The nominees for the 9th annual Mousetrap Awards are announced
These awards are voted for by young people, anyone aged 15-29 is invited to have their say as to who should pick up the trophies at the ceremony on Sunday 19th April. And while usual suspects Dear Evan Hansen, Waitress and & Juliet are leading the pack, it is nice to see such love for Small Island here too.
Mousetrap Theatre Projects strive to make London’s theatre scene accessible to young people, low-income families, mainstream and SEND state schools, and those with additional needs.
Voting is open until midnight on 23rd March via this link. Continue reading “Nominees for the 9th annual Mousetrap Awards”
Just the three years between visits to Harry Potter and the Cursed Child at the Palace Theatre and its impact is no less
“So you’re telling me that the whole of history rests on . . . Neville Longbottom? This is pretty wild”
It’s over three years since Harry Potter and the Cursed Child opened at the Palace Theatre, in which time it has won pretty much every award going both here and on Broadway and gone through three major cast changes. So I thought it was high time I paid a return visit and hopefully get a better view than last time (when we saw the two-parter from the very back row of the balcony, a veritable steal at £10 a pop).
And I have to say its holding up really rather well, the storytelling feeling less complex than I’d initially feared. All sorts of details about the plot came back to me while watching but there was still gentle surprise aplenty, not least from being able to see so much more detail from the rear stalls. And there’s always the great thrill of anticipation in knowing what’s to come in certain key moments… #keepthesecrets. Continue reading “Re-review: Harry Potter and the Cursed Child, Palace Theatre”
Performances begin this week for the fourth West End cast of Harry Potter and the Cursed Child. Joining the company are Michelle Gayle as Hermione Granger, Rayxia Ojo as her daughter Rose Granger-Weasley and Dominic Short as Albus Potter. Continuing company members include Jamie Ballard as Harry Potter, Susie Trayling as Ginny Potter, Thomas Aldridge as Ron Weasley, James Howard as Draco Malfoy and Jonathan Case as his son Scorpius Malfoy.
They are joined by cast members Lola Adaja, David Annen, Valerie Antwi, Emma Bown, Adrian Christopher, Craig Connolly, Robert Curtis, Tim Dewberry, Rachelle Diedericks, Blythe Duff, Antony Eden, Jim Fish, Thomas Gilbey, Elliot Grihault, Rosie Hilal, Joseph Horsford, Mia Hudson, William Lawlor, Susan Lawson-Reynolds, Ronnie Lee, Ryan J Mackay, Lucy Mangan, David Mara, Barry McCarthy, Marcus McKinlay, Kathryn Meisle, Gordon Millar, Duncan Shelton, Molly Shenker, Luke Sumner, Mark Theodore, Emma-May Uden, Madeleine Walker and Maddy Yates who complete the 42-strong company playing a variety of characters, including seven children who will alternate two roles.
“Why must we go over and over the woes of the past?”
There’s something a little unfortunate about labelling your version of Aeschylus’ The Oresteia as “a radical reinvention” when Robert Icke’s extraordinary reinterpretation of the same source material for the Almeida has now successfully transferred to the West End. Nevertheless, Rory Mullarkey’s adaptation for Shakespeare’s Globe also emerges as something rather arresting, not least in director Adele Thomas’ canny use of creatives pushing well outside the visual (and aural) aesthetic normally associated with this venue.
Hannah Clark’s design pulls on a wide range of influences to provide a wealth of striking images – niche cinema like Angelopolous’ The Travelling Players (the almost shifty looking Chorus) and Jodorowsky’s Holy Mountain (Clytemnestra’s magnificent posturing) mix with contemporary security uniforms (the opening messenger) and traditional Greek costumery as we know it (Agamemnon’s battle-dress). Along with Mira Calix’s diverse (including electronics) score, it’s an eclectic mix to be sure but one that pays off to create an out-of-time strangeness which really suits the production.
Mullarkey’s textual adaptation is also an unwieldly collation of disparate elements, poetic rhythm slips into modern-day colloquialisms, epic speeches slides into operatic sung passages. The shifts may be a little jarring at times but again the cumulative effect is rather impressive. The three acts follow the woes of the House of Atreus – Agamemnon sees the war veteran suffer at the vengeful hands of his wife Clytemnestra for sacrificing their daughter, The Libation Bearers sees her suffer at the hands of her son for killing his dad and The Eumenides pops him on trial and established trial by jury, as you do.
Continue reading “Review: The Oresteia, Shakespeare’s Globe”
“Which is the wiser here, Justice or Iniquity?”
You don’t get many Measure for Measures for the pound, in the grand scheme, so Outgoing Artistic Director Dominic Dromgoole probably thought he was onto a winner in choosing it to be part of his final summer season and indeed the last play he’ll direct as AD. But these things come in threes and we’ve been blessed with two other major productions – Cheek by Jowl’s Russian-language version shook the rafters of the Barbican earlier this year and Joe Hill-Gibbons promises to do the same at the Young Vic with Romola Garai in the Autumn.
But no matter, we can be assured of diverse interpretations – for the first two at least – and Dromgoole’s version for the Globe does precisely what he does best, unfussily traditional productions blessed with a striking clarity (best evidenced by his superlative 2013 A Midsummer Night’s Dream). Here, we get to see Mariah Gale, one of our finest young Shakespeareans, deliver a stunning account of one of Shakespeare’s more complex female characters in Isabella and we also bear witness to Dominic Rowan ascending to the leading man status (with which he has arguably merely flirted before) as Vincentio. Continue reading “Review: Measure for Measure, Shakespeare’s Globe”
“Everybody’s very very nervous”
The theatrical production of London Road was a major success for the National Theatre, the opening run first extending in the Cottesloe and then being rewarded with a later transfer to the much larger Olivier – I was first blownaway by its originality and then later comforted by its message in the aftermath of the 2011 riots. So the news that director Rufus Norris was making a film adaptation was received with apprehensive anticipation, could this strikingly experimental piece of theatre possibly work on screen.
Writer Alecky Blythe uses a technique whereby she records interviews with people which are then edited into a play but spoken verbatim by the actors, complete with all the ums and aahs and repetitions of natural speech. And in 2006, she went to Ipswich to interview a community rocked by a series of murders, of five women in total, all sex workers, and set about telling a story not of salacious deaths but of a community learning to cleave together in trying times. Oh, and it’s all set to the most innovative of musical scores by Adam Cork, elevating ordinary speech into something quite extraordinary. Continue reading “Film Review: London Road”
- Damien Molony looking cute in a cardigan
- The line “she was milking the family buffalo at 8” is mentioned. It is a winner.
- Damien Molony looking strangely alluring in a lady’s shorty robe
- Olivia Vinall looks to be the new Hattie Morahan, and delivers the leading role here with a delightful mixture of charm and confidence – nice to see her outwith Shakespearean damsel mode for once
- Damien Molony’s thighs in said robe. *swoons*
- Stoppard hasn’t reined in his tendency to lay his research bare. Not sure what a hedge fund is? A character conveniently asks the question to allow an explanation… Nor is there a huge deal of sophistication in his plotting, the twists that come seem rather obvious (though this could possibly have been his intention)
- Damien Molony in his boxers
- The play does have some meaty, fascinating aspects to it though, pairing up thoughtful forays into God versus science and the mind versus the brain, whilst also delving into the financial markets, research ethics and the vagaries of human behaviour, especially under pressure. Heaven only knows what those who’ve done their homework will make of it, for me it could do with exploiting the emotional angle more fully.
- For all his hotness, Damien Molony could really do with enunciating and projecting a little better.
- And plus ça change at the Dorfman/Cottesloe as in its end-on configuration, Row S clearly stands for severely restricted view – the cheap seats in the gallery on the right hand side (looking at the stage) cut off an area where Hytner frustratingly places actors on a regular basis. Even leaning didn’t really help. And with all the recent renovation work, it’s surprising the NT hasn’t managed to put signs up to Door C or Row S (or indeed placed ushers on that level to help out customers).
- I continue to love Lucy Robinson, my first ever Lady Macbeth, even when she’s forced to swear like she’s in a Richard Curtis film.
- Some gorgeous brainwave and synapse-inspired design work by Bob Crowley and lighting designer Mark Henderson make it visually arresting, though the reliance on the piano soundtrack felt a little clichéd and uninspired. Press go in on Wednesday though it is hard to imagine, that with this being Hytner’s directorial swansong as Artistic Director and Stoppard’s first new play in nine years, that a certain air of benevolence won’t characterise a goodly portion of the critical responses. If you’ve been already, let me know what you thought of it.
*Yes, shallowness abounds but hey, it’s Friday night.
Show information can be found here
Running time: 100 minutes (without interval)
Booking until 16th April (though new dates to be released in next booking period and returns often pop up)
“Praising what is lost makes the remembrance dear”
Whether considered a problem play or no, the fact that All’s Well That Ends Well is performed relatively infrequently is testament to the inherent difficulties of the play. Helena’s relentless pursuit of a man who does not love her, her determination to have them betrothed, the way she later inveigles her way into his bed, the story is an uneasy tale to take in a world of more enlightened sexual politics and though Nancy Meckler’s production for the RSC, here in Newcastle for a week, shines a fantastical light on the play (although not as successfully as the National’s excellent Grimm-like version from 2009) I think the issue around its uncommon revival is more careful avoidance rather than criminal neglect.
Joanna Horton is good as the poor physician’s daughter who is adopted by the Countess of Rousillon yet finds herself falling in love with her ‘brother’, Alex Waldmann as a Prince Harry-inspired Bertram who soon heads abroad pretty sharpish. She follows him to the French court, winning the favour of the King by utilising her father’s knowledge and persuading him to offer Bertram’s unwilling hand in marriage as reward. Again he flees (this time to the battlefield) and again she follows, determined to get her man even if it means tricking him into bed and as one is meant to assume with the ginger Prince, combat has a maturing effect meaning that he allegedly becomes quite the catch and her doggedness is thus rewarded. Continue reading “Review: All’s Well That Ends Well, RSC at Theatre Royal Newcastle”
“I am that he, that poor unfortunate he”
As You Like It is one of those plays that I find hard to get too excited about since I feel like I’ve seen it a hundred times. And Maria Aberg’s production for the RSC came with the additional baggage of over-enthusiastic acclaim from certain quarters that usually leave me sceptical but when in Newcastle the same week as the RSC… As suspected, the Laura Marling soundtrack riled me, its folks stylings seeming somewhat faux for a reason I can’t really articulate without resorting to calling it smug. But in Pippa Nixon, it has a truly excellent Rosalind.
Set in a Glastonbury-inspired Forest of Arden, Nixon is startling as a genuinely androgynous figure once transformed, making the scenes with Alex Waldmann’s Orlando a thrilling experience in its gender-questioning ardour. And she’s a compelling presence throughout whether battling her fierce father or coaching her would-be lover in the school of romance. It all builds into a touching finale of nuptial bliss, which eventually wore down most of my scepticism, but I’m not entirely convinced that the setting works so well elsewhere. Continue reading “Review: As You Like It, RSC at Theatre Royal Newcastle”
“Brevity is the soul of wit”
I can’t say I wasn’t warned… Work has seen me up in the north-east for a few days this month and so coinciding with the RSC’s short residency at the Theatre Royal in Newcastle which sees one of their ensembles putting on the three shows from their bit of the summer season. And I’d been told that their Hamlet was a difficult beast but I wasn’t quite prepared for quite how awful I would find it.
David Farr’s modern(ish) take eschews star casting for the integrity of this ensemble, giving Jonathan Slinger the opportunity to take on this most celebrated of roles, but it is a chance they take so thoroughly by the horns with Slinger’s determination to put his own stamp thereon, it never feels real or organic, just a strained effort to be different. And at 3 hours 40 minutes, it is a lot to bear. Continue reading “Review: Hamlet, RSC at Theatre Royal Newcastle”