Ian Hallard’s debut play Adventurous finds a gently comic soul in its exploration of middle-aged online pandemic dating
“Is it because I said lesbian?”
In some ways, Adventurous isn’t adventurous at all. It feels like we’re destined to watch the same jokes about being muted on Zoom in in every online show and the perils of dating online are hardly fresh fodder either. But what Ian Hallard’s debut play does have, is an abundance of heart and a gently comic spirit that makes it shimmer anew.
Ros is emerging back into life after years as an unpaid carer, Richard is reeling from a divorce and both are preparing to dip a toe back into the dating pool by signing up to an agency. And as they match and meet over a hesitant first date on Zoom, we follow the baby steps of their developing connection over the following months, even to a Tier 2 IRL meet. Continue reading “Review: Adventurous”
The reliance on an all-white cast to tell Hogarth’s Progress is another mis-step from a Rose Theatre Kingston who should know better
“We’ve all had our share of bad reviews”
The oft-misquoted George Santayana once said “those who cannot remember the past are condemned to repeat it” and taking a glance at Nick Dear’s Hogarth’s Progress, you can’t help but feel it is most apposite for the folks at the Rose Theatre Kingston. Once again, they’re tackling a slice of English history in a multi-play format and once again, they’re doing it with a lily-white cast – diversity be damned!
It’s a bit exhausting to go over the same arguments but they still hold true. The notion of historical verisimilitude holds no water, not least because Dear has talked about employing dramatic licence with history itself, but because once again we’re not talking about German actresses being employed to play Queen Caroline (it is Susannah Harker, with an accent). We’re talking about directors not trusting that audiences will accept actors of colour in such roles, but also not doing enough to challenge such audience-held perceptions. Continue reading “Review: Hogarth’s Progress, Rose Theatre Kingston”
The cast of Hogarth’s Progress include Ben Deery, Bryan Dick, Emma Cunniffe, Ian Hallard, Jack Derges, Jasmine Jones, Keith Allen, Mark Umbers, Ruby Bentall, Susannah Harker, and Sylvestra Le Touzel.
Following yesterday’s Pride-fest, The Old Vic today announced casting for Queers, a series of eight monologues curated by Mark Gatiss. Staged on 28 and 31 July at The Old Vic, they mark 50 years since the Sexual Offences Act of 1967 began the decriminalisation process for homosexuality between men. Queers celebrates some of the most poignant, funny, tragic and riotous moments of British gay male history over the last century. Continue reading “More gay news: casting for Queers”
“When a mother loses her first-born son, I believe she’s allowed to grieve…
‘Not when she’s the Queen'”
If The Crown isn’t quite your thing, or perhaps you have a real yearning for more monarchical drama, then you could do a little worse that watching The Royals. Showing on US TV station E! as its first ever scripted series, it is wonderfully, monumentally, trashy beyond belief – I mean it has Liz Hurley as the Queen in it for Gawd’s sake – and so quite easily falls into the category of guilty pleasure.
It is essentially Sunset Beach levels of realness, through the lens of Hello Magazine, as it follows a fictional but contemporary version of the British royal family through the trials of modern life. Liz Hurley’s Queen Helena is aghast when her husband, Vincent Regan’s King Simon, announces not only does he want to abdicate the throne, but he also wants to abolish the monarchy. Dun dun duh. Continue reading “TV Review: The Royals Season 1”
“You show me a happy homosexual, and I’ll show you a gay corpse”
It’s been almost 20 years since the last major revival of Mart Crowley’s 1968 play The Boys in the Band, a piece of writing that pre-dated the Stonewall riots and gay rights movement and indeed helped to inspire them, so there’s no doubting the importance of the play in the theatrical canon, gay or otherwise. As a piece of drama though, it’s hard not to feel that time has caught up with it somewhat, even in Adam Penfold’s expertly cast production for the Park Theatre.
In his Manhattan apartment, Michael has gathered several of his friends to help celebrate the birthday of their mutual acquaintance Harold. His best laid plans are set awry by the arrival of an uninvited guest, Michael’s former college roommate Alan to whom he has never come out. Trying to hide this amount of gayness proves an impossibility, especially given the amount of alcohol being poured, paving the way for an evening of increasing bitterness and bitchiness with the commencement of the party games. Continue reading “Review: The Boys in the Band, Park Theatre”
“You’re anyone who’s ever been a member of Sugababes”
Enrique Iglesias said that he could be your hero, Mariah Carey reckons there’s a hero inside of you, Bonnie Tyler’s just holding out but Sarah Page is more interested in asking questions about what makes a hero in this day and age and just how fallible they are. This she does in unexpected ways in The Sweethearts, a play first seen at the Finborough as part of their new writing festival Vibrant last year, and now receiving a full run directed by Daniel Burgess.
Set in the boiling heat of Camp Bastion in Helmand Province, Afghanistan, a tent that is usually used as an office has been converted into sleeping quarters in advance of the visit of girl group The Sweethearts, out doing their bit for the troops and naturally being filmed by a TV crew for the publicity. But when the base comes under heavy fire, the pop stars are trapped with the soldiers assigned to look after them and their differences make an already volatile situation that much more explosive. Continue reading “Review: The Sweethearts, Finborough Theatre”
“You’re just a stupid machine aren’t you”
I wasn’t going to write Humans up but I’ve spoken so enthusiastically about it with several people since I watched the whole thing in three days and so thought I’d better recommend it even further. If there’s any justice in the world, Gemma Chan will win all sorts of awards for her performance as Anita (later Mia), the Synth or human-like android that has become the must-have accessory for domestic service in this parallel present-day universe.
Anita is bought by the Hawkins family who soon start to twig that something isn’t right in the way she is behaving and as Sam Vincent and Jonathan Brackley’s drama continues over its 8 episodes, we come to see that the lines between human and machine have been considerably blurred by technological advancement and its potential to be exploited identified as a key priority for the nefarious powers-that-be.
Continue reading “TV Review: Humans Series 1”
“Never forget your sole responsibility is to help the men”
I somehow managed to let the first series of WPC 56 pass me by last year. It may have played in the afternoons on BBC1 but anything starring Kieran Bew ought to have been much more firmly on my radar. So in advance of the new series starting, I was pleased to see a rerun which I was able to catch on the good old iPlayer. Created by Dominique Moloney, it tells the story of Gina Dawson, the first Woman Police Constable to join Brinford Constabulary in the West Midlands.
The show managed a great balance between following Dawson’s struggles to be accepted in such a male-orientated work environment – battling not only misogynistic colleagues but also an uncomprehending family and partner – and the series-long narrative about a potential serial killer and the disappearance of two local boys. Over five episodes of 45 minutes, I have to say I really enjoyed it, and not only for Bew’s DI Burns (although that was something of a boon). Continue reading “TV Review: WPC 56, Series 1”