I’m loving this deep dive in to Tristram Kenton’s archive, this time taking a turn into the many Chekhov productions he has been witness to. Highly recommended:
Photos: Tristram Kenton
I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time featuring the multitude of Hamlets he has been witness to. Recommended:
Photos: Tristram Kenton
South West London Law Centres, a charity that provides specialist legal advice in social welfare law for people who cannot afford to pay privately for a lawyer, are holding a comedy fundraiser event, Jokes For Justice, on February 23rd 2017 at The Bedford Pub, Balham. Nish Kumar, Jonny and The Baptists and Sophie Willan will be performing on the night to help raise funds to continue their work across South West London. After the devastating legal aid cuts of 2013, our income has been slashed by over 40% and ten other Law Centres have already closed down – funds are desperately needed to support access to justice for those most in need within our communities.
Continue reading “Round-up of news and treats and other interesting things”
“Horribly stuffed with epithets of war”
When starting this DVD rewatching enterprise, I knew I’d be happy to see actors I knew and loved earlier on in their careers but I had barely a thought for the directors, particularly Trevor Nunn. His reputation precedes him so far now (in terms of keeping a wide berth) that it is hard to think of him as the interesting and innovative talent that got him to that place but through his stunning Macbeth and this Othello, the evidence is here.
His 1989 RSC Othello played The Other Place to intimate audiences, as did his Macbeth, and it is an approach that pays dividends once again. Still a hefty three and a half hours, its American Civil War setting lends an interesting dynamism in which some brilliant key casting allows real fire and emotion to flourish in a drama that tends to the domestic in its bitter jealousies, fevered realisations and misappropriated affection. Continue reading “DVD Review: Othello (1990)”
“I don’t drink…I imbibe”
In the midst of the US Civil Rights Movement igniting, Paul Minx’s The Long Road South takes a micro-perspective on this momentous time, looking at the experience of a single family in the baking heat of an Indiana summer. Andre and his partner Grace have spent the summer working for the Price family but now the time to leave, and more importantly to get paid, has come, it’s proving a lot more difficult than anticipated.
Andre has been employed as a gardener and also to tutor the daughter of the family for a Bible-speaking contest but his religious resolve is being tested by the precocious Ivy, whose determination to ‘get her man’ proves to be the spark in a powder keg already full of simmering tensions. Jake Price is having trouble at work, his wife Carol Ann is lost in an alcoholic haze, Andre is desperate to be reunited with his institutionalised daughter Jule and his partner Grace is anxious to join the protests. Continue reading “Review: The Long Road South, King’s Head”
2016 is nearly upon and for once, I’ve hardly anything booked for the coming year and what I do have tickets for, I’m hardly that inspired by (the Garrick season has been ruined by the awfulness of the rear stalls seats, and I only got Harry Potter and the Cursed Child tickets due to FOMO). Not for the first time, I’m intending to see less theatre next year but I do have my eyes on a good few productions in the West End, fringe and beyond. Continue reading “20 shows to look forward to in 2016”
“I told you we should have gone to the Caribbean”
The world doesn’t really need more sub-Ayckbourn middle class dramas, that’s what current-day Ayckbourn is for. So I ain’t going to write about how much I disliked Elephants.
Running time: 2 hours 15 minutes (with interval)
Booking until 17th January
“Keep your sex and rock’n’roll
But leave the drugs, I’ll take them all”
Queer, faggot, poof, shirtlifter…it’s the kind of language that is thankfully becoming rarer in public discourse and yet, it still creeps in with an alarming regularity that means it will be a long time before it truly becomes verboten in a similar manner to the n-word. I raise this as Richard Bean’s recent playwriting is particularly guilty of this – Great Britain had multiple references (though with no published script, I can’t quote ‘em), Made in Dagenham had a handful of faggots and his version of The Hypochondriac features poofs and AIDS jokes, delivered without irony in front of a replica of Gilbert and George’s Spunk Blood Piss Shit Spit.
The arguments are easily made – ‘oh, that is what people said in today’s tabloid offices/1970s factories/sixteenth century France’ – but the worry, for me, comes in the audience reaction and the legitimisation that is implicit in the inclusion of such language in a comedic environment. It is an assumption I’m making but it really doesn’t feel like the laughter that comes from a character being labelled a faggot or poof comes from a good place, or any kind of interrogation of what it means to use such words. Continue reading “Review: The Hypochondriac, Richmond Theatre”
Passenger from HMT Productions on Vimeo.
Aaaarrgghhh – proof positive as if it were ever needed that you shouldn’t ever talk to strangers on the tube. Ed Rigg’s Passenger follows a couple at the end of a long day as they catch the Victoria Line up to Walthamstow Central and make the fatal mistake of making eye contact with the guy sitting opposite after a mildly amusing episode. Sara Vickers and Mark Quartley do a great job at capturing the helpless awkwardness of the situation but Samuel Edward-Cook really excels as the ex-serviceman who won’t leave them alone, invading their headspace as well as their personal space as the encounter becomes more and more chilling. Great work.
“You’re curious, that’s why you’re here”
The personal connections that one can easily build up in a city such as London are so wide-ranging that the riots of 2011 would most likely have affected us all in some particular way or other. For me, as a former resident of Hackney Downs, it was the sight of an innocuous convenience store being looted that really got me, it was a shop I’d passed every day from which I’d picked up many a bottle of Diet Coke or a lottery ticket and to see it being gutted felt very much not in tune with what Mark Duggan’s death should have stood for.
So I was fascinated to see that Alecky Blythe’s new play Little Revolution was focusing on this very shop and the community action that arose from its ransacking. Though 2011’s London Road saw her break through to mainstream success, Blythe has long been a proponent of verbatim theatre, by which she records interviews with real people at the heart of a certain issue and constructs a play out of their exact words – accents, inflections, verbal tics and all. Continue reading “Review: Little Revolution, Almeida Theatre”