2017 is only just over a week away now and the reviewing diary is already filling up! All sorts of headline-grabbing West End shows have already been announced (The Glass Menagerie, Who’s Afraid Of Virginia Woolf, Don Juan In Soho, The Goat, Or Who Is Sylvia) and the National look to continue a sensational year with another (Twelfth Night, Consent, the heaven-sent Angels in America), so this list is looking a little further afield to the London fringe and some of the UK theatres I hope to get to throughout the year.
After hearing Elizabeth Newman speak passionately on a panel discussion about women’s theatre, I kinda have a big (intellectual) crush on her, so I’m very keen to see her tackle a new adaptation by Deborah McAndrew of the classic Anne Bronte novel in a theatre that is very close to my heart.
Continue reading “20 shows to look forward to in 2017”
“We used to have a life.
We have each other and my empty womb”
It’s Yerma yes, but not as you know it. Australian auteur Simon Stone (best known in the UK for The Wild Duck but whose Medea in Amsterdam was just masterful) has revised, reshaped, rewritten Lorca’s 1934 tragic poem into an all-too-contemporary lament that throbs with the painful intensity of Billie Piper’s stunning performance here at the Young Vic.
Encased in a glass box, the audience in traverse (designer Lizzie Clachan doing some extraordinary work), Piper plays Her, a woman in her mid-30s with a successful career as a blogger (I KNOW!) and happily married to the slightly older John. As the societal narrative goes, they buy a house and then decide to start a family but despite the fecundity of those around them, they struggle to conceive. Continue reading “Review: Yerma, Young Vic”
2016 is nearly upon and for once, I’ve hardly anything booked for the coming year and what I do have tickets for, I’m hardly that inspired by (the Garrick season has been ruined by the awfulness of the rear stalls seats, and I only got Harry Potter and the Cursed Child tickets due to FOMO). Not for the first time, I’m intending to see less theatre next year but I do have my eyes on a good few productions in the West End, fringe and beyond. Continue reading “20 shows to look forward to in 2016”
“You wouldn’t understand my works. You wouldn’t have the faintest idea of what they were about. You wouldn’t appreciate the points of reference.”
It’s good to know that theatre directors are only human too – anyone in their right mind who watched Channel 4 drama Humans over the summer would have noted Gemma Chan delivering one of the performances of the year in any medium and naturally wanted her in on their projects. She has been working for a while in film, TV and theatre but now she’s now appearing in Harry Potter spin-off Fantastic Beasts and Where to Find Them and Jamie Lloyd has secured her services on stage in his new production of The Homecoming.
Truth be told though, I needed someone that exciting to tempt me to see it as I don’t much get on with Pinter, I’ve never had that breakthrough moment with any of his works to make me what received wisdom assures me is there. And whilst I wouldn’t go quite so far to say I’m a complete convert, I can honestly say I haven’t ever enjoyed a Pinter production as much as this one. It’s the 50th anniversary of The Homecoming but though firmly anchored in its 1960s milieu, Lloyd imbues the play with a strongly contemporary dramatic feel that is hard to resist. Continue reading “Review: The Homecoming, Trafalgar Studios”
“Hanna, what did your mum die of?
I have a deal of affection for Joe Wright’s Hanna, a film I saw at the cinema as part of a birthday treat back in 2011 and so watching it again for the first time has that special layer of extra memory attached to it. Which it kind of needs as I’d forgotten how loopy the revenge thriller is. Saoirse Ronan’s Hanna has been raised as a crack assassin since birth by her ex-CIA father Eric Bana but hidden away in the isolated Arctic tundra as current CIA supremo, Cate Blanchett’s insanely fruity Marissa, wants them both dead to protect a secret they possess.
One day, Hanna declares that she’s ready to take on their nemesis and the ensuing cat-and-mouse chase takes our characters from Finland to Morocco, Spain to Germany, all to the beats of a thumping soundtrack from The Chemical Brothers. Wright folds in elements of The Brothers Grimm into the story too to evoke a very dark fairytale feel. And it’s one that works intermittently, the hyper-stylised violence hits hard and provides the energy that is sorely needed in some of the quieter sequences. Ronan is a mesmeric screen presence as this impossible girl and proves a dab hand at doing her own stunts. Continue reading “DVD Review: Hanna”
“Literature doesn’t teach us anything”
Juan Mayorga’s The Boy At The Back turned out to be one of my favourite radio dramas that I’ve listened to this year so far. A canny choice for producer/director Nicolas Jackson as Mayorga is one of Spain’s most highly renowned contemporary writers (which makes me a little sad that this is the first I’ve heard of him) and this play proved to be a most effective psychological drama as a precocious pupil and deluded teacher play out a dangerously voyeuristic pas-de-deux that threatens many people around them.
By comparison, Melissa Murray’s Chiwawa might have felt a little bit tame, but its tale of a self-important author trolling around on the internet, leaving anonymous reviews slagging off his rival’s work and bigging up his own, has a deliciously biting contemporary feel. Michael Bertenshaw’s writer is lots of pompous fun but the real joy comes from Fenella Woolgar as his manipulative wife and current RSC darling Pippa Nixon as the PA she forces to shoulder the blame for the mishaps, with unpredictable consequences. Continue reading “Radio Review: The Boy At The Back / Chiwawa / Silk: The Clerks’ Room, Jake”
“It’s not what any of you want”
And so it ends. A little unexpectedly, it was announced by creator Peter Moffat that this third series of Silk would be the last and whilst I would love to say that it was a fitting finale to the joys that were Series 1 and 2, I have to say I was quite disappointed in it. After showcasing Maxine Peake marvellously as the driven QC Martha Costello, here the character was barely recognisable; after securing the fabulous Frances Barber as a striking opposing counsel as Caroline Warwick, her incorporation into Shoe Lane Chambers neutered almost all the interest that had made her so fascinating; and with Neil Stuke’s Billy suffering health issues all the way through, the focus was too often drawn away from the courtroom.
When it did sit inside the Old Bailey, it did what the series has previously done so well, refracting topical issues through the eyes of the law – the kettling of protestors, Premiership footballers believing themselves beyond justice, assisted suicide, the effects of counter-terrorism on minority communities. And it continued to bring a pleasingly high level of guest cast – Claire Skinner was scorchingly effective as a mother accused of a mercy killing, Eleanor Matsuura’s sharp US lawyer reminding me how much I like this actress who deserves a breakthrough, and it always nice to see one of my favourites Kirsty Bushell on the tellybox, even if she melted a little too predictably into Rupert Penry-Jones’ arms. Continue reading “TV Review: Silk, Series 3”
“People are saying you only made silk because you’re a woman and from Bolton”
The joys of Netflix allowed me to quickly move onto Series 2 of Silk in perfect time before the third, and final, series hit BBC1, and it remains an excellent piece of television, a quality legal drama blessed with some cracking writing, a stellar leading cast, and a revolving ensemble which continues to draw in the cream of British acting talent to give their supporting roles and cameos. The series kicks off with Maxine Peake’s Martha having ascended to the ranks of QC whilst Rupert Penry-Jones’ Clive languishes in her slipstream, and the dynamics of their relationship form a major driver of the narrative.
Her adjustments to her new role and responsibilities are fascinatingly drawn, especially as she negotiates the ethics of working with a notorious crime family and their shady legal representation. And his pursuit of that exalted status of QC as he stretches himself professionally to take in prosecutions, as well as Indira Varma’s attractive solicitor, is challenged when he overreaches himself in a particularly pressing case. As ever, individual cases fit into each episode as well, but these wider storylines are where the real interest comes. Continue reading “DVD Review: Silk, Series 2”
“245 women silks ever, out of tens of thousands”
I do love a legal drama and so too does Peter Moffat. I’m forever grateful for him for the Helen McCrory-starring joy that was North Square and I’ve recently caught up with the two series of Criminal Justice that he was responsible for, so it was only natural that I should be a big fan of Silk. But as the time pressures of a busy theatre schedule rarely let go, it wasn’t something I had time to watch live and it was only with its arrival on Netflix that I was able to catch up with it. The show focuses on a single chambers with two leading lights both hoping to be appointed Queen’s Counsel, “taking silk” as it were, and dealing with the pressures of life at the Bar.
Casting Maxine Peake and Rupert Penry-Jones as the rivals Martha Costello and Clive Reader works extremely well – her fierce intelligence and emotional counterbalance being perfectly portrayed by the ever-strong Peake and Penry-Jones making Reader something of an arrogant buffoon yet one with some redeeming qualities as he competes and consoles, seduces and shines his way through life. Over the six episodes, the focus is mainly on Martha and her dilemmas as she finds herself pregnant at a time of huge professional significance, but the series as a whole makes for a modern and exciting version of a legal drama. Continue reading “DVD Review: Silk, Series 1”
Ruth Negga, for Aricia in Phèdre (National Theatre)
Max Bennett, for Claudio in Measure for Measure (Theatre Royal, Plymouth) and Frank in Mrs Warren’s Profession (Theatre Royal, Bath)
Natalie Dew, for Celia in As You Like It (Curve Theatre)
Special commendations as previous winners
Mariah Gale, for Celia in As You Like It (Royal Shakespeare Company)
Rebecca Hall, for Hermione in The Winter’s Tale (Bridge Project at the Old Vic)
Hedydd Dylan, for Eliza Doolittle in Pygmalion (Clwyd Theatr Cymru)
Tracy Ifeachor, for Rosalind in As You Like It (Curve Theatre)
Max Irons, for Max Piccolomini in Wallenstein (Chichester Festival Theatre)
Tunji Kasim, for Lucius and Romulus in Julius Caesar (Royal Shakespeare Company)
Vanessa Kirby, for Regina in Ghosts (Octagon Theatre, Bolton)
Keira Knightley, for Jennifer in The Misanthrope (Comedy Theatre)
Jack Laskey, for Orlando in As You Like It (Shakespeare’s Globe)
Harry Lloyd, for Oswald in Ghosts (Arcola Theatre)
John MacMillan, for Malcolm in Macbeth (Royal Exchange Theatre), and Rosencrantz in Hamlet(Wyndhams Theatre)
David Ononokpono, for Orlando in As You Like It (Curve Theatre)
Henry Pettigrew, for Marcellus and Second Gravedigger in Hamlet (Wyndhams Theatre)
Prasanna Puwanarajah, for Messenger in Thyestes (Arcola Theatre)
George Rainsford, for Bertram in All’s Well That Ends Well (National Theatre)
Sam Swainsbury, for Demetrius in A Midsummer Night’s Dream, and Salerio in The Merchant of Venice (Propeller)
Ellie Turner, for Agnes in The School for Wives (Upstairs at the Gatehouse)