The OnComm is the new award for online shows from across the UK (and beyond) and was introduced in
1. Recording pre-lockdown (direct)
(i.e. with little or no editing)
Going Viral / Daniel Bye
Hysteria / Spymonkey
Jane Clegg / Finborough Theatre
The House Of Bernarda Alba / Graeae
2. Recording pre-lockdown (edited)
(i.e. with significant editing)
Bubble / Theatre Uncut
Cyprus Avenue / Royal Court & Abbey Theatre
SeaWall / Simon Stephens
The Encounter / Complicité Continue reading “The finalists of The ONCOMMs 2021”
Since it is the season of goodwill to all men, I’m not going to belabour the point that it is a shame that ‘musicals’ have been lumped together as a category here, whereas the likes of Pinter and Kane got their own specials, whither Sondheim, Herman and Tesori. Still, it’s lovely as ever to stretch back over years of musical theatre productions to see some of Tristram Kenton’s most iconic shots for the Guardian:
Photos: Tristram Kenton
Series 5 of Jonathan Creek is an ignominious end to a show that started out so well
“Why do I know I’m going to regret this”
It started with the 2013 Easter special but the refresh of Jonathan Creek that characterises Series 5 is a spectacular misfire. Jonathan leaving the world of magic is understandable but making him a mid-level advertising executive is just baffling. And that’s before you add in the wife who appears from nowhere, Sarah Alexander’s Polly, and a move to the countryside to a rural village.
It’s a reset that makes little sense – there is ZERO chemistry between Jonathan and Polly and little evidence to convince of their relationship especially as he now directs his patronising non-explanations at her – and ultimately adds little value. The village setting adds a Midsomer Murders/Marple-ish vibe to the mystery solving which detracts from its USP and also means that there has to be increasingly convoluted ways in which to fold Jonathan back into the world of impossible crimes that he’s ostensibly left behind.
All told, there’s too little sense of fun about the whole enterprise, writer David Renwick’s inspiration perchance finally running dry unlike his continued misogynistic tendencies. An ignominious end to a series that started out so well. Continue reading “TV Review: Jonathan Creek, Series 5”
Don’t you love farce? Well turns out I rather did like Alexis Michalik’s Edmond De Bergerac at the Richmond Theatre
“But will the audience come?”
I do love a comedy that unexpectedly makes me laugh a lot. It is a genre, particularly when it leans towards farce, that can be a tricky one to get right and there’s nothing worse than being the only one stony-faced in a theatre full of people roaring their heads off (qv me at One Man Two Guvnors, or most Feydeau plays). But sometimes it works, sometimes there’s a Noises Off in there, and treading a similar-ish path is Alexis Michalik’s Edmond De Bergerac as it tracks the on- and off-stage shenanigans of a theatre company whilst playwright Edmond Rostand struggles to write Cyrano de Bergerac for them.
And I have to say that I chortled merrily through Roxana Silbert’s production, which has popped around the country after a run at Birmingham Rep. It is thoroughly silly, doesn’t take itself seriously for a single moment, and is consequently most enjoyable if just a touch overlong. Freddie Fox’s Rostand is a struggling writer whose last show was a flop and with the bills mounting, is blocked. His artistic juices are only stimulated when his pal Léo commissions him to write a suite of love letters to seduce a new would-be paramour on his behalf and the spark of a new play ignites as life imitates art imitates life and opening night fast approaches. Continue reading “Review: Edmond De Bergerac, Richmond Theatre”
“Looks like the show is over”
It’s always a bit of risk, booking a show you don’t know to see a particular actor and I have to say I got my fingers burnt here with Amédée. In the glorious Jumpers for Goalposts, Jamie Samuel (along with Philip Duguid-McQuillan) both stole and broke my heart, and he further pummelled it in 2015 in Plastic Figurines, to affirm his status as one of those actors I’d happily travel to see.
So the notion of popping up to Birmingham Rep’s studio theatre was fine, combining it as I did with a trip to Stratford, but I should have paid more attention to what I was actually booking. For Eugène Ionesco’s Amédée falls into that category of ‘rarely performed’ works and the man adapting it here, Sean Foley, is someone with whom I decidedly share no funny bones at all (cf The Painkiller). Continue reading “Review: Amédée, Birmingham Rep”
“We’re going to have to tell the vicar”
The 2017 London Jam is a festival of improvisation presented by The Showstoppers, in association with Extempore Theatre & Something for the Weekend, featuring a wide range of improv stars from across both the UK and the world – the improvised Ibsen troupe from Norway being the unlikeliest inclusion there. Naturally, we went along to see our beloved Austentatious and as ever, they did not disappoint.
Regaling us with the tale of Fear and Fascination, full of illicit hat-wearing, malevolent vicars with a predilection for flashbacks, and sheep-loving surprises, this was the team at their best, taking their time with a slow start to to tease out some utterly surreal story strands. The bit of audience participation was unexpected good fun, but it was the surprise murder and the group’s stunned reaction and subsequent glee that made it one of the best unknown Jane Austen novels I’ve yet seen.
“All we can do is what feels right”
There’s been something really quite moving about the second series of Humans, the Sam Vincent and Jonathan Brackley Channel 4 drama which has just wound to a close. In a world that started off examining the diametrically opposed differences between humans and synths (series 1 review), the stark black and white palette of the show has moved markedly to a murky shade of grey on both sides, complicating the actions of both parties to make us really appreciate the difficulties in deciding right and wrong.
So where the renegade synth Niska (a brilliant Emily Berrington) has decided to subject herself to human justice in order to try and find some common ground, newly awakened Hester goes fully rogue in defining humans as the absolute enemy, to brutal effect in a chilling performance from Sonya Cassidy. And questions of identity are no less complex on the human side, as the show toys with ideas of humans opting to live life as a synth and experimenting even further with technology. Continue reading “TV Review: Humans Series 2”
“I don’t deem your remark pertinent”
I came late to Series 1 of Channel 4 drama Humans but I’m making no such mistake this time round. And perhaps conscious of the show’s enormous critical and commercial success, creators Sam Vincent and Jonathan Brackley have considerably upped the ante on this second series, spreading the reach of the story from the UK to the US, Berlin to Bolivia. And though its scale may be becoming increasingly epic, the writing has thankfully maintained its startling intimacy in its explorations of what it means to be human.
To catch you up, the show centres on the invention, and subsequent evolution, of anthropomorphic robots called synths, designed to serve humans but a certain number of whom have become ‘conscious’. This second series sees that group on the run from the authorities, dealing with the ramifications of Niska’s decision – made early on here – to grant that same life to other synths, uploading code that is gradually deactivating their conditioning worldwide. Continue reading “TV Review: Humans Series 2 Episode 1”
“Who needs men?”
In advance of the return of the real Glenda J (Miss Jackson if you’re nasty…) in Deborah Warner’s King Lear for the Old Vic, The Glenda J Collective proved to be most entertaining. There’s no real connection (indeed I’m not entirely sure where the name comes from) but more importantly, The Glenda J Collective can call itself an improv supergroup and not be anywhere near overstating its case, featuring as it does the luminary talents of Josie Lawrence, Pippa Evans, Ruth Bratt and Cariad Lloyd.
And as with any improv show, it takes a far better writer than I to capture the ephemeral nature of the quickfire comedy which comes in the form of non-stop sketches and songs (the group is accompanied on keys by the fabulous Duncan Walsh-Atkins) that flow uninterrupted for a good hour. Suffice to say that it was consistently funny, frequently hilarious and often sidesplittingly genius. From a talking CD player (hello Toshiba…) to the 2 Wisconsin radio DJs coming up with songs for the other 2 performers to make up on the spot, Lawrence’s tie to Cariad Lloyd’s pregnancy bump, it was a cracking hour and one I hope to revisit as soon as new dates are announced.
Running time: 60 minutes (without interval)
Further dates hopefully to be announced…soon?
“Who put Jesus in with the iguana?”
Much more fun than traditional takes on the Nativity is Tim Firth’s The Flint Street Nativity (which I’d somehow managed to avoid seeing until now) which is utterly charming and heart-warmingly British in the best possible way. Firth’s conceit is to have adults playing children, hardly the most original of ideas, but as the pupils of this infant class put on a chaotic performance of the Christmas story complete with onstage squabbles and backstage power struggles, we see how the turbulence of their home lives is played out in their interactions with their schoolmates.
It is beautifully done, and sensitively played throughout. It never stops being funny – particularly as Dervla Kirwan’s determined Jaye plots and schemes to usurp Josie Lawrence’s Debbie Bennett as Mary – as playground rituals dominate proceedings. There’s the endless procession of ever-changing best friends, the relentless goading of the one who always says “dares ya” to the more susceptible kids, the terror of the boy with the stammer, the terrifying rough kid, the bossy know-it-all, the teacher whose patience wears ever thinner with each crisis. Continue reading “DVD Review: The Flint Street Nativity”