The OnComm is the new award for online shows from across the UK (and beyond) and was introduced in
1. Recording pre-lockdown (direct)
(i.e. with little or no editing)
Going Viral / Daniel Bye
Hysteria / Spymonkey
Jane Clegg / Finborough Theatre
The House Of Bernarda Alba / Graeae
2. Recording pre-lockdown (edited)
(i.e. with significant editing)
Bubble / Theatre Uncut
Cyprus Avenue / Royal Court & Abbey Theatre
SeaWall / Simon Stephens
The Encounter / Complicité Continue reading “The finalists of The ONCOMMs 2021”
Flying against the wind with this I know, but the second series of Fleabag leaves me rather cold…
“I think you’ve played with my guinea pig long enough”
I’m not sure why I’ve never succumbed to the Fleabag love that has swept the nation. Whether onstage or on screen, Phoebe Waller-Bridge’s magnus opus has never quite done it for me but what do I know – the return of the show, to a West End theatre no less, sold out quickly and the column inches about this second series of the TV show have been mounting up.
And ever the contrarian, this follow-up hasn’t really tickled my fancy either. The one thing that I think it did brilliantly was in its use of the fourth wall, particularly how Andrew Scott’s hot vicar was able to see through it for the loneliness avoidance technique it was and for pure storytelling, I thought it worked very well in terms of humanising a character who has always been rather arch. Continue reading “TV Review: Fleabag Series 2”
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 succumb easily to the charms of Paddington 2 and Hugh Grant having the time of his life
“Exit bear, pursued by an actor”
In a year when sequels have outperformed expectations (at least mine anyway), I should have heeded the signs that Paddington 2 heralded back last winter that sequels were ‘in’. Paul King’s follow-up to his 2014 warm-hearted original, reintroducing us to our ursine Peruvian hero, occupies a similar space of resolutely British family films that are a cut above.
Written by King and Simon Farnaby, the film is unafraid to take its audience seriously and for every adorably sweet sequence, there’s genuine peril and even darkness in there too. Hugh Grant is the main antagonist, an actor called Phoenix Buchanan who has been reduced to making dog-food adverts and his ne’er-d-well ways see Paddington framed for a crime he did not commit. Continue reading “Review: Paddington 2 (2017)”
“I am yours. Do what you want with me”
It is clearly the moment for Thérèse Raquin– a stage adaptation in Bath (and touring to Malvern and Cambridge), the Finborough’s musical version transferring to the Park Theatre, and a film of the story also hitting our cinemas recently. Émile Zola’s 1867 novel heralded a new world of naturalism in literature in its focus on mood rather than character and has remained an enduring classic, hence this confluence of versions now and a cheeky trip to the penultimate show of the run at the gorgeous Theatre Royal Bath.
Reflecting Zola’s intent, Jonathan Munby’s direction is highly theatrical and brings a powerful lyricism to the stage, bringing in Ann Yee to provide a fluid movement style that is near-balletic and which captures the yearning spirit perfectly – in a world where so much is unsaid, body language becomes ever more eloquent. And Helen Edmundson’s version emphasises Thérèse’s elemental connection to the water and the fevered eroticism that takes her over, unutterably disrupting her world as sex, murder and self-destruction come a-knocking to liven up her dull life forcibly married to her cousin in the Parisian backstreets. Continue reading “Review: Thérèse Raquin, Theatre Royal Bath”
“She is a strumpet”
I’ve been meaning to get around to watching this for ages now, having picked up the DVD in Chichester for a snip, and having recently seen Jessie Wallace on stage and a date with Richard Armitage coming soon at the Old Vic, it seemed as good a time as any to delve into this 80 minute drama looking at the life and times of music hall superstar Marie Lloyd. Sadly, it should probably have lingered on the shelf a good while longer along with all the other charity shop bargains as I found it quite a disappointing bit of television.
For me, Miss Marie Lloyd – Queen of the Music Hall’s main problem lies in its format. Having avoided being a straight-up biopic, James Hawes’ production (written by Martyn Hesford, although he is curiously uncredited on the DVD) opts for a fantasia, gliding from scene to scene with little connective tissue giving us the context of the 30 odd years that are passing by. So we get the highlights of this remarkable woman’s life but nothing else –marriage, motherhood, divorce, remarriage, industrial action, public ruin, scandalous affair, boom boom boom – everything gets five minutes and then we move swiftly on. Continue reading “DVD Review: Miss Marie Lloyd – Queen of the Music Hall”
“Repression is the only lasting philosophy”
Although not intentionally, this year I’ve been racing through the list of theatres (and towns) I haven’t been to before and Northampton’s Royal & Derngate is the latest to be ticked off. This production of Dickens’ A Tale of Two Cities marks the beginning of James Dacre’s tenure as Artistic Director there and though I have no way to compare it with what usually takes place on stage here, it feels like a hugely ambitious piece of work and a definite statement of intent.
Most of this comes from the team he has gathered. Mike Poulton’s sleek adaptation of the novel surely confirms him as the country’s foremost translator from page to stage, Oscar winner Rachel Portman provides a hugely atmospheric score which swells to fill the auditorium, and the use of a community ensemble gives credibility to the world of the play, creating a most effective baying mob in Mike Britton’s beautiful set which effortlessly switches location as the story dictates. Continue reading “Review: A Tale of Two Cities, Royal & Derngate”
I’m the headless hunter of Honfleur, I’m the strangled Sister of Soissons, I’m the noseless Nun of Nantes”
Those who know me will attest to how firmly I tend to hold my preconceptions, but I do try to test them fairly regularly on the off-chance that a certain production might prove me wrong, if not about the whole genre then at least about that particular show. And despite its much-beloved status by the likes of Billington, Spencer et al, farce is one such genre of which I am no particular fan. I am one of the few who found One Man Two Guvnors painful in the extreme but I found myself tumbling easily for the charms of Noises Off, so whilst I might not ever call myself a fan of farce, I do know that it is impossible to lump them all together dismissively.
Which is a most long-winded way to say that I went to the Theatre Royal Bath to see Georges Feydeau and Maurice Désvallières’ A Little Hotel on the Side. Adapted by John Mortimer and directed by Lindsay Posner with an amazingly luxurious cast including the likes of Richard McCabe, Hannah Waddingham and Richard Wilson, it seems incredible that the run is just two weeks long but I would struggle to recommend dropping everything to try and see this. My only previous experience of Feydeau was with the Old Vic’s 2010 A Flea In Her Ear, which decidedly didn’t tickle my funnybone, and this felt far closer to that than to the delirious pleasures of Frayn’s backstage antics. Continue reading “Review: A Little Hotel on the Side, Theatre Royal Bath”
“If you’re watching grandmama, look away now”
Sometimes I think there’s something to be said for just sitting down at the theatre, especially when it is a family show and just enjoying what’s front of you. I’ll be the first to admit that I have done very little of that this year but for some reason, and it wasn’t even the mulled wine, Nation at the National Theatre warmed my heart in a way I was not expecting.
The fantasy genre is one which is often hard to adapt to the stage, as the books are heavily laden with a rich level of detail, creating new worlds and mythologies, and there inevitably has to some degree of compromise between creating a coherent narrative for the timespan of a play but remaining faithful enough to respect the source material (and please the fans). And if one is being honest, there were elements of Mark Ravenhill’s adaptation of Terry Prachett’s story of two teenagers thrown together by a giant tsunami leaving one shipwrecked and the other without a home, that didn’t bear much scrutiny. But it was so swiftly directed that only the most curmudgeonly of souls would have dwelt on the plotholes. Continue reading “Review: Nation, National”
All’s Well That Ends Well is one of Shakespeare’s so-called ‘problem plays’, not easily classified as a comedy or a tragedy, but this production a part of the Travelex season at the National Theatre, posed no problems for me. This is a confidently-acted, stunningly-mounted, assured production which really confirms to me that the NT have hit the ground running with this season of plays.
The programme describes the play as ‘Shakespeare Noir’ which is quite an apt description for it. The comedy, and there is lots of it, is often underscored by the darker turns of the plot, and there is little frivolity of the ‘hey nonny no’ type, which can sometimes seem quite glib. The play opens with a girl of little consequence save the knowledge passed down from her physician father, arriving at the court of the King of France and healing him of his ailment. Her reward is to marry the man of her choice, but her chosen nobleman, Bertram, objects to such a lowly match and sets Helena a seemingly impossible challenge to win his heart and subsequently heads off to war in Italy, but Helena is hot on his heels in order to try and fulfil the deal. Continue reading “Review: All’s Well That Ends Well, National”