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?
Continue reading “2018 Laurence Olivier Awards nominations”
Some great winners here, particularly gratifying to see recognition for The Revlon Girl and Contractions on the play side, and Superhero and The Life for the musicals. And An Octoroon looks set to beat down all before it when it transfers to the Dorfman (I’d get booking your tickets now!)
Continue reading “2018 Offie Award Winners”
The finalists of the The Offies 2018 have been announced and as ever, there’s much of interest there, in the choices made and the breadth of Off West End theatre celebrated. Play-wise, I’m delighted at the love for The Revlon Girl and An Octoroon here, nice to see the Bunker’s Eyes Closed Ears Covered rewarded too, plus Will Pinchin’s work in Frankenstein.
With the musicals, I’m not down with the love for Promises Promises, an ill-judged revival that added nothing to the conversation (and even less in these #MeToo times) and I’m disappointed that none of the boys of Yank! were recognised. The rest of the Southwark Playhouse’s spectacular year does get the appropriate plaudits though, with Superhero, The Life and Working all getting multiple nominations.
And lastly, at times it can seem like all you have to do is sing in your bathroom and you get an Offie nomination ? so it is interesting to see how the numbers break down, albeit somewhat vaguely. These 80 or so finalists have apparently been whittled down from over 350 nominations from over 190 shows – there’s clearly just a lot of Offies love to share. Should you wish to join in said sharing at the IRL award ceremony on Sunday 4th March at The Albany, Deptford, you can buy tickets here.
Continue reading “The finalists of The Offies 2018”
“It was all about money. The cheapest solution. No one gave a shit about us”
We often talk about state-of-the-nation plays (well, at least Billington does) but it has often felt like a somewhat dusty, ephemeral concept that has passed me by in plays I have to force myself to see, if I go at all (qv The Entertainer). But it is a notion that strikes me deeply whilst thinking about Neil Anthony Docking’s extraordinary gut-wrench of a play The Revlon Girl, bracingly insightful about how we as a nation deal with disasters, an impassioned cri-de-cœur for those most directly affected.
I saw an earlier incarnation of The Revlon Girl a couple of years ago and I was deeply impressed then and deeply moved. But now, in these post Grenfell times, its relevance stings. Docking’s prescience has intensified and sharpened the experience of watching the play, almost unbearably so as we watch corporate malfeasance, government disinterest, invasive media practices and the dismissal of community concern in a play set over 50 years ago, events that were repeated almost play-by-play in West London not three months ago. Continue reading “Review: The Revlon Girl, Park Theatre”
“They asked me how I felt.
How do you answer a question like that?”
Sensitive Subjects is the title of this double bill of one-act plays which both deal with the traumatic experience of child bereavement in their own ways. Director Maxine Evans and playwright Neil Anthony Docking have deliberately approached the issue this way – The Revlon Girl looks back to the Aberfan disaster of 1966 and looks at how the small mining village community there tried to deal with the loss of over 100 children, and Barren tackles the issue of infertility in a modern day marriage, mourning the children that can never be – and whilst never an easy evening of theatre to watch, it is at times extraordinary.
Just over an hour in length, The Revlon Girl must surely rank as one of the best pieces of new writing in London at the moment. Docking imagines a support group meeting for the bereaved mothers of Aberfan, where 116 children and 28 adults lost their lives when a tip collapsed into the village, where a make-up rep from Revlon has been booked to try and lift their grief-stricken spirits. But there are as many ways to process grief as there are people in the world and this group of four women are no different, from near-catatonic shock to antisocial prickliness, over-compensatory geniality to terse officiousness. Continue reading “Review: Sensitive Subjects – The Revlon Girl / Barren, Tristan Bates Theatre”