Full casting has been announced for the brand new stage adaptation of British comedy The Good Life which tours the UK this Autumn. The acclaimed cast will include actress and presenter Preeya Kalidas as ‘Margo Leadbetter’, Dominic Rowan as ‘Jerry Leadbetter’, and Sally Tatum as ‘Barbara Good’, joining the previously announced actor and comedian Rufus Hound as ‘Tom Good’. Also featured will be Nigel Betts and Tessa Churchard.
The new comedy by Jeremy Sams, is based on the classic television series by John Esmonde and Bob Larbey which entertained countless millions in the 1970s and which I have never seen an episode of. Directed by Jeremy Sams, this world premiere production will be the first time that the iconic characters of suburban neighbours the Goods and the Leadbetters will be seen on stage. The Good Life will open at Theatre Royal Bath on 7 October 2021, before dates at Cheltenham Everyman, Salford Lowry, Oxford Playhouse, Cambridge Arts Theatre, Malvern Theatres, Richmond Theatre and Chichester Festival Theatre. Continue reading “Early September theatre news”
A digital production of Waiting for Lefty, updated to the modern day, breathes some sharp, fresh air into the Zoom theatre format
“Can I help it that times are bad?”
In a week when many theatres in England are preparing to open their doors again, it might seem a little perverse to be launching yet another digital production into the ether. But new company Two Lines Productions’ choice of Clifford Odets’ Waiting for Lefty – as directed here by Phil Cheadle – feels like a real shot in the arm for anyone who might be feeling jaded about another Zoom play.
The structure of Odets’ play, centred around a union meeting, lends itself to this format (Cheadle wisely steering clear of any reference to Handforth Parish Council…!). And as this group of cab drivers ferociously debate strike action for a living wage, we find ourselves fully immersed in proceedings in a radically different yet essentially quite similar way that resonates so powerfully at the play’s striking climax. Continue reading “Review: Waiting for Lefty, Two Lines Productions”
“You’ve been a widower for three days, have you thought about a second marriage?”
I ummed and aahed a bit about what to write about this one – I saw what I think was the final preview of Lootbefore a few days to retool before opening night on Wednesday and as with any comedy, especially farce, there’s nothing like doing it live to help it bed in. At the same time, I’m not much of a fan of farce (my fault I fear…) and only really booked for two reasons. 1 – it’s on the list. And 2 – Sinéad Matthews, future queen of all our hearts. She really is fantastic and it’s nice to see a shift in gear from her customary electrifying intensity.
So yeah, I thought Michael Fentiman’s production was funny in parts (though nowhere near as funny as most everyone around me) and impressively sharp-edged and dark for a play that is celebrating its 50th anniversary. But the writing, in its targets, does show its age and there’s no attempt to show Lootas anything but a period piece, which may well tickle the fancy of those a generations on from me but ultimately left me feeling cold on occasion. And if the attempts at laughs come thick and fast, well they have to as much of the humour is dated. Sorry, my dear.
Running time: 2 hours Booking until 24th September, then moves to the Watermill in Newbury from 28th September to 21st October
Dennis Potter’s Brimstone and Treaclemarks its 40th anniversary this year and so it’s as good a time as any to revive this dark drama that was so controversial on its release that the BBC banned it from its original Play For Today slot. It eventually played at Sheffield Crucible a year later and though it received a powerfully acted production (Tessa Peake-Jones, Rupert Friend) at the Arcola in 2012, Matthew Parker’s revival for his Hope Theatre feels perfectly poised to capitalise on its relevance to our fractured society.
Though written and set in the late 70s, Potter’s depiction of far-right politics, racism and homophobia, religious intolerance feels horribly recognisable. The way in which one character rationalises his decision to join the National Front has chilling new currency in this post-Brexit world and the supercilious smile that another character occasionally bares to the audience reflects nothing so much as the arrogance of Nigel Farage. Potter’s dramatic form of evil is naturally much more timeless but you can’t help but draw the parallels here. Continue reading “Review: Brimstone and Treacle, Hope Theatre”
There was a point in this performance of Lindawhere Noma Dumezweni’s eponymous character made an actual risotto, and a bowl of pasta and a sauce for her fussy daughter, all whilst performing script in hand and still somehow ruling the stage of the Royal Court. She was on-book because she was a very last minute replacement for Kim Cattrall (who withdrew on medical advice with just two rehearsals left) but even in this short space of time, there’s a magisterial sense of character brimming from this finest of actors (who’s also preparing for her directorial debut early next year in the upstairs theatre!)
And demonstrating just how capable she is fits in perfectly with Skinner’s larger themes – Linda Wilde is a 55 year old determined not to slip quietly into the background as society suggests, and expects, older women should (apart from Helen Mirren that is…). A marketing guru at a top beauty firm, married to the pleasant Neil and mother to two daughters Alice and Bridget, she’s been spinning the various plates of her life successfully for some time now but the centre of gravity in her world has shifted imperceptibly, forcing a reckoning all around. Continue reading “Review: Linda, Royal Court”
Someone wiser than I pointed out that the only way you could do The Seagullat the Open Air Theatre was to be thoroughly iconoclastic, ruffling those Chekhovian feathers into something brasher, bolder and less contained. And there is no doubting that that is what Torben Betts’ new version and Matthew Dunster’s directorial vision have set out to do here, ramping up the comedic elements (of the first half at least) but sacrificing much of the counterbalancing tragedy that customarily gives the Russian writer’s work its depth.
There’s some good work here – Janie Dee’s skittish Arkadina is a delight as she vainly tries to cling onto a long-gone girliishness (though impressive barre work!), Lisa Diveney’s Kirsten Stewart-ish Masha is well-realised in all her agonised inaction, and Jon Bausor’s striking design tilts a giant mirror at 45 degrees to the floor to both open up and expose the world of the tortured souls in this country estate. But the prevailing mood is one of something close to glibness, as the frivolity of the updating comes up hard against the traditional period setting. Continue reading “Review: The Seagull, Open Air Theatre”
Sean Foley and Phil Porter’s version of the Thomas Middleton play was a big hit for the RSC in Stratford in 2013 so English Touring Theatre saw it as a good fit to revive and tour around the country. The show is in Brighton this week and goes onto Malvern, Truro, Bath, Darlington, Cambridge and then the Barbican in London from 29th April to 9th May.
“I wonder how I will make the potatoes understand”
Just a quickie to cover the last of Out of Joint’s rehearsed readings to accompanyOur Country’s Goodat the St James Theatre which was a world premiere of a new play, Jefferson’s Garden. As a work-in-progress, the convention is not to say too much but I have to say that this will be a play to look out for in the future because I found it an incredibly accomplished piece of work, even at this early stage, and it made for a highly enjoyable afternoon.
Starting in the midst of the American revolution and stretching from a Quaker farm in Maryland to a politicised Philadelphia to the Virginian gardens of Monticello, Jefferson’s Garden looks at the birth of a nation in all its huge political and social upheaval and examines the price paid by people on all levels, from the statesmen pushing through new laws to the slaves praying for emancipation. Continue reading “Not-a-Review: Jefferson’s Garden, St James Theatre”
Accompanying their production of Our Country’s Good, Out of Joint have put together a programme of rehearsed readings of various of Timberlake Wertenbaker’s plays and threw in a bonus reading of George Farquhar’s The Recruiting Officer for good measure. It is a natural choice as it is the play which the convicts of Our Country’s Good are performing and in using the same cast here, the actors are able to play the characters they are ‘rehearsing’ in the other piece which has a lovely neatness about it.
Farquhar’s play is deliciously dry and funny, impressively so for a 1706 Restoration comedy, and even with the limited rehearsal time and the cast having scripts in hand, there was a real sense of the rich comic potential of the material. And having seen it fairly recently at the Donmar Warehouse, it was interesting to see the different choices and dynamics that a new company brought. Ian Redford’s older Kite had a weariness of the soul that felt entirely appropriate, John Hollingworth’s take on Brazen was straighter than Mark Gatiss’ out-and-out fop but no less hilarious for it and the doubling that most of the actors did was impressively done and added to the humour quotient. Continue reading “Review: The Recruiting Officer rehearsed reading, St James Theatre”