Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!)
Extraordinary Public Acts for a National Theatre
The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions. A truly joyous and momentous occasion.
The Public Acts programme produces another winner in As You Like It at Queen’s Theatre Hornchurch, community theatre at its absolute best
“All the world’s a stage And everybody’s in the show Nobody’s a pro”
I knew it would take something special to tempt me out of my summer hiatus and given that last year’s Pericles ended up being my show of the year, odds were that this year’s Public Acts production would be the one. And sure enough, Shaina Taub and Laurie Woolery’s adaptation of As You Like It at the Queen’s Theatre Hornchurch was another truly joyous event, a real celebration of community theatre and all its glorious power to involve, instruct and inspire.
And with a company that totals over 100 people, it is not hard to see why. Just the mere fact of seeing that many people on a stage is enough to warm the cockles, particularly when it genuinely embraces diversity in race, ability, age and more. Throw in an ebullient, musical take on Shakespeare’s comedy and a creative team clearly relishing letting their imagination run wild and the result is completely beguiling, emotionally true and really quite affecting – they were tears of happiness honestly! Continue reading “Review: As You Like It, Queen’s Theatre Hornchurch”
Iris Theatre’s production of The Tempest at St Paul’s Church doesn’t quite conjure enough of a spell over its audience in Covent Garden
“Be not afeard; the isle is full of noises”
I’ve dipped in and out of Iris Theatre’s open air Shakespeares since starting this whole blogging lark. In the midst of the hustle and bustle of Covent Garden, St Paul’s Church and its gardens are an unexpected spot of contemplative beauty. And at their best, the productions here utilise the idiosyncracies of this space perfectly – their 2010 Romeo and Juliet remains one of the best I’ve ever seen.
But operating in one of the busiest spots of one of the busiest world capitals also has its drawbacks. And competing against the noise of the flow of Covent Garden street theatre can make the theatre here a challenge. Throw in the practicalities of ushering a large crowd around a limited space, for the shows here are always promenade, and it is far too easy to lose the spell under which audiences need to remain. Continue reading “Review: The Tempest, St Paul’s Church”
No matter the weather, as you walk into the Lyttelton’s auditorium forPinocchio, you’ll find that it is snowing. A simple trick but one that inspires just the right childlike wonder for an adaptation of such a popular fairytale, but it is also a sense of magic that John Tiffany’s production of Dennis Kelly’s adaptation sometimes struggles to hold onto, as darkly disturbing as it is exuberantly heartfelt.
That darkness comes from several directions. The narrative cleaves closely to the moral instruction of a fable so Pinocchio’s struggle with the dark side is presented as a straight-up choice between good and evil – make the wrong choice in dealing with the Fox or the Coachman and things could end up pretty grim, as we witness in a particularly brutal bit of puppet mutilation (it shocked even me!). Continue reading “Review: Pinocchio, National”
“We drink water from a dipper, You drink champagne from a slipper”
Christmastime is often one for traditions and one of the better theatrical ones has proven to be the big musicals that Sheffield Theatres produce. From Me and My Girlto My Fair Lady to a never-better Companyand last year’s Anything Goes that went on to tour, the outgoing Artistic Director Daniel Evans has proved a master at big-hearted, large-scale productions that skimp on nothing to create some of the best musical theatre the country has to offer.
This year sees Jerome Kern and Oscar Hammerstein’s Show Boat as Evans’ final show (as AD at least) and it is an undoubted success, a fitting festive farewell. It’s a brave choice too, an unwieldy beast of a story based on Edna Ferber’s novel about the backstage drama onboard the Mississippi show boat Cotton Blossom, using the performing troupe as a prism through which to view several decades of momentous change in the USA from the late 1800s. Continue reading “Review: Show Boat, Crucible”