Stephen Beresford’s Three Kings with Andrew Scott, Brian Friel’s Faith Healer with Michael Sheen, David Threlfall and Indira Varma and Duncan Macmillan’s LUNGS with Claire Foy and Matt Smith are back by popular demand with the recorded versions of the live shows available to watch across nine new streaming dates to see us out of 2020 and into 2021.
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
As some theatres look to a careful reopening and others consolidate their online offers, casting news of four intriguing shows breaks
The Last Five Years at Southwark Playhouse will star Molly Lynch (Cathy) and Oli Higginson (Jamie) who return to their roles after they were cut short on 16 March. They will be appearing in the show from 1 – 31 October and will be in the same ‘support bubble’ so the show won’t adhere to socially distancing staging.
However, in the venue, there will be strict social distancing measures in place. For full info on that head here and click on the Covid-19 FAQS tab: https://southwarkplayhouse.co.uk/the-large/the-last-five-years/#covidfaqs Continue reading “Casting news for early September”
Not really news, more a heads-up to this brilliant piece in the Guardian which covers the 30-odd years that Tristram Kenton has been taking pics for the Guardian’s theatre coverage. Highly recommended: https://www.theguardian.com/stage/gallery/2020/jul/30/caesar-cilla-and-a-superstar-cast-tristram-kentons-stage-archive-in-pictures
Photos: Tristram Kenton
Starring Michael Sheen and David Tennant, Simon Evans’ lockdown TV show Staged is amiable fun
“Come on, show us your pineapple”
A lot of people I know have fallen very hard for Staged so obviously I have to be contrary in saying that I found it amiably good fun rather than essential humour. Born out of lockdown ripping the heart out of the entertainment industry, the show – conceived by Simon Evans (also writer and director) and Phin Glynn – is something of a meta-drama as Michael Sheen and David Tennant play Michael Sheen and David Tennant.
The set-up of Staged is that the actors were meant to be starting rehearsals for a production of Pirandello’s Six Characters in Search of an Author and their director, Evans, has hit on the idea of moving those rehearsals online. The reality though is that it is about anything but, as the pair banter hilariously from their respective homes, cycling through squabbles about the billing order on the poster, to enunciation, lockdown routines and domestic dramas, all the while taking any opportunity to puncture the other’s actorly ego. Continue reading “TV Review: Staged”
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.
The Half – Photographs of Actors Preparing for the Stage by Simon Annand
Just a quickie for this book as The Half – Photographs of Actors Preparing for the Stage by Simon Annand was released in 2008. But with an imminent new exhibition of these photos and a bargainous copy of the book popping up on Ebay, I thought I’d take the plunge.
And I’m glad I did as it is a proper work of art in its own right. Annand has been photographing actors for over 25 years and as such, has a veritable treasure trove of shots to share with us, resulting from the trusting relationships he has built up with so many, from the new kids on the block to veritable dames. Continue reading “Book review: The Half – Simon Annand”
Michael Sheen does his best to destabilise Series 3 of The Good Fight but Christine Baranski and Audra McDonald just about pull it back
“Don’t get in the way of someone kicking ass”
For a season that contains the wonder that is Christine Baranski and Audra McDonald casually duetting on ‘Raspberry Beret’, Series 3 of The Good Fight ends up being something of a challenge. The presence of Michael Sheen’s Mephistophelian Roland Blum was clearly meant to shake things up but that chaotic energy ends up being destabilising.
Which is a shame, as so much of what makes The Good Fight click so well is present here. Topics ripped from up-to-the-minute headlines, including voter suppression, racial profiling, Karens calling the polices, troll farms, historic sexual harassment cases, Kim and Kanye… And they’re all treated sensitively but still daringly in some bold storytelling. Continue reading “TV Review: The Good Fight Series 3”
“Demons run when a good man goes to war”
And here it is, the point at which I stopped loving new Doctor Who, even in a series that has two of the best episodes it has done, and the first series that I haven’t ever rewatched in its entirety. I do enjoy Matt Smith’s Eleven immensely but the writing across this season – which was split into two for transmission – was just fatally erratic for me. Alongside the innovative work from Neil Gaiman in The Doctor’s Wife and Steve Thompson in The Girl Who Waited, two contrasting but superlative pieces of writing, stories such as The Curse of the Black Spot and Night Terrors took the show to a less sophisticated place – (or do I really mean that I started to feel that this version of Doctor Who wasn’t necessarily aimed at me…?)
Even the big finales (for there were two, one for each half) fell a little flat. The premonition that the Doctor would “fall so much further” than ever before in A Good Man Goes to War raised expectations only to be dashed by an overloaded episode with little emotional heft aside from the River Song reveal, and The Wedding of River Song suffered from the general over-use of the characters dying-but-not-really-dying trope (poor Arthur Darvill…). That said, the high points of the series are so very good – the striking US-set opening double-bill, the Doctor finally meeting the TARDIS, and brain-scratching sci-fi with real heart. Frustratingly inconsistent. Continue reading “Countdown to new Who: Doctor Who Series 6”
“But yet the pity of it”
Oliver Parker’s directorial career has taken in glossy takes on Wilde in An Ideal Husband and The Importance of Being Earnest as well as the St Trinian’s films and the recent Dad’s Army remake. But it all started in 1995 with this adaptation, and the word is used advisedly, of Othello. As with many cinematic Shakespearean ventures, it plays fast and loose with the text, cutting large amounts of it and then adding supplementary scenes because the director wants to impose a vision.
The publicity campaign for the film played down its classical roots, focusing instead on the interracial politics of its love story – a hot button topic for the US then, as it is still is now. And well it might, for Parker’s screenplay makes a crucial mistake in rupturing the natural rhythms of the speech, well above and beyond the trimming down which in and of itself, is never a bad thing. Instead, this version feels reductive and rebarbative as it mangles its way through the play. Continue reading “DVD Review: Othello (1995)”