A powerful study into the five year police investigation into the Yorkshire Ripper, The Incident Room puts important voices first at the New Diorama Theatre
“I didn’t know Yorkshiremen had it in ’em”
Olivia Hirst and David Byrne’s The Incident Room was seen in Edinburgh last summer but it arrives at the New Diorama now in an expanded version with added interval (all the more opportunity to get one of the tasty Anzac cookies from the café). And most importantly for this blog’s purposes, it stars lovely Danny from Jumpers for Goalposts, aka the equally lovely Jamie Samuel (in a policeman’s uniform, just so you know).
But back to the matter at hand. The incident room of The Incident Room is the Millgarth Incident Room, the hub of the 1970s police manhunt for the serial killer dubbed the Yorkshire Ripper. But far from glorifying his crimes, the focus here is on the investigation itself, looking at a police force that has only just started to admit women into its ranks and also at the trials of running a major data-driven inquiry in pre-digital times. Continue reading “Review: The Incident Room, New Diorama”
In the spirit of the season, I’m not commenting too much on the RSC’s The Merry Wives of Windsor at the Barbican
“I hope we shall drink down all unkindness”
Fiona Laird’s production of The Merry Wives of Windsor is the third of the RSC’s show to open at the Barbican this winter and whilst it is certainly an eye-catching revival with its Only Way is Essex tendencies, it really wasn’t the one for me.
Running time: 2 hours 45 minutes ((with interval)
Photo: Manuel Harlan
The Merry Wives of Windsor is booking at the Barbican until 5th January
A modern and moving take on Romeo and Juliet from the RSC at the Barbican
“I am too young. I pray you, pardon me”
It’s sometimes a little difficult to take seriously how old everyone is meant to be in Romeo and Juliet but Erica Whyman’s modern-day production for the RSC, playing in rep now at the Barbican, never lets you forget. She fills the stage with kids for a cacophonous prologue, Karen Fishwick’s Juliet rightfully feels like a child and in turn, Mariam Haque’s Lady Capulet (“I was your mother much upon these years that you are now a maid”) is a convincing 26, closer to her daughter in age than her husband, but emotionally distant from both.
It’s a pattern Juliet seizes the first chance to break when she meets Bally Gill’s charismatic Romeo, a young man very much still coming into his own. And you feel that it is the running away that appeals to her just as much as the running away together. For she’s all too aware that there are cycles of violence that the young’uns of this Verona can’t hope to escape – indeed what chance do they have when even all the adults around them carry and use knives to resolve even the smallest slight. Continue reading “Review: Romeo and Juliet, RSC at the Barbican”
Despite a cast including Christopher Eccleston and Niamh Cusack, this proves another disappointment of a Macbeth as the RSC start their Autumn residency at the Barbican
“Better health attend his majesty”
Its enduring popularity on school curricula means we will probably never be free of it but in a year when both the National Theatre and the RSC have swung and missed with modern takes on Macbeth, surely it is time to give it a rest. Rufus Norris’s post-apocalyptic production felt unmoored and lacklustre in the unforgiving Olivier and now taking up residency at the Barbican, Polly Findlay’s interpretation for the RSC similarly lacks clarity and intent.
There’s plenty of ambition here and it is tempting to see the influence of a certain Dutch auteur (barefeet actors, clocks counting down to deaths…). But the over-riding aspect of Findlay’s direction is its headlong speed as it hurtles through a cut-down version of the text. Too much has been sacrificed here in the name of accessibility with precious little time given to allow emotional beats to play out, for motivations to be understood, the hurly-burly rules. Continue reading “Review: Macbeth, RSC at the Barbican”
The full cast for the RSC’s upcoming production of Macbeth has been announced.
Christopher Eccleston, making his debut at Stratford-upon-Avon, as Macbeth and Niamh Cusack as Lady Macbeth had already been announced and will be joined by:
- David Acton (Duncan)
- Raphael Sowole (Banquo)
- Edward Bennett (Macduff)
- Bally Gill (Ross)
- Luke Newberry (Malcolm)
- Tim Samuels (Lennox)
- Mariam Haque (Lady MacDuff)
- Donna Banya (Donalbain/Gentlewoman)
- Stevie Basaula (Bloody Captain/Second Murderer),
- Katy Brittain (Doctor)
- Raif Clarke (Boy)
- Paul Dodds (Chamberlain 1)
- Michael Hodgson Porter)
- John Macaulay (Chamberlain/Lord)
- Tom Padley (First Murderer)
- Josh Finan (Company)
- Afolabi Alli (Company)
The production will be directed by Polly Findlay and runs at the Royal Shakespeare Theatre from 20 March to 18 September with previews from 13 March.
There has been something a little snobbish about the reaction to And Then There Were None, Agatha Christie’s first appearance on the West End (the ever-long-running The Mousetrap notwithstanding) for quite some time. For all people’s talk that it is ‘just another Agatha Christie’, it is somewhat undermined by this above fact that her work is largely never revived in London and as for the dismissive assertions that it is just perfect for Middle England, I find that a horrendous attitude. There’s room enough for all kinds of theatre in London, and for people to like some or all of those kinds as they see fit: the idea that because something might be popular, it loses any artistic value is a perilous one and shockingly naïve given the economic realities of mounting West End shows.
Now I’ve got that off my chest, this is a new version of this show by Kevin Elyot who, according to my companion, has actually done very little updating or modernising in the end, instead relying on Christie’s intelligently intricate plotting and a very solid cast, to deliver the twists and shocks of this murder mystery set on an island. Opening with ten strangers sat around a dinner table, invited by a mysterious man Mr U N Owen, who are then picked off one by one according to the words of the nursery rhyme from which the title is taken.
But it is no ordinary whodunit as it emerges that these are no ordinary everyday citizens and what is happening here is more about the exacting of justice on those who have avoided it. Thus there’s a double set of revelations as we discover who these people really are, followed up by their demise, and the atmosphere is suitably taut as a drum in the glorious Art Deco decorated set and there’s plenty of shocks and thrills, not least from the ever-present storm, to keep the audience constantly jumping out of their seats.
Everyone in the cast was great: the women edged it for me with Tara Fitzgerald giving good jolly-hockey-sticks as a games teacher and Gemma Jones’ utterly chilling righteous Miss Brent as the standout performances of the night, though Anthony Howell, Sam Crane and Richard Clothier kept up the men’s side well. I don’t want to say too much more as I’ll get dangerously close to giving important things away! Yes, there’s elements of Christie’s work that will always feel familiar due to its ubiquity on our television screens, but it does not take much to realise that there is a greater depth and nuance to her work here that ought to begin to change the mind of the most hardened sceptic.