Full casting has been announced for the brand new stage adaptation of British comedy The Good Life which tours the UK this Autumn. The acclaimed cast will include actress and presenter Preeya Kalidas as ‘Margo Leadbetter’, Dominic Rowan as ‘Jerry Leadbetter’, and Sally Tatum as ‘Barbara Good’, joining the previously announced actor and comedian Rufus Hound as ‘Tom Good’. Also featured will be Nigel Betts and Tessa Churchard.
The new comedy by Jeremy Sams, is based on the classic television series by John Esmonde and Bob Larbey which entertained countless millions in the 1970s and which I have never seen an episode of. Directed by Jeremy Sams, this world premiere production will be the first time that the iconic characters of suburban neighbours the Goods and the Leadbetters will be seen on stage. The Good Life will open at Theatre Royal Bath on 7 October 2021, before dates at Cheltenham Everyman, Salford Lowry, Oxford Playhouse, Cambridge Arts Theatre, Malvern Theatres, Richmond Theatre and Chichester Festival Theatre. Continue reading “Early September theatre news”
A digital production of Waiting for Lefty, updated to the modern day, breathes some sharp, fresh air into the Zoom theatre format
“Can I help it that times are bad?”
In a week when many theatres in England are preparing to open their doors again, it might seem a little perverse to be launching yet another digital production into the ether. But new company Two Lines Productions’ choice of Clifford Odets’ Waiting for Lefty – as directed here by Phil Cheadle – feels like a real shot in the arm for anyone who might be feeling jaded about another Zoom play.
The structure of Odets’ play, centred around a union meeting, lends itself to this format (Cheadle wisely steering clear of any reference to Handforth Parish Council…!). And as this group of cab drivers ferociously debate strike action for a living wage, we find ourselves fully immersed in proceedings in a radically different yet essentially quite similar way that resonates so powerfully at the play’s striking climax. Continue reading “Review: Waiting for Lefty, Two Lines Productions”
Sam Mendes’ 1917 is undoubtedly an technically excellent film but the focus on format ends up detracting from the depth of the storytelling
“You’ll be wanking again in no time!
There’s no doubting the technical audacity of Sam Mendes’ 1917. With its ostensibly one-shot, real-time structure (with necessary caveats that it is neither), it is a bravura piece of film-making that elevates this movie from just your average Oscar-baity war flick (cf Dunkirk).
It is clearly a labour of love for Mendes, who directed, co-wrote (with Krysty Wilson-Cairns) and produced 1917, and whose grandfather’s own war experiences inspired the film. And its driving force, following 2 British soldiers tasked with delivering a vital message beyond enemy lines. Continue reading “Film Review: 1917 (2019)”
Season 2 of Harlots maintains an impressive run for this excellent series
“You let women do this to you?”
I loved the first series of Harlots when I finally got round to catching up with it recently, so I was keen not to let too pass to tackle Series 2. Inspired by Hallie Rubenhold’s The Covent Garden Ladies, creators Alison Newman and Moira Buffini have done a marvellous job of conjuring and maintaining a richly detailed world that puts women’s experiences front and centre.
The heart of the show has been the burning rivalry between competing madams Lydia Quigley and Margaret Wells, and Lesley Manville and Samantha Morton remain a titanic force as they do battle with each other while simultaneously battling a corrupt patriarchy that would abuse them and their power for a guinea a time. And with its new additions, this second series widens out that focus to incorporate the experiences of other women. Continue reading “TV Review: Harlots Series 2”
“A poet’s art is to lead on your thoughts through subtle paths and workings of a plot. I will say nothing positive; you may think what you please…”
It’s not too often that I open a review with mention of the sound design but Max Pappenheim’s work in The Little at the Southwark Playhouse is undoubtedly worthy of the accolade. In this intimate auditorium on the architecturally clean lines of Anna Reid’s set, there’s an extraordinary sense of being in vaulted palace chambers and cathedrals as echoes and reverberations amplify our imaginations perfectly.
It’s the kind of creative invention that those familiar with director Justin Audibert have come to expect and it is thrilling to see it maintained whether working in the vast Royal Shakespeare Theatre where his recent Snow in Midsummer was excellent, or on this much smaller scale where it is a real delight to see someone really understanding how to play to all sides of a thrust stage. There’s also a fascinating choice of material here in this revival of James Shirley’s The Cardinal, a 1641 play whose claim to fame is being one of the last to be performed before Oliver Cromwell pulled the plug on show-business.
Continue reading “Review: The Cardinal, Southwark Playhouse”
“This revolt of thine is like another fall of man”
It would be great to live in a world where gender-blind casting isn’t newsworthy in and of itself but we don’t and so it should be shouted out and celebrated wherever it happens, until the day that it just feels rightly commonplace. What should always be celebrated though is the opportunities being given to some our greatest actors to take on powerful leading roles – the intrigue of Glenda Jackson’s return to the stage, the trifecta of Harriet Walter’s Donmar leads soon to be capped off with Prospero and here at the Open Air Theatre, the glorious Michelle Terry rising to the challenge of Henry V.
Insofar as Robert Hastie’s modern-dress production has a conceit, it’s of a group of actors coming together to put on a play, waiting for Charlotte Cornwell’s Chorus to anoint one of them with the leading role – and it’s hard not to feel a frisson of delight as she bypasses the cocky guy pushing to the front to place the crown on Terry’s head. And from then, it’s a relatively straight-forward production, playing out on the wide expanse of Anna Fleischle’s square of riveted iron, props kept to a minimum, John Ross’ movement coming to the fore in impressionistic battle scenes lit beautifully by Joshua Carr. Continue reading “Review: Henry V, Open Air Theatre”
Year after year, I bust my ass writing about the hundreds of shows I see yet the most popular posts, without fail, are all about the hotness 😉
So let us do the annual ritual of casting off the Daley-like coyness for a while and appreciating the visual pleasure that theatre can bring.
The results from 2010, 2011, 2012 and 2013 can be found here for your delectation. And so without further ado, let’s take a deep breath, admire Harington’s abs, and dive into this year’s selection, in no particular order.
Continue reading “Leading Man of the Year 2014”
“Stay out of my sight cos you’re likely to light my fuse”
South of the river, Philip Ridley’s natural home is the Southwark Playhouse but up north, it is the Old Red Lion that has proved an ideal fit as a series of revivals there continues with Piranha Heights. The warped uniqueness of his apocalyptic worldview is well suited to the claustrophobic intimacy that can be generated in this Angel pub theatre, under the new artistic directorship of Stewart Pringle, and this D.E.M. Productions take on this 2008 play is no exception.
There’s anger here, elemental fury that literally shakes the walls of Cécile Trémolières’ inventive set as the responsibilities that one generation owes to the next are explored and exploded, and repeated as the next ones come along. The impact of parental legacies – both emotional in the psychological damage they can inflict, and physical in the passing on of property and effects – make this a fantastical yet gripping theatrical experience under Max Barton’s direction. Continue reading “Review: Piranha Heights, Old Red Lion”
“I suppose the truth is, if you need somebody enough it doesn’t seem to matter much what they do to you, or what they turn out to be”
It is Variation on a Theme that a young Shelagh Delaney saw and was inspired to write her iconoclastic A Taste of Honey, playing her own part in shaking up a British theatre scene that had Terence Rattigan as a fusty figurehead and whilst her play went on to become a classic, his slipped into obscurity and hasn’t been seen on stage for fifty years. Rattigan has of course undergone a serious re-appreciation since his recent centenary year with many of his works being staged, including a rehearsed reading of this play, which has blossomed into a full production at West London’s Finborough Theatre. The run has already sold out so we snuck into a preview.
Variation on a Theme is loosely based on La Dame aux Camélias, set in the 1950s on a sun and booze-soaked French Riviera where the taut charms of a handsome ballet dancer named Ron catch the eye of Rose, a much-married socialite and they tumble headlong into a passionate affair. But the path ne’er did run smooth – she’s suffering from a serious condition and has a powerful fiancé, and it’s not altogether clear that his motivations lie much beyond wanting a sugar mama. As her health continues to decline and his career hits the bumpers though, it becomes apparent that emotions run extremely deep but sadly, so too does the British predilection for repression. Continue reading “Review: Variation on a Theme, Finborough Theatre”
“That is the land of lost content”
You’d be forgiven for going with Beatrix if someone started talking about a story about children written by someone called Potter. But Blue Remembered Hills is the work of Dennis Potter, an altogether different proposition and indeed, Squirrel Nutkin would fear for his life even more than usual if he were present in this Forest of Dean setting. For this is no idyllic treatise on the joys of childhood but rather an acutely observed portrait of how brutal a time it can be and how difficult it is to cling to innocence.
Potter’s innovation here is to have his cast of seven 7-year-old characters played by adult actors. Spending a hot summer’s day in 1943 running up and down the grassy bank, playing at mummies and daddies or being aeroplanes, barely a care in the world one would think. But from the opening scene, any hint of a rose tinted glow is stripped away as the playwright lays bare a stark vision of society in all its viciousness, complexity and relentlessness – the group continually jostling for position to avoid the ignominy of being the last to be picked. Continue reading “Review: Blue Remembered Hills, Richmond Theatre”