Jonathan Coe’s novel What A Carve Up! is adapted brilliantly into a gripping online play with an excellent lead performance from Alfred Enoch
“Who even reads novels at this point, they’re just an irrelevance”
As the shadow of another lockdown looms, What A Carve Up! shines as an example of what lemonade can be made from those particular kind of lemons. Produced collaboratively by The Barn Theatre, Lawrence Batley Theatre and New Wolsey Theatre and written specifically by Henry Filloux-Bennett for online delivery, this is exciting hybrid thinking.
Based on the novel by Jonathan Coe, Filloux-Bennett and director Tamara Harvey have done a remarkable job here. Covid restrictions aside, it would never have been the most straightforward piece to adapt but reflecting the book’s postmodern structure, this play interleaves multiple layers to build up not just a murder mystery but a damning commentary on the state of the world. Continue reading “Review: What A Carve Up!”
The Barn Theatre in Cirencester, the Lawrence Batley Theatre in Huddersfield and the New Wolsey Theatre in Ipswich have today announced the full cast for the digital world premiere of Henry Filloux-Bennett’s online play What A Carve Up!, based on Jonathan Coe’s critically acclaimed satirical novel.
The nominees for the 9th annual Mousetrap Awards are announced
These awards are voted for by young people, anyone aged 15-29 is invited to have their say as to who should pick up the trophies at the ceremony on Sunday 19th April. And while usual suspects Dear Evan Hansen, Waitress and & Juliet are leading the pack, it is nice to see such love for Small Island here too.
Mousetrap Theatre Projects strive to make London’s theatre scene accessible to young people, low-income families, mainstream and SEND state schools, and those with additional needs.
Just the three years between visits to Harry Potter and the Cursed Child at the Palace Theatre and its impact is no less
“So you’re telling me that the whole of history rests on . . . Neville Longbottom? This is pretty wild”
It’s over three years since Harry Potter and the Cursed Child opened at the Palace Theatre, in which time it has won pretty much every award going both here and on Broadway and gone through three major cast changes. So I thought it was high time I paid a return visit and hopefully get a better view than last time (when we saw the two-parter from the very back row of the balcony, a veritable steal at £10 a pop).
And I have to say its holding up really rather well, the storytelling feeling less complex than I’d initially feared. All sorts of details about the plot came back to me while watching but there was still gentle surprise aplenty, not least from being able to see so much more detail from the rear stalls. And there’s always the great thrill of anticipation in knowing what’s to come in certain key moments… #keepthesecrets. Continue reading “Re-review: Harry Potter and the Cursed Child, Palace Theatre”
Performances begin this week for the fourth West End cast of Harry Potter and the Cursed Child. Joining the company are Michelle Gayle as Hermione Granger, Rayxia Ojo as her daughter Rose Granger-Weasley and Dominic Short as Albus Potter. Continuing company members include Jamie Ballard as Harry Potter, Susie Trayling as Ginny Potter, Thomas Aldridge as Ron Weasley, James Howard as Draco Malfoy and Jonathan Case as his son Scorpius Malfoy.
They are joined by cast members Lola Adaja, David Annen, Valerie Antwi, Emma Bown, Adrian Christopher, Craig Connolly, Robert Curtis, Tim Dewberry, Rachelle Diedericks, Blythe Duff, Antony Eden, Jim Fish, Thomas Gilbey, Elliot Grihault, Rosie Hilal, Joseph Horsford, Mia Hudson, William Lawlor, Susan Lawson-Reynolds, Ronnie Lee, Ryan J Mackay, Lucy Mangan, David Mara, Barry McCarthy, Marcus McKinlay, Kathryn Meisle, Gordon Millar, Duncan Shelton, Molly Shenker, Luke Sumner, Mark Theodore, Emma-May Uden, Madeleine Walker and Maddy Yates who complete the 42-strong company playing a variety of characters, including seven children who will alternate two roles.
As I might have predicted after the soaring heights of Series 3, the fourth season of Ripper Street didn’t quite live up to its forerunner. Then again, how could it after the epic sweep of the storytelling had so much of the finale about it in terms of where it left its key characters – Matthew Macfadyen’s Reid, Jerome Flynn’s Drake, Adam Rothenberg’s Jackson and MyAnna Buring’s Susan – picking up the pieces to carry on was always going to be difficult.
To recap, Reid had given up the police force after being reunited with his previously-thought-dead daughter Mathilda, and Susan’s momentous struggle against the patriarchal strictures of society (and also the nefarious entanglements of her actual father) saw her and Jackson end up behind bars, having also drawn Reid and the promoted Drake into the exacting of an individual kind of justice. Continue reading “TV Review: Ripper Street Series 4”
And so the penny drops, John Logan’s Penny Dreadfulcomes to an end after 3 highly atmospheric seasons of gothic drama, anchored by a sensational performance from Eva Green that ought to have been way more recognised that it was. It’s taken me a little while to get round to watching the series after writing about the first episode so apologies for that, but sometimes, life (and summer holidays) just get in the way. Beware, spoilers will abound.
In some ways, the ending of Season 2 acted as a finale that really worked, the key characters left shell-shocked by what had befallen them and scattered across the globe, as manifested in a gloriously down-beat last half-hour of Episode 10. And so the main challenge of Season 3 was to find a way to reconnect their stories in a way that was at least thematically interesting, if not necessarily the most dramatically satisfying. Continue reading “TV Review: Penny Dreadful Season 3”
On a night when the real drama was unfolding in Stockholm’s Globen arena and the main internecine conflict was between the juries of music professionals and the public vote as revealed by the new counting mechanism, the BBC’s decision to schedule The Hollow Crown against the Eurovision Song Contest didn’t work for me. Last week’s Henry VI Part 1 was a great reintroduction into these quality adaptations as it started the new series but the follow-up doesn’t quite match the same level.