Dame Janet Suzman, Miranda Raison, Michael Pennington, Jamael Westman and Kirsty Bushell among the 72 actors performing The Odyssey over 12 hours
In this digital theatrical first, Jermyn Street Theatre joins forces with The London Review Bookshop and publishers WW Norton to stage a live performance of all twenty-four books of Homer’s masterpiece Continue reading “News: 72-strong cast announced for Jermyn Street’s 12-hour Odyssey”
Stars of stage and screen including Olivia Colman, Helena Bonham Carter, David Suchet, Dame Penelope Keith, Timothy West, Jamael Westman, Tobias Menzies, Aimee Lou Wood, Grace Saif, Dame Penelope Wilton, and Julie Hesmondhalgh have joined forces to perform Shakespeare’s 154 sonnets for Jermyn Street Theatre, a 70-seat studio in London’s West End.
The Sonnet Project launched on the theatre’s social media channels on 21 March, when Hannah Morrish performed Sonnet 1. One sonnet has appeared every day since then, with the cycle due to complete with Sonnet 154 in late August. David Suchet, star of Agatha Christie’s Poirot but also a veteran of numerous Royal Shakespeare Company productions, performed Sonnet 34 on Shakespeare’s birthday. Continue reading “News: stars come out to support the Jermyn Street Theatre”
“The words of Mercury are harsh after the songs of Apollo. You that way: we this way”
Always a fan of a project, the RSC have paired up Love’s Labour’s Lost and Much Ado About Nothing – which they posit may have been once known as Love’s Labour’s Won – relocated the plays to an England either side of the First World War and let Christopher Luscombe loose at them with a single company, led by Edward Bennett and Michelle Terry. The RSC have hit on a cracker in uniting this pair, reuniting them in fact as they are RADA chums of old, with the wry looks and crackling tension between Berowne and Rosalind clear from the off.
A truly excellent comic actor, Bennett has the wonderful gift of always seeming on the verge of corpsing and for Berowne, it really works. The last to be co-opted into the King of Navarre’s aesthetic scheme of abstinence for him and three buddies, the first to point fingers when incriminating love poems start to appear once ladies arrive on the scene, Bennett shows us that this is a man well aware of the daftness of the enterprise he’s gotten swept up in. But he’s also an actor of much depth as he conveys the genuine sense of surprise that accompanies his own unexpected tumble head over heels and the crushing heartbreak of the play’s end. Continue reading “Review: Love’s Labour’s Lost, Royal Shakespeare Theatre”
“I am not an ordinary woman”
Between balancing requests for reviews and selecting what other plays I want to actually see, it is a rare occasion that I actually attend the theatre as someone else’s guest for a show of their own choosing. But in order to see an old university friend and Dominic Tighe (only one of these was actually sat next to me though), my Sunday afternoon was spent at the Menier Chocolate Factory to see the Victorian farce Charley’s Aunt.
It is little secret that I am no great fan of a farce, though I have been trying my best to being open to having my mind changed, but this isn’t the one to force a reappraisal of the genre. It is what it is, a cross-dressing, slapstick-filled riot of an occasion – revived here by Ian Talbot – which sets its stall out from the very beginning with a character mugging for laughs. Continue reading “Review: Charley’s Aunt, Menier Chocolate Factory”
“I feel I’ve done something unforgivable. But I don’t know what it is.”
Playwright Ödön von Horváth had the kind of life that one couldn’t make up. A child of the old Austro-Hungarian Empire, he settled in Germany in the 1930s and though a fierce critic of the Third Reich, remained there to document the rise of Nazism. After years of violent repression, he finally made it to Paris before the outbreak of war but was killed by a falling branch on the Champs-Élysées as he was on his way to the cinema. Consequently, many of his works were never performed in his lifetime such as Don Juan Comes Back From The War – now presented at the Finborough in a new version by Duncan Macmillan.
Here the famed lothario has been transplanted to a defeated Berlin at the end of the Great War, thoroughly worn out by the war mentally and physically, he returns from the battlefield to resume his life of decadent debauchery. But as he works his way through the hordes of grasping women desperate for a piece of this paragon of masculinity as his reputation would have you believe, his spiritual malaise grows as it becomes apparent that things are not as they were before and though he has tried his best to ignore them, his actions have sometimes terrible consequences. Continue reading “Review: Don Juan Comes Back From The War, Finborough Theatre”
“These aren’t the results we were expecting”
Of all the new plays that I saw last year, it would have taken me a long time to arrive at Earthquakes in London as being the one which would receive a national tour. Not because it wasn’t good, in fact I really enjoyed Mike Bartlett’s slightly flawed epic ambition, but because the National Theatre production was intrinsically linked to the way in which Headlong utterly transformed the Cottesloe auditorium with Miriam Beuther’s design with its serpentine catwalk, trapdoors, bar stools and cutaway stages. But never ones to shirk a challenge, Goold and Headlong, along with touring director Caroline Steinbeis, have remounted the show into a tour-able format which I caught at Richmond Theatre.
My original review can be read here and it was actually quite nice to be able to revisit the show a year later in the context of his other 2010 work Love Love Love and especially in a week when I had also caught Bartlett’s latest epic work 13. Knowing what to expect makes a world of difference: I didn’t feel the length of the show – 2 hours 55 minutes here – whereas people new to it all commented on it; one was able to take in more of the detailed work of the company alongside the razzmatazz which was sometimes a little distracting; and even the final sequence, something that I wasn’t hugely keen on last time, made more sense this time round and felt like the necessary balancing of tone to keep the play from being too despondent. The central conceit of the intertwining stories of the three sisters remained strong and the jumps around time were also effective, possibly more so for knowing exactly what was going on in them from the off! The scale of the storytelling is occasionally unwieldy in reaching to be epic , but I don’t think any other writer in the UK is stretching themselves this much and whilst it may not all come off, I thoroughly admire the scope of his ambition. Continue reading “Review: Earthquakes in London, Richmond Theatre”
“I’m trying to teach the importance of scepticism”
The Heretic, Richard Bean’s new play for the Royal Court, deals with the topic du jour taxing our playwrights, climate change, but takes a sharply comic take which provides a highly amusing evening and neatly sidesteps the gloominess which often permeates issue-driven theatre. Palaeogeophysics and geodynamics lecturer at York University, Dr Diane Cassell is treading a lonely path as a climate change sceptic, her findings are not convincing her that sea levels are indeed rising, which puts her in direct confrontation with her Greenpeace activist daughter and her department, as she publishes research and goes on (a highly amusingly filmed segment) Newsnight with Jeremy Paxman without permission, going against the wishes of her sponsor-hungry boss who just happens to be an old flame. One ray of sunshine for her is new student Ben who is receptive to her way of thinking and becomes her protégé whilst her world begins to crumble around her and death threats start to come in.
By focusing on fully-fleshed characters rather than the issue per se, The Heretic for an engaging evening which is particularly thought-provoking in the first half as Bean questions the way in which science and politics are often forced together despite being uneasy bedfellows and looks at so many of the factors which surround the climate change debate that interact in a multiplicity of conflicting ways – this is more fun than it sounds I promise. I did like the way too the way in which humour is brought into every scene, the environmentally conscious security guard switching the light off, the way in which Bean skewers the bureaucracy around universities and HR departments everywhere and there are some seriously cracking one-liners peppered liberally throughout the show. Continue reading “Review: The Heretic, Royal Court”
My intention is, honestly, to see less theatre this year and try and regain some semblance of a normal life again on the odd evening. But the curse of advance booking and grabbing cheap(er) tickets whilst you can has meant that there’s already an awful lot of theatre booked for 2011. Some have been booked without a huge deal of enthusiasm, but others have a dangerous amount of anticipation attached to them…and so I present to you, the shows I am most excited about seeing this year (so far).
Antonioni Project – Toneelgroep Amsterdam at the Barbican
The Roman Tragedies was hands down one of the most exhilarating and refreshing theatrical experiences of 2009 and possibly my life, I’m even headed to Amsterdam in May to see a surtitled production of their Angels in America. So when I heard that the same Dutch theatre company were returning to the Barbican in February, tickets were booked instantly and I am feverishly over-excited for this now! Continue reading “Shows I am looking forward to in 2011”