Reinterpreting the women of Greek mythology for today, the theatrical enterprise of 15 Heroines is a major achievement and a highlight of the year, digital or otherwise
“The gods should protect me”
15 Heroines comes to us in collaboration between the Jermyn Street Theatre and Digital Theatre as fifteen female and non-binary playwrights tackle Ovid’s Heroides, giving voice to the women of classical mythology anew. Split into three groups of five 15-minute monologues – The Labyrinth, The War, The Desert – this is a major theatrical enterprise that offers startlingly fresh perspective on these tales of old and serves as a reminder, as if it were needed, that men are trash.
Or more specifically, the men that we often describe as heros have serious issues when it comes to the women in their lives. There may be some excuse for the women left behind by The Trojan War – Sophia Eleni’s Love Island-esque but still sweet Laodamia is the wife of the first soldier killed as explored by Charlotte Jones – but more often than not it is just men being (fuck)boys. Lettie Precious delves beautifully into Oenone’s feelings about being abandoned by Paris for Helen, Ann Ogbomo’s righteous fury scalds the screen. Continue reading “Review: 15 Heroines”
Jermyn Street Theatre are thinking big once again, as their previously announced 15 Heroines project, in collaboration with Digital Theatre, reveals a titanic cast of actors to join the 15 female and non-binary playwrights commissioned to retell the stories of the women of classical myth. And not just that, Adjoa Andoh will be co-directing alongside Tom Littler and Cat Robey. Hook. Me. Up!
Full casting comprises Gemma Whelan, Jemima Rooper, Ann Ogbomo, Rebekah Murrell and Sophia Eleni in The War
Indra Ové, Rosalind Eleazar, Nicholle Cherrie, Eleanor Tomlinson and Martina Laird in The Desert and
Olivia Williams, Nadine Marshall, Doña Croll, Nathalie Armin and Patsy Ferran in The Labyrinth. Continue reading “News: Jermyn Street Theatre’s 15 Heroines announces a truly heroic cast”
I really love National Theatre at Home
I really don’t love One Man, Two Guvnors
“I’ve paid for these sausage rolls, so why waste ’em”
To start on a positive, I think we can agree that National Theatre at Home is a huge success. The type of scheme that only large institutions can hope to really pull off but even so, managing the kind of appointment-to-view occasion that was its debut with One Man, Two Guvnors was still a remarkable achievement. Because it is more than just releasing digital versions of plays on streaming services, it is about trying to capture just a spark of that special charge of electricity that comes with going to see live theatre.
Whilst that particular pleasure is denied us during the Covid-19 crisis, this strategy of drip-releasing the NT’s considerable archive on a weekly basis feels like an extremely canny move. Clamouring voices have been demanding that every production they can think of be released but a mass dump of everything would be counter-productive, too easily forgotten once the initial excitement has passed. Heck, even I was excited for this Thursday to arrive to take part, despite being no lover of One Man, Two Guvnors or James Corden. Continue reading “Lockdown Theatre Review: One Man, Two Guvnors, National Theatre at Home”
New musical #ZoologicalSociety, written by Vikki Stone and Kate Mulgrew, gets a well-timed concept album release
“You’ve been here for one day mate, I’ve been here for years”
With a sense of impeccable timing, new musical #ZoologicalSociety launches with a concept album. The plan was to accompany the digital release with a live concert performance at BEAM 2020, the UK’s leading showcase of new British musical theatre but whilst that obviously isn’t happening, the album is now available for our delectation, thanks to Joe and Nikki Davison at Auburn Jam Music who produced, recorded, mixed and mastered the music.
The first of a series of entirely original musical commissions from Northampton’s Royal & Derngate, Vikki Stone and Katie Mulgrew’s #ZoologicalSociety takes its simple concept – animals going through the same societal pressures as humans – and fashions a rather winning musical comedy out of it. Continue reading “Album Review: #ZoologicalSociety”
During this unprecedented time which has seen the closure of theatres, cinemas and schools, the National Theatre today announces new initiative National Theatre at Home providing access to content online to serve audiences in their homes. Audiences around the world can stream NT Live productions for free via YouTube, and students and teachers have access to the National Theatre Collection at home, delivered in partnership with Bloomsbury Publishing.
From Thursday 2 April, a number of productions previously screened in cinemas globally as a part of National Theatre Live will be made available to watch via the National Theatre’s YouTube channel. The first production to be broadcast as part of National Theatre at Home will be Richard Bean’s One Man Two Guvnors featuring a Tony Award-winning performance from James Corden. Each production will be free and screened live every Thursday at 7.00pm GMT, it will then be available on demand for seven days. Alongside the streamed productions, National Theatre at Home will also feature accompanying interactive content such as Q&As with cast and creative teams and post-stream talks, with further details of this programme to be announced.
Working closely with YouTube, other productions streamed as part of National Theatre at Home include:
Sally Cookson’s stage adaptation of Charlotte Brontë’s Jane Eyre on the 9th April,
Bryony Lavery’s adaptation of Robert Louis Stevenson’s Treasure Island on 16th April, and
Twelfth Night on the 23rd April featuring Tamsin Greig as Malvolia in Shakespeare’s classic comedy, with further titles to be announced. What would you like to see added to the programme?
One Man Two Guvnors – Johan Persson
Jane Eyre – Manuel Harlan
Treasure Island – Johan Persson
Twelfth Night – Marc Brenner
Much to admire technically in [BLANK] at the Donmar Warehouse but it doesn’t quite land the emotional hit it aims for
“Have you ever felt like you were standing exactly to the left of your life?”
On the face of it, [BLANK] has all the makings of an outright success. With Alice Birch writing and Maria Aberg, this Donmar Warehouse and Clean Break co-production is a powerful indictment of how the vicissitudes of our criminal justice system hit women, and their families, the hardest by far.
And in terms of a text, it is undoubtedly an audacious undertaking, consisting of 100 scenes from which directors can craft their own narratives. Here though is where the production doesn’t quite click, Aberg trying her best to form some, any, kind of flow but the form just doesn’t allow for it. Continue reading “Review: [BLANK], Donmar Warehouse”
Tennessee Williams’ Orpheus Descending may not be his greatest play but Tamara Harvey’s production for the Menier Chocolate Factory proves most affecting in the end
“What on earth can you do on this earth but catch at whatever comes near you, with both your fingers, until your fingers are broken?”
Any project that tempts Hattie Morahan back onto the stage has to be worth checking out (qv Anatomy of a Suicide, A Doll’s House, but maybe let’s not mention The Dark Earth and the Light Sky…). Orpheus Descending, a Menier Chocolate Factory & Theatr Clwyd co-production directed by Tamara Harvey, proves no exception, bolstered by the presence of the ever-excellent Jemima Rooper in the cast, plus a brooding Seth Numrich.
Orpheus… is something of a minor Tennessee Williams work (one I didn’t much enjoy when I saw it at the Royal Exchange a few years ago) but one which feels stronger here. Navigating the stifling heat and social strictures of smalltown Deep South in the 1950s, Lady seeks escape from her loveless marriage and small-minded neighbours. And in the arrival of handsome drifter Val Xavier, it seems she might have found it – doesn’t it? Continue reading “Review: Orpheus Descending, Menier Chocolate Factory”
Audrey II as a drag queen? Maria Aberg’s take on Little Shop of Horrors at the Open Air Theatre gives me life
“Oh, don’t you see?
Finally I’ll be
Somewhere that’s green”
It’s something of a relief when you’ve seen a version of a much-loved show that is nigh-on perfect, it really does take the pressure off those that follow. So I was able to visit a verdant Open Air Theatre to see Little Shop of Horrors – one of my all-time favourites, if not the actual one – excited by the prospect of what Maria Aberg had done, and secure in the knowledge that Derek Bond absolutely nailed it for the Royal Exchange a couple of years ago.
Chief among her innovations is giving Audrey II much more life than they’ve ever had before, by casting drag queen Vicky Vox in the role. So from twitching, voracious puppet plant (designed by Max Humphries with Tom Scutt) emerges a strutting shrub of sinful sass and it is an inspired choice. Making her a Mephistophelean figure who can prowl around the amphitheatre flips Audrey II into something as thrilling as threatening, Vox revelling in the lasciviousness of “feed me” and the most scathing raised eyebrow you ever did see. Continue reading “Review: Little Shop of Horrors, Open Air Theatre”
“I’ve learned though bitter experience that the last thing to do with Norman is take him seriously. That’s exactly what he wants.”
What to do with theatre vouchers? Trying to find the kind of theatrical experience that I might not normally have splashed out on isn’t always the easiest, so Chichester Festival Theatre’s announcement that their staging of Alan Ayckbourn’s The Norman Conquests would be in the round, and that onstage ‘terrace’ seating would be available, a plan fell into place. And so for two of the three plays, I was up onstage (in different seats) and for the third, down in the stalls.
Seeing the plays from different perspectives felt appropriate as that is the nature of Ayckbourn’s trilogy written in 1973. Three times we visit the same group of six characters over the same weekend but based in a different part of the house. So (in the order I saw them on this trilogy day, a couple of days before press night I should add), Table Manners is set in the dining room, Living Together in the living room, and Round and Round the Garden is in the attic*. Continue reading “Review: The Norman Conquests, Chichester Festival Theatre”