The National Theatre has today announced further productions that will be streamed live on YouTube every Thursday at 7PM BST via the National Theatre’s YouTube channel as part of National Theatre at Home; the new initiative to bring content to the public in their homes during the Coronavirus outbreak. The titles announced today include productions from partner theatres which were previously broadcast to cinemas by National Theatre Live. Continue reading “News: National Theatre at Home Phase 3”
So many of the recommendations for shows to see next year focus on the West End. And for sure, I’m excited to catch big ticket numbers like All About Eve, Come From Away, and Waitress but I wanted to cast my eye a little further afield, so here’s my top tips for shows on the London fringe (plus one from the Barbican) and across the UK.
1 Medea, Internationaal Theater Amsterdam at the Barbican
Simon Stone’s sleekly contemporary recasting of Euripides is straight up amazing. Anchored by a storming performance from Marieke Heebink, it is as beautiful and brutal as they come. It’s also one of the few plays that has legit made me go ‘oh no’ out loud once a particular penny dropped. My review from 2014 is here but do yourself a favour and don’t read it until you’ve seen it.
2 Macbeth, Watermill Theatre
2018 saw some disappointing Macbeths and I was thus ready to swear off the play for 2019. But the Watermill Ensemble’s decision to tackle the play will certainly break that resolve, Paul Hart’s innovative direction of this spectacular actor-musician team will surely break the hoodoo…
3 Noughts and Crosses, Derby Theatre, and touring
Pilot Theatre follow on from their strong Brighton Rock with this Malory Blackman adaptation by Sabrina Mahfouz, a Young Adult story but one which promises to speak to us all. Continue reading “20 shows to look forward to in 2019”
I’m left unmoved by The Strange Death of John Doe, running at the newly press-covered Hampstead Downstairs
“I mean, where does a person begin and end, and when did they stop being a person?”
So it looks like the Hampstead Theatre’s policy of not having its downstairs shows ‘officially’ reviewed has been well and truly junked asThe Strange Death of John Doe is the second show to get the full press treatment after The Phlebotomist. And perhaps it’s just a coincidence that this one is directed by Edward Hall himself…
As it is, the Hampstead Downstairs’ remit as an experimental space has always been a bit of an iffy one, in reality this is more of a Royal Court Upstairs kind of theatre, and Fiona Doyle’s new play is no exception. An intriguing take on a horrific but underexplored aspect of the refugee crisis, vividly staged with movement by the late Scott Ambler. Continue reading “Review: The Strange Death of John Doe, Hampstead Downstairs”
“It’s not about the word, it’s the context in which it’s used and who uses it”
A much welcome reprise for this extraordinary production of Inua Ellams’ Barber Shop Chronicles, a co-production with Fuel & West Yorkshire Playhouse which sold out its initial run at the Dorfman in the summer (here’s my review from then) and has already sold out this return engagement which brings back the original cast, ahead of a wee international tour when four new players, David Ajao, Bayo Gbadamosi, Martins Imhangbe and Tuwaine Barrett, will step in for Anthony Welsh, Fisayo Akinade, Hammed Animashaun and Simon Manyonda.
That it is sold out shouldn’t stop you from trying to get tickets – there’s Friday Rush and there’s refreshing this page in case of returns, and boy is it worth it. Bijan Sheibani’s production does that magnificent thing of genuinely transforming the theatre into someplace else, someplace special, and the energy that crackles through every single minute of the performance – which starts from the moment you walk into the auditorium, this is definitely a show to be early for – is charged with the significance of these stories being told. Continue reading “Re-review: Barber Shop Chronicles, National Theatre”
“Men, sometimes…I don’t know”
The hugely convivial pre-show entertainment for Barber Shop Chronicles is such good fun that I thought to myself I could easily just watch this for an hour. As it turned out, press night delays meant that it was extended by about thirty minutes, during which you really got to appreciate how quietly radical it is. In designer Rae Smith’s hands, the Dorfman has been transformed into a barbershop in the round, into which we’re volubly greeted by the cast and if you’re lucky, you get to sit in the barber’s chair and “get your hair popped” while you wait for the show to start. What I really loved though was the way in which the company so enthusiastically greeted friends, family, loved ones, shattering conventions and fourth walls alike, setting the tone for a truly joyous experience.
Crafted by Inua Ellams, Barber Shop Chronicles puts black masculinity in all its multiplicities under the spotlight. by examining the crucial role that barber shop plays in their communities. From Peckham to Lagos, Johannesburg to Accra with Harare and Kampala inbetween, we’re treated to a glimpse into a world that is more, so much more, than just a place to get an “aerodynamic” haircut. It’s a place to find chat, companionship, chargers, to confess to deeper truths than might otherwise be acknowledged in the outside world, even to find surrogate father figures and positive male role models. Across these six countries, we eavesdrop on these conversations and in gaining an appreciation for the diversity in the African diaspora, Ellams also traces the common threads. Continue reading “Review: Barber Shop Chronicles, National Theatre”