Not really news, more a heads-up to this brilliant piece in the Guardian which covers the 30-odd years that Tristram Kenton has been taking pics for the Guardian’s theatre coverage. Highly recommended: https://www.theguardian.com/stage/gallery/2020/jul/30/caesar-cilla-and-a-superstar-cast-tristram-kentons-stage-archive-in-pictures
Running time: 2 hours 25 minutes (with interval)
Photo: Pamela Raith
Booking until 3rd March
Episodes, in order of preference
World Enough and Time
The Doctor Falls
The Eaters of Light
Empress of Mars
The Pyramid at the End of the World
The Lie of the Land
Top 5 guest spots
1 David Suchet’s Landlord was as perfectly written a character as befits one of our more superior actors
2 Regular readers will know I’m a big fan of Kieran Bew and his astronaut in Oxygen was no exception
3 Nicholas Burns‘ malevolent Sutcliffe was a delightfully Dickensian villain
4 Another theatrical delight of mine is Anthony Calf, impressive as the pseudo-Victorian Godsacre
5 Rebecca Benson’s young Pict impressively led The Eaters of Light from the front, a perfect vessel for Rona Munro’s vision
Michelle Gomez’s Missy has been a brilliant breath of fresh air and whilst her decision to follow Moffat and Capaldi out the door is understandable, it isn’t any less disappointing. And perhaps the timey-wimeyness of the circumstances around her passing mean that maybe this isn’t the last we see of her…
Most wasted guest actor
I don’t what I expected from the reliably excellent Samantha Spiro in Doctor Who but I didn’t get it from her part in The Doctor Falls.
Gay agenda rating
With Bill onboard, A+!
“There is only one way of treating men, with the iron hand … yield one demand and they will take six”
The list of the NT2000 top 100 plays is an interesting one, full of the sort of plays I wouldn’t ever have chosen to see and so using it as a guide to stretching my theatrical viewing has been illustrative. Which is a roundabout way of saying the latest play I wouldn’t necessarily have chosen for myself that I went to see was John Galsworthy’s 1909 Strife at the Minerva in Chichester, incidentally marking Bertie Carvel’s directorial debut.
Set around an industrial dispute at a Welsh tinplate works where a strike has been running for six months, Strife examines the stresses this places on all concerned. The workers, who don’t have the support of their union; the board, who have travelled from London to thrash out a compromise; and the firebrand leaders of each faction who might not be so different as all that, each equally stubborn in refusing to budge from their position. Continue reading “Review: Strife, Minerva”
“Let’s keep the party polite”
In the absence of a long-runner, the Savoy Theatre has becoming something of a receiving house – Guys and Dolls has followed in the rapturously received Gypsy, both from Chichester, and the Menier’s Funny Girl lies in wait in April. But what was interesting to see on my return to Guys and Dolls (after seeing its original run in Chichester the summer before last) is that one size does not fit all, the business of transferring isn’t quite as easy as all that.
For where Gypsy seemed to gain in intensity in the confines of the proscenium arch, Guys and Dolls feels a little constrained by it. Maybe it’s just the memory of Carlos Acosta and Andrew Wright’s explosive choreography on the openness of the thrust stage but it seemed to pop better there (he grumbled, from the rear stalls), it doesn’t benefit from the same width here at the Savoy and so some of the set pieces – as impressive as they remain – didn’t quite hit the nail on the head. Continue reading “Review: Guys and Dolls, Savoy Theatre”
“He stinks of drink and urine
And thinks he’s so alluring”
One might have hoped that a musical version of William Shakespeare’s The Merry Wives of Windsor by the RSC with a cast that includes Dame Judi Dench, Haydn Gwynne, Simon Callow and a Strallen (natch) would be an enjoyable thing to experience to but on listening to it, it’s clear there is abundant reason I was able to pick up the CD of the live recording for the princely sum of £1 in the RSC shop.
Paul Englishby’s score is an unholy mess of a pick’n’mix bag that someone else has chosen for you – its conflicting styles a dizzying confection that sprawls across the narrative rather than supporting it. Not knowing whether the next song is going to be a tango or a madrigal, take its cues from Big Band or Brecht, or recall Andrew Lloyd Webber or an East London music hall is a most bizarre experience and the cumulative effect is extremely wearying – I have to say it was a real struggle to listen to the whole album in one go. Continue reading “Album Review: Merry Wives the musical (2006 RSC Cast)”
“If I were a watch I’d start popping my springs!”
From the opening moments of an overture that demands the attention, it is clear that Chichester’s revival of the Broadway classic Guys and Dolls is going to be a scorcher. Director Gordon Greenberg utilises not only Carlos Acosta as choreographer but also Andrew Wright as a co-choreographer and the combination of the two is simply explosive – these are no two-bit routines that people are shuffling around, this is proper dance and it is thrilling to behold.
It helps of course to be connected to Jo Swerling and Abe Burrows’ amiable book, based on Damon Runyon’s characters, about the travails of a bunch of New York gamblers, and Frank Loesser’s evergreen music and lyrics which churns out classic after classic after classic. Greenberg wisely doesn’t interfere much at all with the material, just cultivating warmth from all of his performers and particularly his two leading couples, making them utterly adorable. Continue reading “Review: Guys and Dolls, Chichester Festival Theatre”
“Verily, I speak it in the freedom of my knowledge”
It is no surprise to anyone who reads this blog that any mention of Alexandra Gilbreath – recent winner of the Best Supporting Actress in a Play fosterIAN to be sure – sends me all a quiver. So when someone told me about this production of The Winter’s Tale which features not only her as Hermione but also has Nancy Carroll lurking in the ensemble, I was most keen to watch it. Plus there’s the small matter of Antony Sher as Leontes, an actor whom I am always intrigued to see more of as I’ve have actually had little experience of him as a performer.
An RSC production from 1998, this was recorded at the Barbican and so as a straight filming of the stage show, it is free from the kind of directorial innovation that blighted (IMHO) the versions of A Midsummer Night’s Dream and The Tempest also covered this weekend. Instead, we get the theatrical experience minus the live thrill but with the added bonus of close up work. And it is a great bonus here. Sher does so much acting with his eyes as a paranoiac Leontes, mentally damaged as suggested by a prologue and incapable of not seeing the dark shadows in the corner of the room. The way his suspicions are aroused by Polixenes’ attentiveness to his wife is brilliantly done as she is actually suffering from pregnancy pain but Leontes misses the crucial moments and all too easily lets the darkness consume him. Continue reading “DVD Review: The Winter’s Tale (RSC at the Barbican, 1998)”