News: Young Vic and Old Vic announce new programmes

Theatre returns at both end of The Cut – programmes announced for both the Old Vic and the Young

  • Queers Curated by Mark Gatiss, 2 Jun, 30 Jun
  • Home? Curated by Noma Dumezweni, 14-20 Jun
  • The Dumb Waiter by Harold Pinter, 7-10 Jul
    Directed by Jeremy Herrin and starring Daniel Mays and David Thewlis
  • Bagdad Cafe by Percy and Eleonore Adlon, adapted by Emma Rice, 19 Jul-21 Aug, streamed 25-28 Aug
    Starring Patrycja Kujawska, Le Gateau Chocolat and Sandra Marvin
  • Camp Siegfried by Bess Wohl, 7 Sep-30 Oct
    Directed by Katy Rudd and starring Patsy Ferran and Luke Thallon
  • A Christmas Carol by Charles Dickens, adapted by Jack Thorne, 13 Nov-8 Jan
    Directed by Matthew Warchus
  • A Number by Caryl Churchill, 24 Jan-19 Mar 
    Directed by Lyndsey Turner  and starring Lennie James and Paapa Essiedu
  • Into the Woods – Music & lyrics by Stephen Sondheim, book by James Lapine, 16 Apr-9 Jul
    Co-directed Terry Gilliam and Leah Hausman

  • Changing Destiny by Ben Okri, 9 Jul-21 Aug
    Directed by Kwame Kwei-Armah
  • Klippies by Jessica Siân, 4–13 Aug
    Directed by Diyan Zora
  • AI developed by Chinonyerem Odimba and Nina Segal, written alongside GPT-3 OpenAI technology, 23–25 Aug
    Created by Jennifer Tang and Company
  • Hamlet by William Shakespeare, 25 Sep-13 Nov
    Directed by Greg Hersov and starring Cush Jumbo
  • Best of Enemies by James Graham, 2 Dec-22 Jan
    Directed by Jeremy Herrin

2021 Offie & ONCOMM Award Winners

In this ‘special circumstances’ year, the Offies 2021 Awards Ceremony celebrated the creativity and resilience of artists in fringe, alternative and independent theatre in a time of crisis who have found new ways to produce fresh and inventive work for thousands of stay-at-home audiences.

The Offies are OffWestEnd’s main awards, for shows with at least 10 performances, and awards were given to the best of the shows presented before lockdown and the few who managed to go ahead in the summer
months.

The OnComm is the new award for online shows from across the UK (and beyond) and was introduced in May 2020. Additionally, the winner of the OffFest award for theatre shows in festivals was also announced, alongside extra OneOff awards for innovative work and initiatives in 2020, especially in the light of the Covid lockdown. Continue reading “2021 Offie & ONCOMM Award Winners”

The finalists of The ONCOMMs 2021

The OnComm is the new award for online shows from across the UK (and beyond) and was introduced in
May 2020. 

1. Recording pre-lockdown (direct)
(i.e. with little or no editing)
Going Viral / Daniel Bye
Hysteria / Spymonkey
Jane Clegg / Finborough Theatre
The House Of Bernarda Alba / Graeae

2. Recording pre-lockdown (edited)
(i.e. with significant editing)
Bubble / Theatre Uncut
Cyprus Avenue / Royal Court & Abbey Theatre
SeaWall / Simon Stephens
The Encounter / Complicité Continue reading “The finalists of The ONCOMMs 2021”

TV Review: Jonathan Creek, Series 3

Elements of David Renwick’s writing starts to show signs of flagging as the magic starts to fade in Series 3 of Jonathan Creek

“What exactly does all this add up to?”

After a decent first couple of series, the third season of Jonathan Creek sees the show start to wobble a bit as the raft of impossible crimes sways from ingenious plotting to improbably convoluted. Episodes tackle disappearing aliens and a man who thinks he has sold his soul to the devil and it doesn’t always come off.

That said, there’s still some classic tales in here too. The revelation of ‘The Eyes of Tiresias’ is artfully done and ‘Miracle in Crooked Lane’ is properly, admirably fiendish even with its meta-theatrics. Alan Davies and Caroline Quentin both continue in good form but David Renwick’s writing doesn’t permit more than piecemeal character development which, three series in, leaves them a little flat. Continue reading “TV Review: Jonathan Creek, Series 3”

Review: What A Carve Up!

Jonathan Coe’s novel What A Carve Up! is adapted brilliantly into a gripping online play with an excellent lead performance from Alfred Enoch

“Who even reads novels at this point, they’re just an irrelevance”

As the shadow of another lockdown looms, What A Carve Up! shines as an example of what lemonade can be made from those particular kind of lemons. Produced collaboratively by The Barn Theatre, Lawrence Batley Theatre and New Wolsey Theatre and written specifically by Henry Filloux-Bennett for online delivery, this is exciting hybrid thinking.

Based on the novel by Jonathan Coe, Filloux-Bennett and director Tamara Harvey have done a remarkable job here. Covid restrictions aside, it would never have been the most straightforward piece to adapt but reflecting the book’s postmodern structure, this play interleaves multiple layers to build up not just a murder mystery but a damning commentary on the state of the world. Continue reading “Review: What A Carve Up!”

News: casting confirmed for What A Carve Up!

The Barn Theatre in Cirencester, the Lawrence Batley Theatre in Huddersfield and the New Wolsey Theatre in Ipswich have today announced the full cast for the digital world premiere of Henry Filloux-Bennett’s online play What A Carve Up!, based on Jonathan Coe’s critically acclaimed satirical novel.

Casting announced today includes Jonathan Bailey as Henry Winshaw, Samuel Barnett as Michael Owen, Robert Bathurst as Thomas Winshaw, Celia Imrie as Joan Simpson and Dervla Kirwan as the Brunwin Advert. Continue reading “News: casting confirmed for What A Carve Up!”

TV Review: Queers

Mark Gatiss’ Queers – a set of monologues has lost none of its power since premiering in 2017

“He knows me for what I am”

I couldn’t make the theatrical readings of Queers at the Old Vic, so I was glad that filmed versions of them were made (for airing on BBC4). Ricocheting around the decades of the twentieth century, this set of monologues marked 50 years since the Sexual Offences Act of 1967 decriminalised private homosexual acts between men aged over 21, and aimed to celebrate some of the most poignant, funny, tragic and riotous moments of British gay male experience.

Pulled together by Mark Gatiss, these 8 20-minute pieces are ostensibly set in the same bar but run the full gamut of emotion as we shift around in time. There’s exquisite moments of happiness in lives otherwise marked by despair. The fleeting touch from Gatiss’ The Man on the Platform so achingly described by Ben Whishaw, the heady night spent with an American soldier by Ian Gelder’s omi in Matthew Baldwin’s I Miss the War.

Continue reading “TV Review: Queers”

Countdown to new Who: Doctor Who Series 9

“Time will tell, it always does”

Phew, the Doctor Who rewatch comes to an end with the most recent series, another that I hadn’t seen any of since it originally aired. And again it was one of highs and lows, a frustrating sense of pick and mix that never settles. So from the astonishing bravura of the (practically) solo performance in Heaven Sent to kid-friendly quirks of the sonic sunglasses and guitar playing, Capaldi took us from the sublime to the silly. Fortunately there was more of the former than the latter (although it is interesting that my memory had it the other way round).

Part of it comes down to knowing in advance how the hybrid arc plays out (disappointingly) and a little perspective makes Clara’s departure(s) a little less galling. This way, one can just enjoy the episodes for what they are, free from the weight of the attempted mythologising. The Doctor raging against the futility of war, the wisdom (or otherwise) of forgiveness, the repercussions of diving in to help others without thinking through the consequences…it is often excellent stuff. It’s also nice to see Who employ its first openly transgender actor (Bethany Black) and a deaf actor playing a deaf character (Sophie Stone). Continue reading “Countdown to new Who: Doctor Who Series 9”

Album Review: The Fix (1997 Original London Cast)

“The economy, crime, taxes!”

I’ve seen The Fix twice now – once at the old Union Theatre and once at the new and to be honest, it’s not a show I particularly love. With a rock/pop score by Dana P Rowe and book and lyrics by John Dempsey, its political shenanigans schtick has now been overtaken by the real-life ridiculousness in the political spheres on both sides of the ocean and in any case, aimed for a kind of melodrama that never really worked for me as far back as the comparative calm of 2012.

A big issue for me is the score and its magpie nature, beginning with the power-pop chorus of ‘One, Two, Three’ with its forceful guitars and then dipping in and out of the worlds of vaudeville, lounge jazz, straight-up balladry, even folk songs. Sprawling in such a manner means we never really get a sense of the kind of world that the show is trying to conjure – only in Philip Quast’s charismatic ‘First Came Mercy’ with its Kander + Ebb sharpness does The Fix express its identity. Continue reading “Album Review: The Fix (1997 Original London Cast)”