrapped for this one, which may also have been motivated by the devised nature of the show, something which the UK mainstream critics automatically seem to react against. That said, I wasn’t much of a fan at all of A Series of Increasingly Impossible Acts and its highly experimental structure.
Running time: 70 minutes (without interval)
Booking until 22nd May then going to Edinburgh