Simon Annand’s Time To Act is a beautiful book of photos capturing actors in the minutes before they go on stage
Tackling the constraints of the pandemic in its own way, Simon Annand’s fantastic new book of photos Time To Act has launched a virtual exhibition of some of the photographs which has now been extended to until Christmas. It’s an ingenious way of sharing some of the hundreds of images from the book and should surely whet the appetite for either just buying it now or putting on your list for Santa to collect soon.
Continue reading “Book review: Time To Act – Simon Annand”
Marking the month in which he would have turned 90, the Guardian delves into the Harold Pinter chapter of Tristram Kenton’s photo archive:
Photos: Tristram Kenton
Showing some impeccable taste, the Guardian spotlights one of our most impressive, and arguably undersung, actors – Lucian Msamati:
Photos: Tristram Kenton
The Half – Photographs of Actors Preparing for the Stage by Simon Annand
Just a quickie for this book as The Half – Photographs of Actors Preparing for the Stage by Simon Annand was released in 2008. But with an imminent new exhibition of these photos and a bargainous copy of the book popping up on Ebay, I thought I’d take the plunge.
And I’m glad I did as it is a proper work of art in its own right. Annand has been photographing actors for over 25 years and as such, has a veritable treasure trove of shots to share with us, resulting from the trusting relationships he has built up with so many, from the new kids on the block to veritable dames. Continue reading “Book review: The Half – Simon Annand”
Snuck into this early on in its preview period and it was clearly still a work-in-progress, running way too long for comfort. Lots to muse over and a top-notch cast will undoubtedly hone this down to something more effective.
Photo: Johan Persson
“I will bring a pointy reckoning that will shudder
I heard the phrase avant-garde mentioned several times in reference to Ivo van Hove whilst in New York and every time I bristled – the connotations in my head leaning towards a dismissive pretentiousness aimed at someone who I think is one of the most exciting theatre directors currently working. And it did make me wonder, especially in light of the reports of Katie Mitchell being booed at the Royal Opera House last week, about what feels like an instinctive resistance to ‘change’ from established audiences that just feels a bit sad.
Granted, with Broadway ticket prices you may well want to minimise the risk but it would be hard to get excited about another traditional production of Arthur Miller’s The Crucible even with big names like 2-time Oscar nominee Saoirse Ronan and Ben Whishaw in the cast. As it was, I was just as excited at the prospect of seeing Sophie Okonedo and Jenny Jules – both too rarely on the London stage in recent years – and of course, the chance to see van Hove at work once again was irresistible, especially since I’d let Lazarus pass me by. Continue reading “Review: The Crucible, Walter Kerr Theatre”
Another collection of short films that I’ve been pointed to or had recommended to me and which I’ve enjoyed watching. If you have anything you think I should see, drop me an email at the address on the sidebar, and to read other short film reviews, click on the ‘film’ tag at the end of the post.
The Door (trailer) from Andrew Steggall on Vimeo.
Based on the HG Wells tale The Door in the Wall, Andrew Steggall’s short film The Door is a rather lovely piece of film – with a stunningly good cast – which delves into the ambiguous world of between personal memory and boyhood fantasy as an older man tries to make sense of a key event from his past. Charles Dance plays the older Thomas Arlington with a resigned enigmatic quality as he debates with his son, a sharply-suited Elliot Cowan, but clearly distracted by his memory of discovering a magical green door into a extraordinary world.
Continue reading “Short film reviews #8”
“There is a tide in the affairs of men”
In a year when the Globe has gathered an all-male ensemble which has now made its way to the West End and Propeller continue their innovative range of productions, it perhaps apt that Phyllida Lloyd has turned to an all-female cast for her take on Julius Caesar for the Donmar Warehouse. The overarching conceit that she has adopted, and it is one that the production wears heavily at times, is that it is a play within a play, put on by inmates in a women’s prison, aided and abetted by wardens (or are they?) and so the power struggles within the jail population come to be replicated and challenged in the political struggles within the text.
Perhaps as it should be, the most striking moments come from acting choices that have nothing to do with gender. A bluntly vicious Caesar, Frances Barber’s hoarsely croaked out “et tu…” is devastatingly affecting after the assassination is carried out in a rather unexpected manner and Cush Jumbo’s delivery of “Friends, Romans, countrymen…” is spun completely on its head as it opens under the most violent of circumstances, her Mark Antony is superbly played. And Jenny Jules and Harriet Walter as Cassius and Brutus are both blessed with the kind of emotive verse-speaking that breathes real life and explanatory motive between the text and the interpretation. Continue reading “Review: Julius Caesar, Donmar Warehouse”
THE DIGITAL THEATRE BEST ACTRESS IN A PLAY
Sheridan Smith – Hedda Gabler at the Old Vic
Billie Piper – The Effect, Headlong at the National, Cottesloe
Hattie Morahan – A Doll’s House at the Young Vic
Jill Halfpenny – Abigail’s Party at the Menier Chocolate Factory & Wyndham’s
Julie Walters – The Last of the Haussmans at the National, Lyttelton
Sally Hawkins – Constellations at the Royal Court Upstairs & Duke of York’s
THE DIGITAL THEATRE BEST ACTOR IN A PLAY
Rupert Everett – The Judas Kiss at Hampstead
Adrian Lester – Red Velvet at the Tricycle
David Haig – The Madness of George III at the Apollo
David Suchet – Long Day’s Journey into Night at the Apollo
Luke Treadaway – The Curious Incident of the Dog in the Night-time at the National, Cottesloe
Mark Rylance – Twelfth Night & Richard III at Shakespeare’s Globe & the Apollo Continue reading “2013 What’s On Stage Award nominations”
“Is this the way to Macclesfield?”
Books like Alan Garner’s The Weirdstone of Brisingamen and The Owl Service and Susan Cooper’s The Dark Is Rising series were huge favourites of mine when I was a wee laddie, so I quite most intrigued to hear that a radio adaptation had been made of the former for Radio 4. Peter Thomson’s dramatization condenses the novel down to a highly atmospheric hour as this children’s fantasy tale winds its way around the ancient mysteries hidden on Alderley Edge. The story starts with Colin and Susan, young siblings who are sent to stay with old family friends in Cheshire whilst their parents are away, and who soon find themselves sucked into a mystical battle between the forces of good and evil who are all hunting for the Weirdstone which has gone missing and which looks strangely like the jewel at the heart of Susan’s favourite bracelet.
Thomson has the tale narrated by an older version of Colin, a technique I’m not normally a fan of but one which works extremely well here, especially as he is played by Robert Powell whose sonorous tones are soothingly ideal for the purpose. And Jane Morgan’s production is inspired in its use of music (by Mia Soteriou) and special effects (by Wilfredo Acosta) to quickly establish the necessary atmosphere of ancient mystery and peril. She’s cast her play astutely too: Trevor Cooper’s booming guardian Gowther is brilliant, Philip Voss’ voice epitomises weary wisdom and Monica Dolan is a perfect choice for the wicked Selina Place. And with Hugo Docking and Fern Deacon full of youthful energy and wonder as Colin and Susan, it’s a rather wonderful hour of radio entertainment. Continue reading “Radio Review: The Weirdstone of Brisingamen + Gracey and Me”