Episode 1 of Unprecedented features strong writing from James Graham, Charlene James and John Donnelly
“It’s clear that everything’s going to be different…
and then again, I’m scared that things won’t be different”
It is with an admirable speed with which Headlong and Century Films have pulled together Unprecedented, a theatrical response to the impact of lockdown on society. Conceived, written, filmed and produced in lockdown, and now airing on BBC4, some of our most exciting playwright and a cast of over 50 really have pulled together impressively and this first instalment of three short plays is certainly promising.
Necessity is the mother of invention, or something, and so all three use digital conferencing technology in one way or another and if anything, there’s no bigger marker in the way that our relationships to each other have been altered than this. How many of us even knew what Zoom was in January? And between them, writers James Graham, Charlene James and John Donnelly deftly sketch some of these changes. Continue reading “TV Review: Unprecedented, Episode 1”
Headlong and Century Films have today announced a cast of over 50 UK actors taking part in Unprecedented: Theatre from the State of Isolation. A series of new digital plays written in response to the current Covid-19 Pandemic, Unprecedented will be broadcast across the nation during lockdown as part of BBC Arts’ Culture in Quarantine initiative.
Written by celebrated playwrights and curated by Headlong, Century Films and BBC Arts, Unprecedented explores our rapidly evolving world, responding to how our understanding and experiences of community, education, work, relationships, family, culture, climate and capitalism are evolving on an unprecedented scale. The series will ask how we got here and what the enduring legacy of this historic episode might be. Continue reading “News: cast announced for Unprecedented: Theatre from a State of Isolation”
“It begins at the end”
Salomé? Non merci.
Running time: 105 minutes (without interval)
Photo: Johan Persson
Booking until 15th July
Tony Award winner Jessie Mueller, Tony nominee Joshua Henry, and Grammy-winning opera star Renée Fleming will headline a Broadway revival of Rodgers and Hammerstein’s Carousel. The production, helmed by Tony winner and Charlie and the Chocolate Factory director Jack O’Brien, is scheduled to begin performances Friday, March 23, 2018 at a theatre to be announced.
Mueller, a Tony winner for Beautiful: The Carole King Musical and recent star of Waitress, will take on the role of Julie Jordan, with Henry—currently playing Aaron Burr in the touring company of Hamilton—as Billy Bigelow. Fleming will play Nettie Fowler; the Grammy-winning soprano can be seen on the Metropolitan Opera stage this season in Der Rosenkavalier—a production that is said to mark her retirement from her traditional operatic repertoire.
The revival, produced by Scott Rudin and Roy Furman, will feature Amar Ramasar and Brittany Pollack—both of the New York City Ballet—as Jigger and Louise, respectively. New York City Ballet’s Justin Peck will choreograph the new staging on the 1945 musical. The resident choreographer promises “an even more dance-and-movement-focused production.”
Continue reading “Round-up of (international) news and treats and other interesting things”
“The Labour Party is fucked”
I know a bit about a few things but for some reason, UK politics has never figured that highly on the list. So whilst Steve Waters’ new play Limehouse might well be familiar territory for the vast majority of the matinee audience I saw this with, for me it was a bit of a history lesson. It was also a bit of a challenge as I’d skipped lunch and the smell of the pasta bake being made onstage left me near-ravenous!
Limehouse follows a small group of Labour politicians as they despair at the militant leftwing direction their party is taking and try to decide what, if anything, they can do about it. Perhaps not accidentally, parallels can be drawn with the situation at the moment but this drama is set in 1981 and the quartet are Bill Rodgers, Shirley Williams, Roy Jenkins and David Owen – the Gang of Four who went on to form the SDP. Continue reading “Review: Limehouse, Donmar”
An amusing tidbit from Paul Chahidi’s Twitter takeover for the Donmar Warehouse, promoting his show Limehouse and the commitment its actors have to the art of the warm-up.
Mountains of info was released by the National Theatre about their plans for 2017-18 at this morning’s press conference, so much that I’m still digesting the half of it. Particular stand-outs on the first sift though, are
- Ivo van Hove’s return (after his Hedda Gabler) with a world premiere adaptation of Network, with no less than Heisenberg himself, Bryan Cranston making his UK stage debut
- The cast of Nina Raine’s Consent including Priyanga Burford, Pip Carter, Ben Chaplin, Heather Craney, Daisy Haggard, Adam James and Anna Maxwell Martin.
- The glorious Amadeus returning in the new year, Michael Longhurst’s stellar production wisely keeping its two leads of Lucian Msamati and Adam Gillen intact
- The Headlong co-production of DC Moore’s Common will see Anne-Marie Duff return to the South Bank along with Trevor Fox.
- And Duff is clearly in for the long haul, as she’ll also appear in Macbeth with Rory Kinnear, a taster of which we saw at the Shakespeare Live event
- Cast and creatives for Yaël Farber’s Salomé have been announced too. It is designed by Susan Hilferty with lighting design by Tim Lutkin, music and sound by Adam Cork, movement direction by Ami Shulman, fight direction by Kate Waters and dramaturgy by Drew Lichtenberg. Cast includes Philip Arditti, Paul Chahidi, Ramzi Choukair, Uriel Emil, Olwen Fouéré, Roseanna Frascona, Aidan Kelly, Yasmin Levy, Theo T J Lowe, Isabella Niloufar, Lubana al Quntar, Raad Rawi and Stanley Townsend.More, much more, information after the jump.
Continue reading “News: so much goodness at the National Theatre 2017-18”
The Merry Wives of Windsor
Dorney Court, Berkshire
I’m becoming less and less tolerant of men taking women’s roles, especially when there’s no reciprocity, and as much as I like Paul Chahidi – I don’t see why he gets to be one of the titular merry wives here opposite Mel Giedroyc. Rebecca Gatward’s fourth-wall smashing direction is very much in keeping with the Globe’s often broad sense of comedy but for me, it lacks any subtlety at all.
CymbelineAs the world’s newest country, there’s something special about the South Sudan Theatre Company forming especially for the Globe 2 Globe Festival, so it’s a bit harsh that they were then lumbered with Cymbeline. Sam Yates splices their show with his newly-filmed clips in a Welsh forest somewhere near Milford Haven but as talented as Hayley Atwell is and Kevin Harvey too, it’s a rather dull experience – I remain unconvinced about the play.
There’s no doubting that Henry VIII is one of the less-exciting plays in the canon and though Mark Rosenblatt ventures into the beautiful gardens of Hampton Court Palace with Danny Sapani as his monarch, struggling to come to terms with his longed-for heir being a girl (Pauline McLynn delivering the news well), it’s never that compelling. Even the clips of the 2010 Globe production remind more of its inertia than anything else.
There have been some pretty sweet gigs on the Complete Walk and Dromgoole’s roadtrip to Rome with Dominic West for Coriolanus has to rank up there. A stylishly shot film that comes close to a perfume ad in its luxuriousness and moody glances, it’s nonetheless most effective.
“I would you were as I would have you be”
Our journey along the Complete Walk, at our own speed and from the comfort of our own home, continues apace. Here’s my thoughts on the first suite of films
and now there’s four more for your delectation.
comes to us from Parham House, West Sussex, with the glorious Olivia Williams and Susannah Fielding playing Olivia and Viola/Cesario. And directed by Jessica Swale, it’s deliciously exciting and erotic as the former is utterly thunderstruck by the latter, both actors hitting the mark perfectly and suggesting that this would be a production for the ages were it ever to happen in full. It is spliced with Tim Carroll’s 2012 production
which saw Mark Rylance reprise his Olivia, a performance of which, in all honesty, I was no real fan back then and remain so now.
Interestingly, this was the first of the films that felt heavier on the Globe production rather than the new clip. In the atmospheric gloom of Glamis Castle, Adele Thomas directs a forcefully weird Joanna Scanlan as the Porter but the majority of the action comes from Eve Best’s 2013 production
, (sadly not the Elliot Cowan-starring one
from 2010) with Joseph Millson’s beautifully spoken M and Samantha Spiro’s vibrant Lady M. It was nice to see them again but the final result did thus feel a little unbalanced.
Now this one was good. Sheila Reid’s storytelling Gower, reprised from the Swanamaker production earlier this year
, enhanced by wordless excerpts from the National Theatre of Greece’s version from the Globe To Globe season and illustrated animation too, Dominic Dromgoole’s direction took Reid all around the Globe complex and beautifully so.
One of the cushier jobs in this series, Douglas Hodge’s achingly voiced Prospero finds himself marooned on Bermuda and shot gorgeously by Jessica Swale mostly in voiceover to beautiful effect, And it was nice to revisit Jeremy Herrin’s Roger Allam-starring version
for the Globe in 2013, even if I remain unconvinced by its Ferdinand and Miranda, a sterling combination of old and new.
“This is for a play in the West End?”
Agatha Christie’s And Then There Were None may not have seemed like the most obvious festive programming but Sarah Phelps’ three-part adaptation was an unalloyed success for the BBC. It was a particular surprise for me, as having seen it a couple of times on the stage, most recently in a rather creaky touring production, I wasn’t sure how it could be done well. But Phelps and director Craig Viveiros have managed a remarkable job, transforming the murder mystery into a dark, oppressive psychodrama.
From the off, swooping camera shots (of the Cornish locations standing in for the Devonian Soldier Island) take us out of the dusty drawing room, and haunting flashbacks take perfect advantage of the medium to suggest the oppressive weight of guilt that is being brought to bear here. For those new to the story, a microcosm of English society is invited to an isolated country house, under varying auspices, and once fully assembled, find themselves being picked off one by one by an unknown killer. Continue reading “TV Review: And Then There Were None”