It’s been so bleak of late! So I got some friends together to spread a message of hope…
‘WE’LL BE BACK!’
— Oscar Conlon-Morrey (@Oscar_C_M_) October 21, 2020
Artistic Director Paul Hart and the team at Newbury’s The Watermill Theatre are thrilled to announce that their summer season of outdoor performances of Camelot and The Hound of the Baskervilles has been extended, now booking until Sunday 6 September.
When tickets first went on sale in late July, following progress with the government’s phased roadmap towards theatres re-opening to the public, demand was so high that the entire season sold out within 24 hours. Audiences from far and wide have been enjoying performances from socially distanced tables, seating up to 4 people maximum, in the idyllic setting of The Watermill’s glorious gardens. Continue reading “News: casting for the Watermill’s summer season of Camelot and The Hound of the Baskervilles”
Stars of the West End Stage, Televison, Movies and Theatre Production Staff sing ‘Always Look On The Bright Side Of Life’ for the charity Acting for Others
James Graham’s Quiz makes a marvellous leap from stage to screen
“People still want to gather as a nation, to experience something big together”
Not a huge amount to say about the TV adaptation of James Graham’s Quiz, a show I enjoyed in the West End, not least because of its interactive elements (even if we lost). It bloomed in the televisual treatment, losing a little of its structural intricacy but gaining a narrative through-line that really worked, the explosive arrival of Helen McCrory’s QC making it worth the while. And the story remains as intriguing as ever, though just as free from doubt for me.
They totally did it, right – the Ingrams may have been stitched up in court by the tinkered-with evidence (and credit to Matthew Mcfadyen and Sian Clifford for two excellent performances) – but they totally did it. Fun to see cameos like Paul Bazeley’s Lionel from Legal and Maggie Service’s Kerry the Floor Manager, and original cast members like Sarah Woodward and Keir Charle too.
Sam Mendes’ 1917 is undoubtedly an technically excellent film but the focus on format ends up detracting from the depth of the storytelling
“You’ll be wanking again in no time!
There’s no doubting the technical audacity of Sam Mendes’ 1917. With its ostensibly one-shot, real-time structure (with necessary caveats that it is neither), it is a bravura piece of film-making that elevates this movie from just your average Oscar-baity war flick (cf Dunkirk).
It is clearly a labour of love for Mendes, who directed, co-wrote (with Krysty Wilson-Cairns) and produced 1917, and whose grandfather’s own war experiences inspired the film. And its driving force, following 2 British soldiers tasked with delivering a vital message beyond enemy lines. Continue reading “Film Review: 1917 (2019)”
BEST ACTOR in partnership with Ambassador Theatre Group
Bryan Cranston Network, National Theatre (Lyttelton)
WINNER – Ralph Fiennes Antony and Cleopatra, National Theatre (Olivier)
Ian McKellen King Lear, Minerva Chichester & Duke of York’s
Colin Morgan Translations, National Theatre (Olivier)
Kyle Soller The Inheritance, Young Vic & Noël Coward Theatre
NATASHA RICHARDSON AWARD FOR BEST ACTRESS in partnership with Christian Louboutin
Laura Linney My Name Is Lucy Barton, Bridge Theatre
Carey Mulligan Girls and Boys, Royal Court
Cecilia Noble Nine Night, National Theatre (Dorfman)
WINNER – Sophie Okonedo Antony and Cleopatra, National Theatre (Olivier)
Lia Williams The Prime of Miss Jean Brodie, Donmar Warehouse Continue reading “Winners of the 2018 London Evening Standard Theatre Awards”
Best Feel Good Show
Show You Came Out Dancing To
Five Guys Named Moe
Best Female Performer
Rachel John for Hamilton
Most Heart Stopping Show
Soundtrack of My Soul
Best Male Performer
Layton Williams for Rent
Aesthetic On Point
The Grinning Man
Performer Who Saved The Day
Adam Bayjou for Les Mis
Couldn’t Wait For It To Open
Five Guys Named Moe
The Old Vic
No real big surprises here though it was a shame that Hamilton’s success (7 awards in total) crowded out Everybody’s Talking About Jamie from nabbing anything. Particularly pleased to see Terera and Atim’s efforts recognised, it’s almost like I saw it coming…
— Ian Foster (@OughtToBeClowns) December 6, 2017
Best New Play
The Ferryman: Gielgud Theatre and Jerwood Theatre Downstairs at the Royal Court Theatre – WINNER
Ink: Almeida (& Duke of York’s) Theatre
Network: National Theatre – Lyttelton
Oslo: Harold Pinter Theatre
Best New Musical
An American In Paris – Dominion Theatre
Everybody’s Talking About Jamie – Apollo Theatre
Girl From The North Country – The Old Vic
Hamilton – Victoria Palace Theatre – WINNER
Young Frankenstein – Garrick Theatre Continue reading “Winners of the 2018 Olivier Awards”
An interesting set of nominations have been announced for the 2018 Laurence Olivier Awards. Perhaps predictably, the headline grabbers are Hamilton with their record 13 nominations, and The Ferryman which received 8. I’m pleased to see Follies and Angels in America represent a strong showing for the National with 10 and 6 respectively, and also lovely to see Everybody’s Talking About Jamie close behind with 5. Beyond delighted for The Revlon Girl too, my play of the year.
Naturally, not everything can get nominated and for me, it was most disappointing to see Barber Shop Chronicles miss out on any recognition. And with Hamilton crowding out the musicals categories, there was sadly no room for The Grinning Man, Romantics Anonymous and The Secret Diary of Adrian Mole (although I’m unsure of the Menier’s eligibility with regards to SOLT). And I think Victoria Hamilton (Albion). Philip Quast (Follies) and Louis Maskell and Julian Bleach (The Grinning Man) are entitled to be a bit miffed.
How do you feel about these nominations? And what do you think should have been nominated instead?