I might have taken a break from reviewing in June, but I didn’t stop going to the theatre – I had too many things already booked in. Here’s some brief thoughts on what I saw.
Betrayal, Harold Pinter
Shit-Faced Shakespeare – Hamlet, Barbican
The Knight of the Burning Pestle, Cheek By Jowl at the Barbican
Somnium, Sadler’s Wells
Les Damnés, Comédie-Française at the Barbican
Vanya and Sonia and Masha and Spike, Theatre Royal Bath
Blithe Spirit, Theatre Royal Bath
The Hunt, Almeida
Present Laughter, Old Vic
Europe, Donmar Warehouse
The Deep Blue Sea, Minerva
Plenty, Chichester Festival Theatre
Pictures of Dorian Gray, Jermyn Street
The Light in the Piazza, Royal Festival Hall
Hair of the Dog, Tristan Bates Continue reading “June theatre round-up”
The finalists of the The Offies 2018 have been announced and as ever, there’s much of interest there, in the choices made and the breadth of Off West End theatre celebrated. Play-wise, I’m delighted at the love for The Revlon Girl and An Octoroon here, nice to see the Bunker’s Eyes Closed Ears Covered rewarded too, plus Will Pinchin’s work in Frankenstein.
With the musicals, I’m not down with the love for Promises Promises, an ill-judged revival that added nothing to the conversation (and even less in these #MeToo times) and I’m disappointed that none of the boys of Yank! were recognised. The rest of the Southwark Playhouse’s spectacular year does get the appropriate plaudits though, with Superhero, The Life and Working all getting multiple nominations.
And lastly, at times it can seem like all you have to do is sing in your bathroom and you get an Offie nomination ? so it is interesting to see how the numbers break down, albeit somewhat vaguely. These 80 or so finalists have apparently been whittled down from over 350 nominations from over 190 shows – there’s clearly just a lot of Offies love to share. Should you wish to join in said sharing at the IRL award ceremony on Sunday 4th March at The Albany, Deptford, you can buy tickets here.
Continue reading “The finalists of The Offies 2018”
“When you wake up in a cold sweat at night and you think someone is watching you, well it’s me. I’m watching you”
Guess who’s coming to dinner, Toronto-style. The table has been set at Debora and Michael’s oh-so-tasteful upper class home but the atmosphere is thick with tension as their guests are Curtis, the schoolboy who bullied their son Joel – who committed suicide a year ago – and his parents. The meeting has been arranged in order to try and achieve some kind of emotional closure but as it is revealed just how raw the wounds still are, there’s so much more to dig into than a bowl of seafood pasta.
The Finborough has long had a record of supporting Canadian writers and Jordan Tannahill certainly seems like one to watch. Directed with an unhurried and unfussy clarity by Michael Yale, Late Company blisters through its hot-button topics of cyber-bullying and teen suicide with real skill, presenting an even-handed look at the issues but what really impresses, is the way in which he drips revelation after revelation into his narrative to keep us constantly on the edge of our seats. Continue reading “Review: Late Company, Finborough Theatre”
A tempting looking trailer has been released for Late Company, the Finborough’s forthcoming drama
— TheatreDotLondon (@TheatreDotLDN) April 13, 2017
Continue reading “Round-up of news and treats and other interesting things”
“Some things are worth getting your heart broken for”
David Tennant’s opening season took the template of the opening series and ran with it, Russell T Davies’ vision finding its ideal mate in the Scottish actor. The typically adventurous sweep was tempered with a more tender vision, which considerably upped our emotional investment (previous companions returning, romantic connections whether past or present).
Bringing back the Cybermen was an interesting move, as was the introduction of the notion of parallel worlds (and how important that became…). And if the series-long motif of Torchwood didn’t really pay off, especially not when one considers what Torchwood the show became, the finale to Doomsday is pretty close to perfection. Continue reading “Countdown to new Who: Doctor Who Series 2”
“I was a woeful looker-on”
On a night when the real drama was unfolding in Stockholm’s Globen arena and the main internecine conflict was between the juries of music professionals and the public vote as revealed by the new counting mechanism, the BBC’s decision to schedule The Hollow Crown against the Eurovision Song Contest didn’t work for me. Last week’s Henry VI Part 1 was a great reintroduction into these quality adaptations as it started the new series but the follow-up doesn’t quite match the same level.
Part of the issue lies in the seemingly accepted wisdom that the Henry VI plays are problems that need solving – I’ve still not managed to see a conventional production of the trilogy to use as a benchmark – and so the plays are often abandoned to the mercies of the vision of writers and directors. Such is the case with The Wars of the Roses: 1. Henry VI Part 2, chopped down and frantically paced, there’s a whole lot of fury but just not enough feeling (though if you’re a fan of battlefields and decapitated heads, you might fare better than I did). Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 1. Henry VI Part 2”
“I would his troubles were expired”
The Hollow Crown rises again. Four years on from the first suite of striking televisual adaptations of Shakespeare’s history plays, the BBC continue their Shakespeare Lives season by completing the set. For theatregoers, it has been a ripe time of it – Trevor Nunn reviving The Wars of the Roses late last year and the excellent Toneelgroep Amsterdam bringing their streamlined version Kings of War to the Barbican just last month – but as you’ll see, the common thread is one of adaptation, opportunities to see the three parts of Henry VI as they are remain few and far between.
And so it proves here. Though this is entitled The Hollow Crown – The Wars of the Roses: 1. Henry VI Part 1, Ben Power and Dominic Cooke have compressed the three plays into two parts and it’s hard to argue against it really – there’s plenty here to sink your teeth into (and get your head around). Emasculated by lord protector the Duke of Gloucester (a solid Hugh Bonneville, displaying as much range as he ever does), Tom Sturridge’s Henry VI finds himself an uncertain king, a querulous youth who bends whichever way the wind blows strongest in his court, riven by dynastic rivalry. Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 1. Henry VI Part 1”
“The stateman’s task is the accommodation of stubborn facts to shifting circumstance and in effect to the practical capacities of the average stupid man. Democracy involves admission of that”
It’s always a bit tough to forge one’s own opinion of something already lauded as a masterpiece, the assumption being if you don’t like it then you’re missing something, but this is the second time I’ve seen a solidly good production of Harley Granville Barker’s Waste and it’s the second time that I just haven’t been blown away by it. Seven years ago saw Samuel West tackle it for the Almeida and now it is Roger Michell’s turn in the Lyttelton as Rufus Norris continues his balancing act of reinvigorating the National Theatre without scaring the regulars off.
But spread over a goodly three hours with a pace that could be described as stately at best and glacial at its worst, it’s hard to see Waste converting any newcomers to the joys of theatre. And even with the quality that emanates from the female-centric first scene – Olivia Williams, Sylvestra Le Touzel, Doreen Mantle and Lucy Robinson (forever in my heart as my first Lady Macbeth) doing fine work – the energy is just singularly lacking even as sex, sleaze and suicide pop up on the menu for this slice of the Edwardian political elite. Continue reading “Review: Waste, National Theatre”
“We’ve been getting phone calls, text messages, emails…can’t trace where or who from”
Another drama about online shenanigans, as should be evident from the titular ‘U’, U Be Dead is an ITV television movie from 2009 and written by Gwyneth Hughes. Jan and Debra are in the midst of preparing for a lavish wedding but when they start to receive threatening messages and anonymous phone calls as part of a systematic campaign of harassment, their lives are thrown into complete turmoil.
It’s all a bit schlocky to be completely honest (but then it is ITV) though there are some strong performances that shine through. Tara Fitzgerald unravels spectacularly as Debra, the target of the most vitriolic aspects of the stalking and clearly far too good for David Morrissey’s rather taciturn psychiatrist/speedboat racer, whose head is easily turned by pert new arrival Bethan played by Lucy Griffith, even in the midst of the crisis. Continue reading “DVD Review: U Be Dead (2009)”
- Damien Molony looking cute in a cardigan
- The line “she was milking the family buffalo at 8” is mentioned. It is a winner.
- Damien Molony looking strangely alluring in a lady’s shorty robe
- Olivia Vinall looks to be the new Hattie Morahan, and delivers the leading role here with a delightful mixture of charm and confidence – nice to see her outwith Shakespearean damsel mode for once
- Damien Molony’s thighs in said robe. *swoons*
- Stoppard hasn’t reined in his tendency to lay his research bare. Not sure what a hedge fund is? A character conveniently asks the question to allow an explanation… Nor is there a huge deal of sophistication in his plotting, the twists that come seem rather obvious (though this could possibly have been his intention)
- Damien Molony in his boxers
- The play does have some meaty, fascinating aspects to it though, pairing up thoughtful forays into God versus science and the mind versus the brain, whilst also delving into the financial markets, research ethics and the vagaries of human behaviour, especially under pressure. Heaven only knows what those who’ve done their homework will make of it, for me it could do with exploiting the emotional angle more fully.
- For all his hotness, Damien Molony could really do with enunciating and projecting a little better.
- And plus ça change at the Dorfman/Cottesloe as in its end-on configuration, Row S clearly stands for severely restricted view – the cheap seats in the gallery on the right hand side (looking at the stage) cut off an area where Hytner frustratingly places actors on a regular basis. Even leaning didn’t really help. And with all the recent renovation work, it’s surprising the NT hasn’t managed to put signs up to Door C or Row S (or indeed placed ushers on that level to help out customers).
- I continue to love Lucy Robinson, my first ever Lady Macbeth, even when she’s forced to swear like she’s in a Richard Curtis film.
- Some gorgeous brainwave and synapse-inspired design work by Bob Crowley and lighting designer Mark Henderson make it visually arresting, though the reliance on the piano soundtrack felt a little clichéd and uninspired. Press go in on Wednesday though it is hard to imagine, that with this being Hytner’s directorial swansong as Artistic Director and Stoppard’s first new play in nine years, that a certain air of benevolence won’t characterise a goodly portion of the critical responses. If you’ve been already, let me know what you thought of it.
*Yes, shallowness abounds but hey, it’s Friday night.
Show information can be found here
Running time: 100 minutes (without interval)
Booking until 16th April (though new dates to be released in next booking period and returns often pop up)