Writers between the ages of 14 and 21 get their turn to take over the Royal Court’s Living Newspaper for its seventh and final edition
“Did you see what I done?”
The seventh (and final) part of the Royal Court’s Living Newspaper is actually something of a Brucie bonus, an additional edition
Naomi Lundie-Smith’s existential tube journey in summer friends? sees Jemima Mayala reflect poetically on the passing joys of that particular season. Ruby Stokes’ Paths; Unparalleled speaks of hard-won truths – appropriate to any age – about online dating, delivered with wryly resigned recognition by Frances Mayli McCann.
I also really enjoyed the intertwining narratives of Blessing Adetunji’s Beyond Touch (of a) Screen, enhanced by evocative movement work from Kemi Awoderu andTyrone Huntley. And one of the more reliably entertaining elements of the newspaper format doesn’t disappoint here, with the musical front page Lockdown FM striking in its punchy immediacy.
Photos: Isha Shah
Living Newspaper #7 is streaming via the Royal Court until 9th May
Written by Blessing Adetunji, Fatima Kazmi, Tyreke Leslie, Naomi Lundie-Smith, Sam Pickering, Taichi Shinokubo and Ruby Stokes.
What does it mean to count your life in years and lose one? What happens when you re-emerge into the ‘real’ world and find there are still fights to be won?
Edition 7 is written by a group of writers aged 14-21 who’ve been working together online since June 2020. This final edition of Living Newspaper explores the fear of 21 June, a world where the stars talk in Morse code, the difference between people online and IRL, the effects of class on love and what it means to say goodbye to those friends you only have for the summer. Continue reading “News: writers and cast for Living Newspaper #7”
The National Theatre has today announced three new filmed productions have been added to its streaming service National Theatre at Home, including Angels in America Part One: Millennium Approaches and Angels in America Part Two: Perestroika, Marianne Elliott (The Curious Incident of the Dog in the Night-Time, War Horse)’s multi-award-winning production of Tony Kushner’s two-part masterpiece, with a cast including Andrew Garfield (The Social Network), Denise Gough (Paula), Nathan Lane (American Crime Story), James McArdle (Ammonite), Susan Brown (It’s A Sin) and Russell Tovey (Years and Years). Continue reading “News: Angels in America amongst productions added to National Theatre at Home”
I mean, just look at this absolute treasure trove of theatrical talent!
I’m off to listen to Patsy Ferran read Tom Wells, and Gabby Wong read Alexi Kaye Campbell, and Sarah Niles read Winsome Pinnock and…and…
I remain unconvinced we should be rewarding classical roles over the breadth of the theatre out there but hey ho, it’s not my award! A good selection of performances nominated here nonetheless – and Gill feels a worthy winner.
Bally Gill for Romeo in Romeo and Juliet at the RSC
Hannah Morrish for Octavia in Antony and Cleopatra at the National Theatre
Luke Newberry for Malcolm in Macbeth at the RSC
Daniel Burke for Diomed in Troilus and Cressida at RSC
Heledd Gwynn for Katharine and Dauphin in Henry V by Shakespeare at the Tobacco Factory
Tyrone Huntley for Lysander in A Midsummer Night’s Dream at the Watermill, Newbury
Martins Imhangbe for Bagot and Aumerle in Richard II at the Almeida
Toheeb Jimoh for Demetrius in A Midsummer Night’s Dream at the Crucible
Aaron Pierre for Cassio in Othello at Shakespeare’s Globe
Ellora Torchia for Emilia in Two Noble Kinsmen at Shakespeare’s Globe
Helena Wilson for Mariana in Measure for Measure at the Donmar Warehouse
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
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.
“The best thing I ever did was the worst thing I ever did. And it all came to nothing. It makes no sense to anyone, what we did, it’s written in a language no one reads anymore, it’s… incredible”
Tony Kushner’s The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures has been given the moniker #iHo for short, though quite why that impulse has kicked in now is not clear, for the play is a hard-going three and a half hours full of wordily complex pontifications. The mechanics of social media aside, to suggest that it can be encapsulated in a three letter hashtag feels crudely reductive.
The play centres on the Marcantonio family, a brood of Italian-Americans summoned back to their Brooklyn brownstone by patriarch Gus who has decided to commit suicide. He says it is because of encroaching Alzheimer’s but it is his ideals that this former Communist has lost rather than his marbles, and it is this crisis that sparks off lengthy debate after lengthy debate about faith and politics, socialism and America with his three adult children and their motley collection of partners. Continue reading “Review: The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures, Hampstead Theatre”
“The piece is supposed to be a complete picture of who Teddy was, right?”
You can almost feel the checklist of issues ready to be ticked off as we go through Christopher Shinn’s gay student play Teddy Ferrara and its dramatis personae – the president of the Queer Students group, the campaigning journalist, the faux-liberal authority figure, the one in the wheelchair, the transgender one, the hot, maybe closeted straight guy… And sure enough, each issue gets its moment in the spotlight, the show being faithfully representational to the last.
But issues alone do not a good play make. And though Dominic Cooke’s production for the Donmar looks good and is powerfully acted, it never truly engages the emotions, it never converts those issues into believably human stories. Which is particularly pertinent as the main inspiration for Shinn was the real-life case of Taylor Clementi, a student who took his own life after his college roommate broadcast webcam footage of him kissing another man. Continue reading “Review: Teddy Ferrara, Donmar Warehouse”