Bukky Bakray, Stacey Gregg, Tanika Gupta, Ellie Kendrick, Sabrina Mahfouz, Nathaniel Martello-White, Eoin McAndrew, Caitlin McEwan, Rachel Nwokoro, Annie Siddons, Stef Smith, Caro Black Tam, Ed Thomas, and Michael Wynne will write Edition 4 of the Royal Court’s Living Newspaper.
A sideways look at the people who govern us. A space for protest. Because we can’t party without protest and we can’t heal without it either.
Edition 4 will feature Rishi Sunak as your romantic Indian soap hero, sign language interpreters prepping for a Covid briefing at the Northern Irish Assembly, a teenager watching the End SARS protests play out on Instagram, a love letter to Nicola Sturgeon, an internet boy who becomes a museum piece, an unravelling of Peruvian independence day celebrations and a box office supervisor who tells it like it is. Continue reading “News: writers and cast for Living Newspaper #4”
“Is our emotional attachment to the NHS gonna stop it changing in the way that it needs to, to continue to thrive and survive?”
The product of eighteen months of interviews with people working in and around the National Health Service, Michael Wynne’s verbatim play Who Cares is an impassioned but clear-sighted cri de coeur for this venerable British institution but one free from too much rose-tinted sentimentality, as it performs an uncompromising health check on that which is meant to check our own health. And the prognosis? The NHS may possibly be screwed but theatre’s in great shape.
Starting off in the rehearsal rooms next to the theatre and eventually ending up in the Jerwood Theatre Upstairs, Who Cares is a promenade production that weaves its way inside and out, up stairs and down, backstage and on, as the audience – split into small groups – take in a multitude of vignettes of the interviewees’ experiences, presented in imaginative and inventive ways by the show’s three directors, Debbie Hannan, Lucy Morrison and Hamish Pirie, plus designer Andrew D Edwards, Natasha Chivers’ lighting and Daniel Krass’ sound. Continue reading “Review: Who Cares, Royal Court”
“Stop asking silly questions and eat your egg”
If I’d known more about Rebecca before I watched the 1997 television adaptation as part of my Lucy Cohu marathon, I might not have bothered. Not having seen it before or read it, I assumed that her part – the titular role no less – might have had a little more to do in the story but as the story is about the second Mrs De Winter, this wasn’t the case. At all. The first half, 90 minutes in total, featured one brief shot of her eyebrows and one of her hands. The second not much better with tantalising glimpses of parts of her face and a few snatched lines of dialogue (although Wikipedia informs me I’m lucky to even get this!)
Whether intentional or not, this ends up being a rather fabulously camp thing. From Faye Dunaway’s Mrs Van Hopper, hunting for gossip and celebs on the Riviera, to Jonathan Cake’s scene-chewing Jack Favell, to the utter deliciousness of Diana Rigg’s ominously looming Mrs Danvers, it’s all rather gloriously over the top. The May-to-December romance of Charles Dance and Emilia Fox is played very straight and the increasing mystery of exactly what happened to her predecessor does take hold to create a rather compelling latter third which I was entirely gripped by (if not entirely convinced – the new Mrs De Winter is VERY understanding!). Continue reading “DVD: Rebecca (1997)”
“No-one wants to be associated with failure…”
Following on from the mammoth successes of the over-rated Jerusalem and the equally highly praised Enron, The Priory has a lot to live up to in maintaining the Royal Court’s current run. A new play by Matthew Wynne, it follows a group of 30-something old friends as they convene on a country house to celebrate New Year’s Eve away from the rat race. Brought together by their mutual friend Kate for reasons of her own, secrets are uncovered and tempers flare as the frustrations of modern living are brought into sharp relief and the question of ‘what is success’ is repeatedly challenged.
Jessica Hynes’s Kate is the emotional centre of this work. Sifting through the emotional detritus of a highly traumatic year, her search for some kind of meaning is what drives the play. Whether its seeking refuge in the company of old friends, the solace of an old love or the temptation of a new faith, Kate’s attempts to deal with her angst seem doomed to failure, and her loneliness, even when surrounded by others is heartbreaking to watch: I found Hynes to be utterly convincing in this part. Continue reading “Review: The Priory, Royal Court”