Amanda Burton’s departure is smoothly managed as Series 8 of Silent Witness heralds a major new age for the show
“Hard act to follow…the blessed Sam”
Given that the first 7 series of Silent Witness featured Amanda Burton’s name above the title, it is impressive that the show’s transition to life without her is effected so smoothly here. She leaves after the first story of Series 8 with a return to Northern Ireland and some long held secrets from the past and if her departure comes a little as a surprise, it’s slightly less so given how the first part of that story finishes on quite the cliffhanger.
Harry and Leo then get one story to themselves and their petty rivalries until Emilia Fox’s effervescent Dr Nikki Alexander is introduced to the team. She comes as a forensic anthropologist, focusing on Iron Age facial reconstructions but is soon co-opted into the Lyell Centre’s ways (“Why are they still involved? They’re pathologists”) in a dicey tale of horse racing and helicopters and then a truly harrowing tale of the aftermath of a train crash, stirringly written by Michael Crompton. Continue reading “TV Review: Silent Witness Series 8”
Just a few days left to capture this recent West End production of Chekhov’s Uncle Vanya with Toby Jones and Richard Armitage
“You have some kind of sauce all over your trousers”
When its West End run was curtailed by th’pandemic, wheels were put in motion to get a filmed version of this Uncle Vanya produced. Sadly, Ciarán Hinds was unable to reprise his role but Roger Allam is a fine substitute and the rest of this cracking cast were able to return for Ross MacGibbon’s filmic direction of Ian Rickson’s stage work in the emptied surroundings of the Harold Pinter Theatre.
There’s not too much more to say about Conor McPherson’s vibrantly colloquial adaptation that I didn’t already cover in my stage review but as ever, the benefits of the close-up camera work adds a stunning intimacy to an already stellar performance level. Indeed, being swept up even further into the despair of Aimee Lou Wood’s Sonya is almost too much to bear but well worth the exquisite agony.
From Thursday 25th November, Schools, universities, and educational institutions all over the world will be able to see Conor McPherson’s stunning adaptation of Chekov’s masterpiece Uncle Vanya thanks to a partnership with producers Sonia Friedman Productions and Digital Theatre+, Digital Theatre’s education platform.
The original run of Sonia Friedman Production’s sold-out stage production of Uncle Vanya at the Harold Pinter Theatre was cut short due to the COVID-19 pandemic. In the midst of the first lockdown Sonia Friedman Productions and Angelica Films, in association with BBC Arts, commissioned a film of the stage production, which received critical acclaim and went onto win the Theatre Award at the South Bank Sky Arts Awards 2021. Continue reading “News: Digital Theatre+ partners with Sonia Friedman Productions to Provide Education Platform for Uncle Vanya”
In lieu of trying to make sense of this shitshow of a year through the normal year-end lists, I thought I’d just stick with an unranked list of 10 of my top theatrically based productions of the year
For reference, here’s my 2019 list, 2018 list, 2017 list, 2016 list, 2015 list and 2014 list.
Uncle Vanya, Harold Pinter Theatre
A rather exhilaratingly good take on the familiar Chekhov classic, a worthy presence in the West End.
The Wicker Husband, Watermill Theatre
One of the last things I saw before lockdown and what a gorgeous lingering memory to have, I pray that this is not the last we hear of this beautiful new musical. Continue reading “10 top theatrical moments of 2020”
Sonia Friedman Productions has announced that Ian Rickson’s highly acclaimed production of Conor McPherson’s new adaptation of Uncle Vanya has been filmed on stage at the Harold Pinter Theatre in partnership with Angelica Films. The new film version of the production will be shown in cinemas ahead of broadcast on the BBC (date tbc) with further distribution details to be announced soon. This makes it the first UK stage production closed by the Coronavirus pandemic to have been filmed and produced for the screen.
Directed for screen by Ross MacGibbon, the film reunites nearly all of the original cast of the production that was in its final weeks (read my review here) when the country went into lockdown in March and theatres were forced to close. Only Ciarán Hinds was unavailable and his role has now been taken by Roger Allam. Continue reading “News: Uncle Vanya to receive broadcast release”
Conor McPherson’s adaptation of Uncle Vanya featuring Toby Jones and Richard Armitage at the Harold Pinter Theatre is so good you can forgive the “wanging on”
“I mean what I mean when I say what I say”
Above everything, the thing that stands out most about Conor McPherson’s adaptation of Chekhov’s evergreen Uncle Vanya is his use of the phrase “wanging on”, twice. It’s such a random thing but it rings out like a bell, both times, more so than any of the usages of contemporary language that pepper the script. Running it a close second though, is just how vital and vibrant Ian Rickson’s production proves.
From stacking his cast with real, proper talent (imagine your bit players being of the ilk of Anna Calder-Marshall, Peter Wight and Dearbhla Molloy) to reuniting with Rosmersholm designer Rae Smith, this is a finely tuned piece of theatre which ultimately, doesn’t do too much that is radical (though the fourth wall breaking-bits are smashing), but rather distils its Chekhovian spirit just so. Or maybe that it’s the first production of the play I’ve seen since turning 40 and its midlife crises suddenly have new resonance…! Continue reading “Review: Uncle Vanya, Harold Pinter Theatre”
Flashes of excellence can be found in the midst of any production so this list celebrates some of those breath-taking and/or memorable moments that really made theatregoing enjoyably fun this year
For reference, here’s my 2018 list, 2017 list, 2016 list, 2015 list and 2014 list.
Crying with laughter at the VAULT
I don’t think I have laughed so much and so helplessly for a long time as I did with improv group Sorry.
Jessica Hung Han Yun’s extraordinary lighting in Equus
Ned Bennett’s production of Equus had so much to commend but it was Jessica Hung Han Yun’s lighting work that really stood out for me Continue reading “10 of my top moments in a theatre in 2019”
Neil Austin’s lighting design in Rosmersholm at the Duke of York’s Theatre is a thing of beauty and Hayley Atwell is excellent but Ibsen is still Ibsen…
“You see, this is what happens when the general public becomes engaged in politics — they get duped into voting against their own interests”
Chances are if Helen McCrory can’t make me like a play, then few others will be able too either. I first saw Henrik Ibsen’s Rosmersholm with Anthony Page’s production for the Almeida which was…eek…more than 10 years ago now. It didn’t click with me then and in the assured hands of Ian Rickson here, it still leaves me cold.
You do have to admire the bravado of producer Sonia Friedman, opening a play like this cold into the West End without resorting to any hint of stunt casting.And creatively, this is a triumph. Neil Austin’s hauntingly perfect lighting of Rae Smith’s austerely grand designs is a thing of pure beauty as it evolves throughout the show. Continue reading “Review: Rosmersholm, Duke of York’s Theatre”
A quick whip through Series 2 of The Crown
“History is not made by those who did nothing”
Do I still love The Crown? Yes. Do I still find it a little hard to muster enthusiasm about it until I’m watching it. Absolutely. It remains lavish prestige drama that carries little excitement about it and that’s perhaps inevitable as it trundles through the decades of the second half of the twentieth century, little dramatic surprise can really be sprung.
Instead, the thrills come from the script of Peter Morgan’s fantasia into the emotional life of our monarch, and a production that looks like the multi-millions of dollars that have been spent on it. Oh, and the cream of British acting talent popping in for a scene or two at an astonishingly high rate. Continue reading “TV Review: The Crown, Series 2”
“I shall not look upon his like again”
My lack of willpower when it comes to theatre is infamous, even more so on the rare occasions when I get invited to be someone’s plus one, with the responsibility of filing my own review lifted from the shoulders for once. Thus I found myself at the Harold Pinter for the transfer of the Almeida’s Hamlet, a production I enjoyed immensely on the two occasions I saw it in North London and whose charms I wasn’t entirely sure would translate to the larger theatre here.
Those fears were largely unfounded – the scale of the intimate family drama that Robert Icke has fashioned from Shakespeare’s ever-present tragedy amplifies effectively, and Andrew Scott’s deeply conversational style still resonates strongly (in the stalls at least) through the familiar verse, finding new readings and meanings. If I’m brutally honest, I don’t think I gained too much from this repeat viewing but that’s just my rarified position – it is still a thrilling piece of theatre and it’s a thrill to see it in the West End.
Running time: 3 hours 35 minutes (with 2 intervals)
Booking until 2nd September, Juliet Stevenson leaves the company on 1st July when she is replaced by Derbhle Crotty