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
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”
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!”
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.
I look ahead to some of the 2020 shows exciting me most with an emphasis away from the West End, looking mostly instead at the London fringe and across the UK
Sure, there’s all sorts of big ticket shows coming to London in 2020 (with big ticket prices too to go with their big names), like Sunday in the Park with George with Jake Gyllenhaal, Sister Act with Whoopi Goldberg, A Doll’s House with Jessica Chastain. But there’s so much more to discover if you venture away from Shaftesbury Avenue…
1 The Glass Menagerie, Odéon–Théâtre de l’Europe at the Barbican
Not that I want to be predictable at all but Isabelle Huppert! Acting in French! Right in front of you! I understand that van Hove-fatigue might be setting in for people but only a FOOL would pass up the chance to see one of our greatest living actors. A FOOL!
2 The Glass Menagerie, Royal Exchange
And if you wanted to do a direct compare and contrast, Atri Banerjee’s revival for the Royal Exchange will be worth checking out too for an alternative perspective.
3 The Wicker Husband, Watermill Even before Benjamin Button tore my heart apart, I was excited for the arrival of this new musical by Rhys Jennings and Darren Clark but now, the bar has been raised even higher. And the gorgeous intimacy of the Watermill feels like a perfect fit.
4 Children of Nora, Internationaal Theater Amsterdam
Me: “I don’t need any more Ibsen in my life”
Also me: Robert Icke revisiting the world of A Doll’s House through the eyes of the next generation? Yes please.
Written and directed by Justin Trefgarne, British sci-fi flick Narcopolismarks his major directing debut and on a limited budget, especially for this genre, it very much looks the part. Set in a dystopian near-future where drugs are no longer illegal but a black market still flourishes, hard-bitten cop Frank Grieves finds himself drawn into a dark mystery when he’s called onto a job. And as the dead bodies, estranged families, corporate conspiracies and mind-bending narcotics pile up, this complex case proves a tough one for Frank to crack.
With Elliot Cowan in the lead role, it should be little surprise that Narcopolis appealed to me but I do like a good sci-fi film and without a huge amount of money to spend, Trefgarne’s focus has clearly been on richly defined character interaction and it pays off. Amongst others, Cowan’s grizzled former addict has to deal with the boss he accidentally shot in the face (a wry Robert Bathurst), his adoring but neglected son (a sweet Louis Trefgarne) and mysterious woman Eva Gray (Elodie Yung) who holds many of the secrets needed to expose the truth. Continue reading “DVD Review: Narcopolis”
“Is our emotional attachment to the NHS gonna stop it changing in the way that it needs to, to continue to thrive and survive?”
The product of eighteen months of interviews with people working in and around the National Health Service, Michael Wynne’s verbatim play Who Caresis an impassioned but clear-sighted cri de coeur for this venerable British institution but one free from too much rose-tinted sentimentality, as it performs an uncompromising health check on that which is meant to check our own health. And the prognosis? The NHS may possibly be screwed but theatre’s in great shape.
Starting off in the rehearsal rooms next to the theatre and eventually ending up in the Jerwood Theatre Upstairs, Who Cares is a promenade production that weaves its way inside and out, up stairs and down, backstage and on, as the audience – split into small groups – take in a multitude of vignettes of the interviewees’ experiences, presented in imaginative and inventive ways by the show’s three directors, Debbie Hannan, Lucy Morrison and Hamish Pirie, plus designer Andrew D Edwards, Natasha Chivers’ lighting and Daniel Krass’ sound. Continue reading “Review: Who Cares, Royal Court”
“He would know me but there’s no reason I would know a farmer”
Of all the versions of Jane Austen’s Emma, I can’t really believe that I will ever see one as well done as this 2009 BBC adaptation by Sandy Welch and directed by Jim O’Hanlon. Everything about it works for me, from the clever casting choices to the subtle redefinition of some characters, the (now) luxurious running time to the production values which mark it as something of a dying breed in terms of BBC period dramas.
I love its inventive prologue contrasting the early lives of Emma, Frank and Jane, how tragedy touched them all but their positions in life meant their journeys took wildly different paths. Romola Garai makes an immensely appealing heroine, her beautiful wide eyes so open and honest yet quickly able to take on a harder glint as her more self-obsessed side takes over, and she works so brilliantly with her cast-mates to give us full-fleshed, believable relationships.
There’s genuine affection with Michael Gambon’s fretful father, a tangible sisterly bond with Jodhi May’s former governess, a vivid friendship with Louise Dylan’s hapless Harriet and that real sense of antipathy that comes from two beautiful girls not quite able to make each other out with the arrival of Laura Pyper’s mysterious Jane Fairfax. And there’s Jonny Lee Miller’s excellent Mr Knightley, a hugely handsomely dashing figure who shares immense chemistry with Garai. Continue reading “DVD Review: Emma (2009)”
Sometimes, it’s the smallest things that are most affecting and Julian Kerridge’s 2005 film debut Mr Johnis full of gorgeous, intimate details that make it a most charming prospect. Benedict Wong’s Mr John is an agoraphobic television critic but the arrival of a pretty upstairs neighbour, in the form of Nicola Stephenson’s Carol, forces him to look at the limits of his world anew. Their burgeoning relationship is a delight to behold – the gift of a casserole, a love for volcano documentaries, the re-organisation of a video collection – the quirky aspects of what makes her utterly adorable is perfectly played by Stephenson, the wry smile as she walks down the steps at the end enough to melt any heart. And Wong is appealingly nerdish as Mr John, initially disgruntled at the intrusion into his hermit-like existence but soon won over and willing to confront his greatest fear. Just lovely. Continue reading “Short Film Review #25”