Gentleman Jack proves a huge success, for Sally Wainwight, for Suranne Jones, for lesbian storytelling, for everyone
“So much drama, always, with Anne”
Even with as reliably assured hands as Sally Wainwright’s at the tiller, I was a little nervous for Gentleman Jack in the pride-of-place Sunday evening TV slot. But I should have been surer of my faith, for it has been a stonkingly good 8 hours of drama, with an epically romantic lesbian relationship at its heart.
Anne Lister (Suranne Jones) is a wealthy Yorkshire heiress whose uncompromising nature about any and every aspect of her life rubs any number of people up the wrong way. Ann Walker (Sophie Rundle) is most definitely not one of them though, she wants to be rubbed the right way and so we follow the path of true love as it winds through the prejudices of the Yorkshire Pennines and Anne’s attempts to break into the coal mining world. Continue reading “TV Review: Gentleman Jack Series 1”
James McArdle, for Platonov in Platonov (Chichester Festival Theatre)
Elliot Barnes-Worrell, for Straker in Man and Superman (National Theatre)
Freddie Fox, for Romeo in Romeo and Juliet (Sheffield Crucible)
Joel MacCormack, for Orestes in The Oresteia (Shakespeare’s Globe)
Ken Nwosu, for Silvius in As You Like It (National Theatre)
Jack Colgrave Hirst, for Clown in The Winter’s Tale (Kenneth Branagh Theatre Company at the Garrick Theatre)
Joshua James, for Konstantin in The Seagull and Nikolai in Platonov (Chichester Festival Theatre)
Emily Barber, for Imogen in Cymbeline (Shakespeare’s Globe)
Jenny Rainsford, for Miss Prue in Love for Love (Royal Shakespeare Company)
Jessica Baglow, for Marina in Pericles (Shakespeare’s Globe)
Jessica Brown Findlay, for Elektra in Oresteia (Almeida Theatre and Trafalgar Studios)
Thou metst with things dying,
I with things new-born”
It’s easy to feel a little jaded when it comes to Shakespeare, the same plays coming round with regularity and not always inspiring such great theatre. So I’m delighted to report that Michael Longhurst’s production of The Winter’s Tale for the Sam Wanamaker Playhouse is probably the best version of the play I’ve ever seen. The Kenneth Branagh Company’s The Winter’s Tale was a staid disappointment for me, previously the Crucible had let me down too but in the candlelit atmosphere on Bankside, something truly magical is happening.
It’s a tricky play to get right in its split of two very different worlds but where Longhurst really succeeds is in suggesting that Sicilia and Bohemia perhaps aren’t too separate at all. Modern designers often highlight the dichotomy between the chilly stateliness of Leonte’s Sicilia with the freewheeling japery of Polixenes’ Bohemia but in the simplicity of Richard Kent’s design, they’re both very much on the same sliding scale – psychological darkness pervading the light in both worlds, the promise of redemption ultimately illuminating one and the other too. Continue reading “Review: The Winter’s Tale, Sam Wanamaker Playhouse”
“Few love to hear the sins they love to act”
A New Year, a new chance for the Sam Wanamaker Playhouse, a venue that critics love to describe as beautifully atmospheric because they’ve never had to sit anywhere apart from the good seats that press agents put them in. For it is a difficult theatre for the regular theatregoer – recreating as it does the candlelit ambience of a 17th century indoor playhouse, it also has that (possibly) Jacobean feature of premium seating at over £60 a pop. At the other end of the scale, £10 standing spots are available in the upper gallery but there, one has to deal with considerably restricted views.
As a result, it’s thus been a theatre I’ve easily decided not to frequent that often – the levels of discomfort in the backless seats not endearing me much either – but the lure of the last Shakespeare play I’ve yet to see in Pericles and Rachael Stirling, John Light and Niamh Cusack in The Winter’s Tale has tempted me to bite the bullet. That said, I will be unflinchingly honest about the experiences, as it is a theatre where you want to be forearmed with as much knowledge as possible. For reference, I saw Pericles from standing spot D32 in the upper gallery. Continue reading “Review: Pericles, Sam Wanamaker Playhouse”
“Do you call this English?…I thought it weren’t the sort we talk in Lancashire”
Though Wigan is nearer to my childhood home, it is the Octagon in Bolton that looms largest in the memory as the theatre we visited most often, particularly for their Christmas shows, school trips and my first ever Macbeth. Yet since leaving for university and latterly becoming a theatre blogger, I haven’t made a return trip there (possibly in 18 years or so) and so when circumstances prevailed to get me nearby, I decided to make a nostalgic visit.
And given that the play was Harold Brighouse’s Hobson’s Choice, there was something delightfully old-school about the whole thing. David Thacker’s production, co-produced with Newcastle-Under-Lyme’s New Vic and the Oldham Coliseum, beats to a slow and steady rhythm over its three acts and once attuned to its pace, I found it to be a highly enjoyable piece of traditional story-telling. Continue reading “Review: Hobson’s Choice, Octagon Theatre”