THE SPOTLIGHT BEST ACTRESS IN A PLAY
Zoe Wanamaker – All My Sons at the Apollo
Helen McCrory – The Late Middle Classes at the Donmar Warehouse
Jenny Jules – Ruined at the Almeida
Kim Cattrall – Private Lives at the Vaudeville
Nancy Carroll – After the Dance at the National, Lyttelton
Tracie Bennett – End of the Rainbow at Trafalgar Studios
THE SPOTLIGHT BEST ACTOR IN A PLAY
David Suchet – All My Sons at the Apollo
Benedict Cumberbatch – After the Dance at the National, Lyttelton
Matthew Macfadyen – Private Lives at the Vaudeville
Rory Kinnear – Hamlet at the National, Olivier & Measure for Measure at the Almeida
Simon Russell Beale – Deathtrap at the Noel Coward & London Assurance at the National, Olivier
Toby Stephens – The Real Thing at the Old Vic Continue reading “2011 What’s On Stage Award nominations”
“If you’re alive, you’re afraid…but how you deal with fear, that’s what counts”
Broken Glass is one of Arthur Miller’s later works and so has often suffered by association from the weaker tail-end of Miller’s output, but this production at the Tricycle Theatre in Kilburn, cast to the hilt, certainly makes the case for this play. Set in Brooklyn in 1938, Sylvia has lost the use of her legs after being traumatised by images in the newspaper from Kristallnacht and the news filtering through about the ever-growing extent of anti-Semitic activity in Europe under the Nazis. Her doctor diagnoses a hysterical paralysis but as he begins to investigate her life, he discovers that the problems may lie closer to home, in the truth behind her relationship with her fastidious husband, Phillip.
The Holocaust connections are actually secondary to the real storytelling here which is entirely about the Gellburgs’ marriage. And it is this point which has informed director Iqbal Khan’s interpretation: although ostensibly set in a specific time and place, the emotion involved is timeless and so rather than being a period piece, this production takes a metaphysical, ruminative approach. To ensure the contemplative mood, the interludes between the scenes are filled with Laura Moody’s expressive cello-playing, beautifully composed short solos from Grant Olding which are explosive with emotion and counterpoint the repression evident on stage. Continue reading “Review: Broken Glass, Tricycle”
Pinter seems to be all the rage at the moment: Islington’s Almeida Theatre is now getting in on the act with a revival of his 1964 play The Homecoming.
Set in an all male household in North London, the play explores the reaction of a family to the homecoming of the eldest son and his wife. This household has been male-dominated for a long time and the arrival of a woman sparks a set of power plays in which not everyone is quite as they seem. The casting of Jenny Jules as the new wife also contributes a racial dimension to the dynamic, an added frisson into this powderkeg of a scenario. Continue reading “Review: The Homecoming, Almeida Theatre”
Directed by Michael Attenborough who is clearly looking to throw the light on lesser known playwrights here in the UK, Clifford Odets is regarded as a modern great and as important as Eugene O’Neill in the development of modern drama yet arguably remains relatively unknown here.
Awake and Sing is set in the Depression era and following the fortunes of a Jewish family living in the Bronx, it centres around the huge matriarchal figure of Bessie, played by no other than Rizzo herself, Stockard Channing. She keeps her family close around her but they are a motley crew: her husband is a depressed failure, her father is a revolutionary dreamer, her son is disillusioned with life and her daughter has got herself knocked up. In economically incredibly difficult times, Bessie has to make tough decisions to secure the future she desires for everyone, even if it means over-riding their own wishes and desires. Continue reading “Review: Awake and Sing!, Almeida Theatre”