The Donmar Warehouse will stream its West End revival of Constellations online next month, marking the first time the London theatre has hosted one of its productions on a dedicated on-demand platform. Nick Payne’s play, which was performed with four different casts over the run, has been recorded in each configuration and stream online in October for a month. The play will also be made available free to schools this autumn.
The production recently completed its highly acclaimed run at the Vaudeville Theatre where its four groupings all impressed. For my money, Sheila Atim and Ivanno Jeremiah, and Peter Capaldi and Zoë Wanamaker were both excellent but the chance to see Omari Douglas and Russell Tovey, and Anna Maxwell Martin and Chris O’Dowd in close succession really highlights the showcases this enterprise at its best. All four casting configurations will be available separately online so you’ll be able to mix and match to see the power and possibilities of different interpretations of the same text. Continue reading “News: Donmar Warehouse to stream all 4 versions of Constellations”
Omari Douglas and Russell Tovey and Anna Maxwell Martin and Chris O’Dowd really raise the game in this multi-cast Constellations at the Vaudeville Theatre
“In the quantum multiverse, every choice, every decision you’ve ever and never made exists in an unimaginably vast ensemble of parallel universes”
Naturally, having declared that the multiple casts of this West End revival of Constellations was perhaps a bit of an extravagance and not worth the return visits, both Omari Douglas and Russell Tovey, and Anna Maxwell Martin and Chris O’Dowd proved me wrong with a brilliant pair of interpretations of Nick Payne’s play, which offer up a powerful compare and contrast exercise right there in the moment.
You can read my reviews from upstairs at the Royal Court to its West End transfer to its bow on Broadway to the UK tour which also popped into the West End to find out more about the play itself. Here, Tovey and Douglas make it sharply witty and as downright sexy as it has ever been and O’Dowd and Maxwell Martin push it to a different funnier place, toying with the fourth wall in several places. So I’m busting out a highly recommended for these, both of them!
Running time: 75 minutes (without interval)
Photos: Marc Brenner
Constellations is booking at the Vaudeville Theatre until 12th September
Omari Douglas and Russell Tovey play until 11th September
Anna Maxwell Martin and Chris O’Dowd play until 12th September
The Donmar West End production of Constellations launches its first two casts in Sheila Atim & Ivanno Jeremiah and Peter Capaldi & Zoë Wanamaker at the Vaudeville Theatre
“One drink. And if you never want to see me again you never have to see me again.”
With the Donmar currently getting a lick of paint, Michael Longhurst has decided to revive his production of Nick Payne’s Constellations with a pandemic-friendly attention-grabbing model that fits neatly with Payne’s exploration of the multiverse. Four different casts take on the two-hander over the run, pushing it variously in terms of age, sexuality and race.
As if there was any doubting this is a show I like, you can read my reviews from upstairs at the Royal Court to its West End transfer to its bow on Broadway to the UK tour which also popped into the West End. And it is a real pleasure to be able to delve back into its playful structure which tracks the infinite possibilities of the relationship between quantum physicist Marianne and beekeeper Roland. Continue reading “Reviews: Constellations, Vaudeville Theatre”
Constellations returns to the West End and how! One of my favourite plays, with four different casts?! Amazing stuff.
“One drink. And if you never want to see me again you never have to see me again.”
This summer Nick Payne’s beautiful and heartbreaking romance Constellations is revived in the West End with a twist: four different casts take turns to journey through the multiverse exploring the infinite possibilities of a relationship; each refracting the play afresh. Starring Sheila Atim and Ivanno Jeremiah (18th June – 1st August), Peter Capaldi and Zoë Wanamaker (23rd June – 24th July), Omari Douglas and Russell Tovey (30th July – 11th September), and Anna Maxwell Martin and Chris O’Dowd (6th August – 12th September).
It’s a play I’ve followed as much as I can since it premiered upstairs at the Royal Court. From its West End transfer to its bow on Broadway, from the UK tour which also popped into the West End to the Southwark Playhouse production which never happened (very in keeping with the play!), plus there’s the new radio production which I’ve got lined up to listen to very soon. Safe to say I am handling my expectations very well and am in no way over-excited and chomping at the bit to book in to see the same show at least 4 times in less than 3 months…! See you there?
Less reviews, more notifications that a wonderful radio version of Nick Payne’s Constellations is now available to listen to on Radio 3, starring Gugu Mbatha-Raw and George Mackay. It’s well worth your time but be warned, it could well lead to expensive splurges to see the four forthcoming West End casts of Sheila Atim and Ivanno Jeremiah, Peter Capaldi and Zoë Wanamaker, Omari Douglas and Russell Tovey, and Anna Maxwell Martin and Chris O’Dowd.
Sasha Yevtushenko also directs a production of Elegy as part of this double bill, a play which I don’t remember half as fondly, despite a strong cast at the Donmar Warehouse. Here again, Juliet Stevenson, Deborah Findlay and Marilyn Nnadebe elevate the production to must-listen levels but it just isn’t as gut-wrenchingly affecting a piece of writing in the end.
Last up is Giles Terera’s The Meaning of Zong, the debut play for this talented performer which is now receiving its premiere on radio. It’s an extraordinary dramatisation of a shocking piece of British history that very few of us will know about, one which is vital to add to the discourse that has emerged since last summer and a play that must be put on major stages as soon as we can.
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.
Continue reading “Book review: Time To Act – Simon Annand”
Armando Iannucci’s rollicking adaptation of The Personal History of David Copperfield is huge amounts of fun to watch
“You can’t complain about a nice bit of kipper”
You might not have picked a Charles Dickens adaptation for an Armando Iannucci big screen feature but evidenced in The Personal History of David Copperfield, it’s a pretty darn fantastic match. It’s a rollicking romp through the story, absolutely refreshed by this treatment as its warm comedy is sprinkled with notes of ruminative reflection on class and identity and just a touch of satirical bite. And by employing a truly diverse and talented ensemble, there’s something special here.
For all the magnificence of Tilda Swinton’s Betsey Trotwood (truly exceptional), Peter Capaldi’s Mr Micawber and Ben Whishaw’s malevolent Uriah Heep, the real joy in the casting comes from the opportunities now given. Nikki Amuka-Bird is fantastic as the starched Mrs Steerforth, the kind of role she just hasn’t gotten to play before; so too Benedict Wong as Wickfield, it’s great to see such talent stretch their acting muscle this way, and so well too. Continue reading “Film Review: The Personal History of David Copperfield (2019)”
I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time taking a turn to the many David Hare productions he has been witness to. Highly recommended (the photos, not the Hare):
Photos: Tristram Kenton
Series 6 of Waking the Dead, in which the marvellous Tara Fitzgerald arrives and it feels like she’s always been there – golden era stuff
“It’s good that it’s come out now”
I feel a bit sorry for Esther Hall’s Felix, drafted in as the inimitable Frankie’s replacement and then unceremoniously dumped at the end of one series, never to be mentioned again. And whilst it is odd that there’s no reference to this at the beginning of Series 6 of Waking the Dead, the arrival of Tara Fitzgerald’s Dr Eve Lockhart is seamlessly done, her off-screen joining of the team meaning the character hits the ground running.
She’s a delightful addition to the team, far closer in spirit to Frankie but very much her own person, able to hold her own against these strident personalities. It’s good to see Trevor Eve’s Boyd getting called out for being an absolute prick, you just wish the consequences of Grace quitting the team were a little more far-reaching (though you wouldn’t want to do without Sue Johnston now). Continue reading “TV Review: Waking the Dead Series 6”
Series 12 of Doctor Who goes hard on what we think we know about the Time Lord and finishes in a blaze of glory
“You can be a pacifist tomorrow. Today you just need to survive”
I don’t think I have ever minded anything that happened in Doctor Who so much that I have declared it cancelled, even at the point where all the magnificent character development by Catherine Tate’s Donna was undone in a plot point of real cruelty. So it is hard to take so-called fans of the show seriously when torrents of complaints are unleashed about the sanctity of a world of science fiction that has long enjoyed challenging and expanding what we know about characters we love. (See my Episode 1 review here.)
So it should come as little surprise that I really rather enjoyed series 12 of Doctor Who. Across the season as a whole, I felt that Jodie Whittaker has settled more into the role, especially as the writers feel more confident in finding her voice. And the balancing act of having three companions in the TARDIS has been more assured now that the business of introducing them is over, allowing the group to splinter off for large chunks of episodes has allowed much more of their characters to shine through, particularly for Mandip Gill’s Yaz (who I am mightily glad survived that final episode – I thought she was doomed after her chat with Graham). Continue reading “TV Review: Doctor Who Series 12”