New interview series from the NT, Julius Caesar and Sunset Boulevard reappearing digitally and Hushabye Mountain coming to the Hope Mill
The National Theatre announced a new interview series Life in Stages, profiling some of the biggest names in British theatre. The series, which will be free to watch, will launch on the National Theatre’s YouTube channel on Thursday 22 April at 7pm BST with each new episode added at the same time every Thursday.
The first episode boasts Olivia Colman and Director and Joint Chief Executive of the National Theatre Rufus Norris.The second episode on Thursday 29 April will feature Romeo & Julietco-stars Josh O’Connor and Jessie Buckley. On Thursday 6 May the third episode puts Adrian Lester and Meera Syal together. Details of further episodes from this series will be announced later this month. Continue reading “Some theatre news from the last week”
The TV adaptation of Philippa Gregory’s historical novel restarts a little unsteadily with The White Princess
“The England we once knew has gone”
For whatever reason, it took four years for the Philippa Gregory TV adaptations to restart with The White Princess following on from The White Queen. And it is a series saved by the introduction of Michelle Fairley and Essie Davis as the feuding mothers of Henry VII and Elizabeth of York, intent on relitigating the Wars of the Roses even as the marriage of their children was meant to have ended it.
A pre-Killing Eve Jodie Comer and Jacob Collins-Levy take on the roles of the couple forced together in the name of their country. With years of enmity between their houses and any number of horrific, murderous actions committed by them or in their names, it does require a fair bit of remembering your history lessons (or the first series) as so much is carried over. It does make you wonder a little why only one cast member (Caroline Goodall) was carried over from The White Queen. Continue reading “TV Review: The White Princess”
Simon Annand’s Time To Act is a beautiful book of photos capturing actors in the minutes before they go on stage
Tackling the constraints of the pandemic in its own way, Simon Annand’s fantastic new book of photos Time To Act has launched a virtual exhibition of some of the photographs which has now been extended to until Christmas. It’s an ingenious way of sharing some of the hundreds of images from the book and should surely whet the appetite for either just buying it now or putting on your list for Santa to collect soon.
Some epic storytelling and a mighty ensemble make the hyper-violence of Gangs of London highly watchable
“A war was started when my father was shot”
Sky 1 seem to have got themselves quite the coup in Gangs of London, a major new series which – if there was any justice in the world – ought to break through the limitations of Sky’s minimal audience share. Created by Gareth Evans and Matt Flannery and boasting a highly exciting ensemble cast, it is a visceral and highly violent look at an immense power struggles between power syndicates in London after the assassination of the patriarch of its premier crime family.
Finn Wallace ruled the streets of London for 20 years but in the wake of his untimely death and with no-one taking responsibility for ordering the hit, it falls to his younger son Sean to take the reins. But Sean is a highly volatile young man and the careful balancing act required to keep the billions of pounds flowing through the organisation and to maintain the equilibrium between so many warring factions is of little interest to him whilst his father’s killer remains unpunished. Continue reading “TV Review: Gangs of London (Sky 1)”
I get stuck into the first episodes of TV shows Van Der Valk, The Good Fight, Gangs of London and Penny Dreadful: City of Angels to see what my next must-see will be
“Who else was masturbating into plants?!”
I’m of course far too young to remember the original Van Der Valk – had I seen it before though, I might well have saved myself this couple of hours. Importing a British cast to play Dutch detectives in a crime serial set in Amsterdam seems like such a retrograde move, I still can’t get my head around it, especially in this day and age when so much quality foreign-language drama is readily available. Written by Chris Murray, this revival sees Marc Warren head up the cast as a maverick detective with a team who aid and abet his behaviour – there’s not a smack of originality about it, nor any real interest sadly…great locations though. Am already dreaming of my return to the city, but not sure I’ll be revisiting this show. Continue reading “New TV shows to get stuck into”
As we move towards the year end, so award season gets into full swing and What’s On Stage have now revealed their nominations celebrating everyone who works in theatre apart from sound designers and musical directors. As ever, these awards tend to work around which fanbase can weaponise the strongest and so there’s lots of love for shows which might not necessarily be troubling many other shortlists…
Still, am liking the recognition for Milly Thomas and Dust, Es Devlin’s luminous set work for Girls & Boys, and Six and The Grinning Man getting into the cast recording category (though can’t quite work out how Come From Away fits into there as well…). And it’s a bit sad that the way their eligibility period works means that Hamilton comes up against Company, making the supporting actress/actor categories ridiculously difficult to choose between.
Though it is billed as ‘a promenade staging’ and the website refers to ‘mob tickets’ and ‘immersive ticket holders’, make no mistake that if you’re in the pit forJulius Caesar, you’re standing. For two hours. There’s a bit of movement, as in five paces that way or this when a new bit of the set has to wheeled into place but don’t be distracted into thinking there’s anything more on offer here than can be gotten further along the South Bank at the Globe (apart from a roof of course, which allows them to charge five times the price, or three times if you book your tickets via TodayTix).
And as with being a groundling, there are decided pros and cons to experiencing theatre this way. The first half of Shakespeare’s political thriller works extremely well under this modern-dress treatment from Nicholas Hytner. As you enter the Bridge’s auditorium, reconceived into the round here, the pit is filled with a rock gig, vendors sell beer and baseball caps, a febrile energy fills the space which carries through to the arrival of David Calder’s populist Caesar with his red cap and puerile slogan ‘Do this!’ (Contemporary allusions are clear but later on you may find the mind gets weirdly drawn to Murdoch more than Trump…).
The full cast for the Bridge Theatre’s second production – a promenade version of Julius Caesar – has been announced and obviously the news that Adjoa Andoh will be playing Casca is the bee’s knees.
The company is: Adjoa Andoh (Casca), David Calder (Caesar), Leaphia Darko (ensemble), Rosie Ede (Marullus/ Artemidorus), Michelle Fairley (Cassius), Leila Farzad (Decius Brutus), Fred Fergus (Lucius/Cinna the Poet), Zachary Hart (ensemble), Wendy Kweh (Calpurnia), David Morrissey (Mark Antony), Mark Penfold (Caius Ligarius), Abraham Popoola (Trebonius), Sid Sagar (Flavius/Popilius Lena), Nick Sampson (Cinna), Hannah Stokely (Metellus Cimber), Ben Whishaw (Brutus) and Kit Young (Octavius).
As somebody who grew up on the outskirts of a depressed Lancashire town in the 1980s, I wasn’t quite sure what to expect from the Royal Court’s revival of Jim Cartwright’s seminal debut play Road. I was only seven when the play was written (1986) and truth be told, we were far enough out of town to be on the right side of the road but still, there was a definite sense of intrigue to my anticipation.
Safe to say, the play did not reveal any biographical insight into the early life of Clowns (or anyone he went to school tbqh) but nor did it emerge as a revival with much to say to Britain today. This portrait of a society scarred by Thatcherite intervention remains very much that, contemporary allusions to a society once again divided and depressed remain unexplored, frustratingly so. Continue reading “Review: Road, Royal Court”