The National Theatre has today announced that two new filmed productions have been added to its streaming service National Theatre at Home: the Young Vic’s Cat on a Hot Tin Roof and the National Theatre and Out of Joint’s co-production Consent. Continue reading “News: National Theatre adds Cat on a Hot Tin Roof and Consent to streaming platform”
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.
Honourable mention: this year’s musical take on As You Like It proved just as heart-swellingly beautiful over at the Queen’s Theatre Hornchurch. Continue reading “10 of my top moments of the decade”
“The human animal is a beast that dies but the fact that he’s dying don’t give him pity for others”
Whatever the reasons behind the decision to open Benedict Andrews’ Cat On A Hot Tin Roof directly into the West End, a first for the Young Vic, you can’t help suspect that it has been informed by the extraordinary success of their 2014 collaboration on A Streetcar Named Desire. Equally, it is tempting to feel the play would be better off on The Cut, the better for its intimacy to really sizzle.
There’s certainly the attempt to raise the temperature – Andrews has his leads Jack O’Connell and Sienna Miller in various states of undress for large swathes of the play – but for all the skin exposed, there’s little sexuality between Tennessee Williams’ central couple, the reasons for which are painstakingly revealed later on. And ultimately it is a disconnect that reads better than it plays. Continue reading “Review: Cat On A Hot Tin Roof, Young Vic at the Apollo”
“There’s a line. It’s called right and wrong and I know which side my duty lies”
Well, that’s what you call a series finale! After the brilliant fake-out of Danny Waldron not being the new Tony Gates or Lindsay Denton, Jed Mercurio’s Line of Duty took us further than we ever could have dared into the murky world of police corruption, weaving together story strands from all three series into an overarching conspiracy thriller that has to rank as one of the televisual highlights of the year so far.
“We’re all in this together. Best way”
The first two series of Line of Duty have been an unqualified success for BBC2 and Jed Mercurio and so this third series has definitely been much anticipated chez Clowns, even if I’m not Daniel Mays’ biggest fan, he being trailed as the actor to take on the Lennie James/Keeley Hawes role as the Big Bad for this series. I should warn you now that spoilers will abound in this review of the first episode!
First off, I loved it. Resisting the temptation to feckle too much, Mercurio presents a very smart spin on the familiar world of AC-12 and its attempts to snuff out corruption in the police force. This time round, we’re left in no doubt as to whether the cop did it, the taut opening sequence sees May’s Sergeant Danny Waldron lead his armed response unit on an op which ends with him shooting the suspect in the head three times execution-style and then coercing his colleagues into a cover-up. Continue reading “TV Review: Line of Duty Series 3 Episode 1”
“Life in the country is just so bloody boring”
Someone wiser than I pointed out that the only way you could do The Seagull at the Open Air Theatre was to be thoroughly iconoclastic, ruffling those Chekhovian feathers into something brasher, bolder and less contained. And there is no doubting that that is what Torben Betts’ new version and Matthew Dunster’s directorial vision have set out to do here, ramping up the comedic elements (of the first half at least) but sacrificing much of the counterbalancing tragedy that customarily gives the Russian writer’s work its depth.
There’s some good work here – Janie Dee’s skittish Arkadina is a delight as she vainly tries to cling onto a long-gone girliishness (though impressive barre work!), Lisa Diveney’s Kirsten Stewart-ish Masha is well-realised in all her agonised inaction, and Jon Bausor’s striking design tilts a giant mirror at 45 degrees to the floor to both open up and expose the world of the tortured souls in this country estate. But the prevailing mood is one of something close to glibness, as the frivolity of the updating comes up hard against the traditional period setting. Continue reading “Review: The Seagull, Open Air Theatre”
“To find out you have a friend you never knew existed, well it’s the best feeling in the world”
I kind of knew that I would like the film Pride, I hoped that I would really like it, but I wasn’t quite prepared for just how much I loved it – the kind of joyous, timeless film-making that makes you want to trot tired old clichés like Great British Classics. But it’s true, it really is. And it is also factually true – based on the real story of an unlikely alliance between a group of gay activists from London and a small Welsh mining community in the heart of the 1984 strike.
Written by Stephen Beresford (whose Last of the Haussmans probably ranks as one of my favourite new plays of recent years), there’s something just straight up lovely about the culture clash that emerges between the two groups, but also in the way that the assortment of odds and sods on both sides who are completely changed by the experience. I don’t think a coda has ever affected me quite so much in the revelation of finding out what actually happened to these people in real life. Continue reading “Film Review: Pride (2014)”
“With my hand on my heart, I don’t know”
Brutally effective, unerringly inquisitive, indisputably compelling. January may only just have finished but it is not hard to imagine that we won’t be talking about Chris Thompson’s Carthage when it comes to totting up the best new plays of the year come December. A debut piece of writing, Thompson has 12 years experience as a social worker and it is that which he has channelled into this play, which takes an unblinking look at the ruthless realities of the care system and whether it might indeed do as much damage as good.
The story centres on the case of Tommy Anderson – a young lad born in jail and fifteen years later, found dead in jail after officers tried to restrain him during a violent episode. Fragmented scenes skitter around this period trying to find the answers about who to blame and so Tommy’s mother, his social worker and his prison guard become the focus of the play – their actions (or inactions) exposed, their behaviours examined, their responsibilities explored. Continue reading “Review: Carthage, Finborough Theatre”
|Best Actress in a Play||Eve Best, Much Ado About Nothing (Globe)||Ruth Wilson, Anna Christie||Rosie Wyatt, Bunny
Siân Brooke, Ecstasy
Lisa Palfrey, The Kitchen Sink
Geraldine James, Seagull
|Best Actor in a Play||Benedict Cumberbatch, Frankenstein||Andrew Scott, Emperor and Galilean||Trevor Fox, The Pitmen Painters
Dominic West, Othello
Jude Law, Anna Christie
Charles Edwards, Much Ado About Nothing (Globe)
|Best Supporting Actress in a Play||Alexandra Gilbreath, Othello||Sheridan Smith, Flare Path||Sinéad Matthews, Ecstasy
Billie Piper, Reasons to be Pretty
Kirsty Bushell, Double Feature 1
Esther Hall, Many Moons
|Best Supporting Actor in a Play||Ryan Sampson, The Kitchen Sink||Harry Hadden-Paton, Flare Path||Robert Hands, The Comedy of Errors (Propeller)
Edward Franklin, Many Moons
Craig Parkinson, Ecstasy
Adam James, Much Ado About Nothing (Wyndhams)
|Best Actress in a Musical||Imelda Staunton, Sweeney Todd||Adrianna Bertola, Josie Griffiths, Cleo Demetriou, Kerry Ingram, Eleanor Worthington Cox & Sophia Kiely, Matilda||Laura Pitt-Pulford, Parade
Beverley Klein, Bernarda Alba
Jemima Rooper, Me and My Girl
Scarlett Strallen, Singin’ in the Rain
|Best Actor in a Musical||Bertie Carvel, Matilda||Michael Ball, Sweeney Todd||Daniel Evans, Company
Daniel Crossley, Me and My Girl
Alastair Brookshaw, Parade
Vincent Franklin, The Day We Sang
|Best Supporting Actress in a Musical||Samantha Spiro, Company||Kate Fleetwood, London Road||Josefina Gabrielle, Me and My Girl
Josie Walker, Matilda
Rosalind James, Ragtime
Ann Emery, Betty Blue Eyes
|Best Supporting Actor in a Musical||Daniel Crossley, Singin’ in the Rain||Nigel Harman, Shrek the Musical||Connor Dowling, Guys and Dolls
Jack Edwards, Betty Blue Eyes
David Burt, Crazy For You
Nick Holder London Road
Best Actress in a Play
Eve Best, Much Ado About Nothing (Globe)
Before this year, Eve Best was one of those names I’d heard a lot, seen a lot whilst peeing at the Almeida but never really engaged with as I’d never seen on her onstage before. How that has changed with the kind of performance as Beatrice that had the entire Globe eating out of her hand. Warm, funny, spiky, romantic, independent and so incredibly open, I can’t imagine there was a person who didn’t fall in love with her as a result.
Honourable mention: Ruth Wilson, Anna Christie
It takes something to wrest my attention away from as fine a specimen as the beefed-up Jude Law was in Anna Christie, but Ruth Wilson’s titular Anna did just that with a perfectly realised portrayal of a woman caught between the feisty independence she’s needed to survive thus far in a harsh world and the change that comes about as a result of close human contact that opens her up to new possibilities. If not already there, she really is close to being one of the most exceptional actors we have.
Best Actress in a Musical
Imelda Staunton, Sweeney Todd
I am generally of the opinion that Imelda Staunton can do no wrong, but this was no walk-in victory as it was a tough category. But her Mrs Lovett, soon to make its bow in the West End, really is one of those exceptional performances that will live long in the memory. The comedy in the role suits her strengths well, ‘A Little Priest’ has never been funnier but having made us pretty fall in love with her, the shift into malevolent darkness then cuts incredibly, terrifyingly deep and is all the more powerfully compelling for it.
Honourable mention: Adrianna Bertola, Josie Griffiths, Cleo Demetriou, Kerry Ingram Eleanor Worthington Cox & Sophia Kiely, Matilda
Shared six ways as incredibly, there are six girls with the enormous, precocious talent to carry off the demanding lead role in Matilda and I don’t think I have heard a bad word about any of them which is some impressive feat. Josie Griffiths in Stratford and Kerry Ingram in London are the two I’ve seen (thus far) and both blew me away with their assured stage presence, their maturity of performance and the all-round talent they possess.