The latest venue to announce the opening of their digital archive in order to satisfy our theatrical cravings is the Hampstead Theatre who, in partnership with The Guardian will re-release the live stream recordings of Mike Bartlett’s Wild, Beth Steel’s Wonderland and Howard Brenton’s Drawing the Line for free.
Available to watch on theguardian.com and hampsteadtheatre.com, the three productions will be made available, on demand, over three consecutive weeks as part of the theatre’s #HampsteadTheatreAtHome series and the first of these – Wild – is available now. And once you’ve watched it, take a look at the ways you can support the Hampstead Theatre here. Continue reading “News: #HampsteadTheatreAtHome launches this week”
And now people are dying again and what the fuck are they doing about it”
Series 1 of Fortitude was one of those genuinely unexpected dramas which unveiled its genre-spanning ways with some proper jaw-dropping moments, so Sky Atlantic’s decision to commission a second series wasn’t entirely unexpected (though you do wonder what viewing figures are like over there). Though having revealed itself as a sci-fi/horror/psychological thriller/serial killer murder mystery with political and environmental themes thrown in for a good measure, creator Simon Donald was faced with a decision about which way to go to continue the story.
Or, as it turned out, he didn’t make the decision but rather decided to pursue them all once again. And as is proving a recurring theme with shows I’ve been catching up on (Fearless, The Halcyon), the desire to develop multi-stranded complex dramas falls short once again with the writing ending up serving a jack of all trades and master of none. There’s just so much going on in so many of the episodes that it becomes increasingly hard to keep track of exactly what is what, who knows what, who is doing what to whom, and where we are in any of the stories. Continue reading “TV Review: Fortitude Series 2”
“All of life’s tragedies folded up into those briefest of moments where your face will be an abiding memory”
Critics went cock-a-hoop for Alice Birch’s Revolt. She Said. Revolt Again at the RSC yesterday but my first experience of her writing came with Many Moons at Theatre503 in 2011 and a fantastic one it was too. Little Light, which forms part of Paul Miller’s reinvigorating opening season at the Orange Tree, was actually the first play she ever wrote and directed here by David Mercatali, receives a startling premiere which confirms Birch’s status as one to watch.
Little Light starts strongly as a disturbed domestic drama. There are strains evident in Teddy and Alison’s relationship from the start, as they prepare for a special meal in their seaside converted barn, tension crackling as the rituals they have always observed end up slightly off-kilter. They’re waiting for her sister Clarissa but she arrives heavily pregnant and followed unexpectedly by her bedraggled lover Simon, a further deviation from which the occasion spirals out of control into a vortex of grief-fuelled chaos. Continue reading “Review: Little Light, Orange Tree Theatre”
I realise I’m just adding (belatedly) to the plethora of 2015 features already published but so many of them trod the boringly familiar ground of forthcoming West End shows (and in the Evening Standard’s case, managed to recommend booking for three shows already sold out from their list of six). So I’ve cast my net a little wider and chosen a few random categories for just some of the shows I’m recommending and looking forward to in 2015.
Continue reading “Looking ahead to 2015”
A real work of art this. Johnny Daukes’ Wonder
has much of the multi-stranded, deeply emotional feel of one of my favourite films Lantana
and is just beautifully made. Set in London with the odd excursion to the picturesque Dorset coast, a set of disparate lives are shown to us – a couple about to separate, another one tired of their long relationship, a family grieving, a jealous lover wanting to trust his boyfriend. Daukes spares us too much dialogue and focuses instead on gorgeous shots and an evocative, self-penned score, making this a deserved success.
Continue reading “Short Film Review #44”
“I’m the son of a son of a son of a collier’s son, the last in a long line”
So this is actually a review of a preview, although it was not intended to be. Beth Steel’s Wonderland was meant to open on Thursday but had to delay it until next week due to “ensure the safety of the cast” which may seem a little dramatic but once you enter the Hampstead Theatre’s main auditorium, it soon becomes clear that this was no idle claim. The theatre has gone into the round again and this time, Ashley Martin Davis’ awe-inspiring design has carved out a 3-storey high pit shaft that operates at three levels. Even the act of walking to your seat (if you’re on the stage) becomes precarious as high-heeled shoes must be removed and if you don’t like heights, I wouldn’t look down…!
In a year that marks the 30th anniversary of the miners’ strike, Steel’s play instantly feels well-timed but cleverly, it is not the play you might be expecting. The presence of Arthur Scargill and Margaret Thatcher loom large (how could they not) but the focus lies elsewhere, in the heart of a Nottinghamshire mining community that feels the effects of the strike, and its lingering aftermath, most keenly indeed. We join the play as two lads start their first day down the pit and are initiated into its unique working ways and its all-encompassing camaraderie, right at the moment that the government has decided to take on the miners as part of a schismatic ideological shift in workers’ rights. Continue reading “Review: Wonderland, Hampstead Theatre”
An intermittent feature on here over the last few months has been my discovery of the world of short films (you can read my other collections of reviews by clicking on the tag ‘film’ below) and it has been amazing how many links have been sent to me since I started, recommending this film and the other. It may take me a little while to get round to them all, but do keep the suggestions coming in.
Continue reading “Short Film Review: #6”
“It’s like a nail being hammered in my head”
Back when the Young Vic announced their forthcoming shows as being A Doll’s House and Three Sisters, I was a little surprised at how safe the programming seemed, on the surface at least. For as it turned out, Ibsen was revitalised by Simon Stephens to stunning effect in one of the shows of the year so far and so expectations were high for Chekhov’s turn, adapted and directed by Benedict Andrews, the Australian auteur whose Cate Blanchett-starring Big and Small proved to be somewhat divisive.
And this production, set in an abstract modern day, also seems set to provoke strong opinion. From Helen Rappaport’s literal translation, Andrews has thoroughly modernised the language of this story of three young women trapped in a stultifying provincial Russian town, dreaming of heady love affairs and escaping to the Moscow of their childhoods yet unable to fully wrest control of their lives from the cruel twists of fate. But dislocating the play from the social and economic context in which Chekhov conceived it seriously undermines a central aspect of the drama. Continue reading “Review: Three Sisters, Young Vic”
“What would be the proper Christian thing to do?”
Having hardly any willpower at all is not a good thing for a theatre addict trying to cut down and having decided that I would forego the David Hare season in Sheffield, all it took was one pint after Snake in the Grass and a casually whispered suggestion to sneak a day off work and off we popped to the Crucible to see Racing Demon. It is a play focused on the redoubtable institution of the Church of England and the battles it faces in remaining relevant to a modern society and what effective help can they provide in times of tangible hardship. It also whips through the pressures of the ordination of women and the acceptance of gays in the Church through looking at a team of ministers in a South London parish.
Daniel Evans has assembled a truly top-notch cast here, fully fleshing out the expertly characterised clergymen whether it was Jamie Parker’s evangelical but passionate young curate who stirs things up from the moment of his arrival, Matthew Cottle’s kindly Streaky who plods on with an appealing honesty or Ian Gelder’s superb Harry, being hounded out of the closet by a rapacious tabloid journalist. But even the bishops, perceived as the ‘enemy’ here, played by Jonathan Coy and Mark Tandy are powerfully persuasive as we come to understand the larger pressures they feel in a Church under threat from all angles. But it is Malcolm Sinclair’s central Lionel whose dilemma dominates proceedings and he is never less than utterly convincing as a man who is determined to do great good even whilst his faith wavers. Continue reading “Review: Racing Demon, Crucible”
“I’ve listened to all the stories of my generation, then watched ’em get sick or fade away. And it wasn’t this world that killed ’em. It was the other… the memory of it.”
Wandering into the Old Vic Tunnels and being directed towards the section with the seats where the action takes place, one walks past a collection of several strikingly constructed images and montages, animal skins, a cat’s cradle of ropes and lastly a hanging, dissected tree being the most stunning, it wouldn’t look out of place in many a modern art gallery. It’s a highly effective way of setting a suitably atmospheric mood upon entering the complex to see Ditch, the collaboration between the Old Vic and HighTide, but sadly not one which is maintained.
Ditch is set in a post-apocalyptic Britain, the government has largely fallen, violence reigns but a small group of people in the North have banded together in an attempt to keep civilisation going. It’s depressingly reminiscent of Your Nation Loves You, the previous production to take up residence beneath Waterloo, and one which did not go down well in this household. Still, I was determined to give this venue another chance as I can see its potential and hoped that Ditch would be an enlightening experience for me in that respect. Continue reading “Review: Ditch, Old Vic Tunnels”