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”
Kwame Kwei-Armah, Artistic Director of the Young Vic, has announced the start of the Young Vic’s 50th birthday with a year-long programme of work entitled We are the New Tide, dedicated to the theatre’s milestone birthday.
The 50th birthday year of work begins with three major commissions:
- YV 50thProjection Project – a projection celebrating the people and productions from across five extraordinary decades, illuminating the front of the Young Vic building each evening, with video design by Duncan McLean – check out just some of those productions in the gallery above.
From 11 Sept – 4 October, 7.30pm – 10.30pm daily except Sundays, free.
- The Unforgotten –an interactive outdoor art installation commemorating trailblazers Mary Seacole, Marsha P. Johnson and Ulric Cross. Furthering the conversation within the Black Lives Matter movement, the Young Vic community will be invited to contribute to the installation by submitting their own nominations in writing on the side of the building and online, asking us all to (re)consider who we celebrate as our heroes. Created by artists Sadeysa Greenaway-Bailey and Anna Fleischle.
From 11 September, free.
- The New Tomorrow– for the first piece of live theatre since the pandemic closed UK theatres, this weekend festival of speeches and monologues asks what the next fifty years hold. Writers and artists Jade Anouka, Marina Carr, Jasmine Lee-Jones, Ruth Madeley, Amy Ng, Stef Smith, Jack Thorne, Isobel Waller-Bridge and Steve Waters will explore the change that has come and is coming. Cast to be announced.
3 & 4 October, 4pm, Main House, free
A fatally muddled tone means Been So Long ends up less than the sum of its parts, despite glorious lead performances from Arinzé Kene and Michaela Coel
“People don’t want inclusivity mate, they want exclusivity. And something for the gluten-intolerant”
I really wanted to like Been So Long, and can imagine it having worked well on the stage (it played the Young Vic in 2009) but something has definitely been lost in translation with this screen adaptation here. It is mildly curious as the film is written by Ché Walker, scribe of the original play and the subsequent stage musical, but maybe this was a step too far?
One of the main problems for me is that crucial issue of tone. As a love story set in contemporary Camden, and in which Camden plays a central role, there’s a tendency towards gritty naturalism, particularly in showing the home lives of its protagonists, new ex-con Raymond (Arinzé Kene) and single mum of a disabled daughter Simone (Michaela Coel). Continue reading “Film Review: Been So Long (2018)”
Stef Smith takes Ibsen as a fertile starting point for her new version Nora: A Doll’s House at the Young Vic
“Nora, what have you done”
Ibsen wrote A Doll’s House in 1879 but from 1918 to 1968 and then to 2018, stories like Nora’s endure. That’s the thesis of Stef Smith’s Nora: A Doll’s House, a radical new version that splits its narrative voice in three (and everyone knows how good that can be for a play (qv Emilia, Anatomy of a Suicide).
And it’s a smart move in many ways, drawing as much attention to the progression for feminism in the time periods as how little some other things (men?) have changed. Enfranchisement, contraception, gay rights, they all have huge societal impact but when social and class strictures remain in place, what freedom is there really? Continue reading “Review: Nora – A Doll’s House, Young Vic”
The announcement of the new cast for Broadway’s hugely lauded Hello, Dolly! has been a most strange affair – names trickling out one by one, rather than one big splash. However, it is Bernadette Peters (from 20th January) who has the unenviable task of following in Bette Midler’s shoes and trying to maintain the hefty box office that she’s managed to garner, and maintain. Victor Garber and our very own Charlie Stemp (making his Broadway debut) have also been revealed and doubtless by the time you read this, more will be have been announced too, one by one.
Producers Tim Levy (Director, NT America) and Jordan Roth (President, Jujamcyn Theaters) announced today that the National Theatre Production of Tony Kushner’s epic and seminal masterwork, Angels in America: A Gay Fantasia on National Themes, will return to Broadway for the first time since its now-legendary original production opened in 1993. This spectacular new staging of Part One of Angels in America, Millennium Approaches, and of Part Two, Perestroika, had its world premiere earlier this year in a sold-out run at the National Theatre, where it became the fastest selling show in the organization’s history. This strictly limited, 18-week engagement will begin performances at The Neil Simon Theatre on Friday, February 23, 2018, with an official opening on Wednesday, March 21. Public on sale is: 27 October at 10am NYC time. Continue reading “Round-up of news and treats and other interesting things”
“They see what they want to see, not what they really see”
I seem to be surrounded by people who saw and loved the original production of Blue/Orange, with its extremely tasty cast of Bill Nighy, Andrew Lincoln and Chiwetel Ejiofor, and who love to tell me about it! It was however before my time (here in London at least) and so my first, and only, previous experience of the show was with Tiata Fahdozi’s all-female version at the old Arcola, with a less starry but no less interesting cast of Helen Schlesinger, Esther Hall and Ayesha Antoine.
I mention this because it is interesting to me the ways in which people’s journeys with plays are shaped by these interactions, especially when they have been lauded as modern classics. Of the eight, only two are going back to this new production at the Young Vic (it doesn’t seem to be inspiring repeat visits), and the one who has been already didn’t like it. And critics’ responses thus far stretch from Aleks Sierz reconfirming its status as a contemporary classic to Matt Trueman declaring that it hasn’t aged well. Continue reading “Review: Blue/Orange, Young Vic”
Actor In A Leading Role
Colin Connor in A View From The Bridge at Octagon Theatre, Bolton
Rob Edwards in An Enemy Of The People at Octagon Theatre, Bolton
Jonjo O’Neill in The Crucible at the Royal Exchange
Sam Swann in Pomona at the Royal Exchange
Actress In A Leading Role
Scarlett Brookes in Educating Rita at Oldham Coliseum
Barbara Drennan in A View From The Bridge and The Family Way at Octagon Theatre, Bolton
Kathryn Hunter in Kafka’s Monkey at HOME
Maxine Peake in The Skriker at the Royal Exchange Continue reading “The 2015 Manchester Theatre Awards nominations”
Last year, I made a weekly feature out of short film reviews (if you explore the film tag, you can find them all) but in the name of reclaiming some semblance of a normal life, I’ve put them on hold. Things still pop into my awareness or my inbox though so I thought I’d flag these up.
Not quite a short film but an interactive video game, 5 Minutes features newly-announced Beowulf Kieran Bew (and it’s good news, he’s a bearded Bew in this one) as a father trapped in a zombie nightmare with his teenage daughter. You can select three levels of difficulty to help them through their journey to try and escape the zombie curse (I’ve managed medium, just about) and it is all rather well done. I’m no expert at all in this kind of thing though so make of it what you will! Continue reading “Short Film Review #62”
“Eddie Carbone. Eddie Carbone. Eddie Carbone.”
What more is there to say about a play that was my undoubted favourite production of 2014 (out of more than 380 lest you forget!) and which did more than I could have possibly imagined to finally introduce the spectacular creative force of Ivo van Hove to a wider audience. Not much as it turns out! The Young Vic’s extraordinarily successful A View From The Bridge has now transferred into the West End, setting up shop in the relative intimacy of the Wyndham’s and remains one of the most highly recommended shows that I could urge you to go and see.
My original review is here and I stand by everything in it, van Hove’s recasting of Arthur Miller’s classic still burns with its unstoppable, slow-building tragic force and even in this larger space, maintains the same level of punishing emotion. I hadn’t intended to revisit in all honesty, having seen the original run twice but the announcement of onstage seating – to replicate something of the feel of Jan Versweyveld’s original staging – hooked me back in. When the pricing was finally announced, I balked but the simultaneous release of a new date, complete with tickets for the front row of the balcony (one of the best West End bargains for my money), meant I was helpless to resist. Continue reading “Review: A View From The Bridge, Wyndham’s Theatre”
“You’ll see, you’ll get a blessing for this”
Too often, I leave a play thinking I really want to see it again and never quite manage to get round to booking for it. But I loved Ivo van Hove’s extraordinary take on A View from the Bridge so much on first viewing that I knew there was no chance I wouldn’t make sure a repeat visit would be inked into the diary. And it was just glorious getting to experience this transcendent production of Arthur Miller’s classic play again, to really soak in its textures and further appreciate the acute psychological insight it brings to the work.
There’s not too much more that I can say about the play that wasn’t already mentioned in my original review and being a part of it again simply reaffirmed how I felt that first time. The tension that it creates in the Young Vic almost immediately is exquisitely painful, the knowledge of that final scene coming an additional pleasure, that central scene between Phoebe Fox and Luke Norris (I noticed this time that the way she jumps on him here is identical to the way she jumps on Eddie at the beginning of the play, showing just how complex these relationships are) – I really can’t imagine a better piece of theatre emerging in this country this year.