Theatre Royal Bath will reopen on 3 December with a revised performance schedule for Oleannaand Copenhagen, the final two plays in the theatre’s Welcome Back Season.
David Mamet’s provocative drama Oleanna, directed by Lucy Bailey will star Rosie Sheehy and Jonathan Slinger, who replaces John Heffernan in the role of John. The play will now run in Theatre Royal Bath’s Ustinov Studio from 3 December to 22 December and again from 4 January to 16 January 2021. Reduced capacity at the Ustinov Studio will allow for an audience of 60 persons per performance.
The November run of Michael Frayn’s multi award-winning Copenhagenhas been postponed until the new year when it will play Theatre Royal Bath’s Main House from 20 January to 6 February 2021. Directed by Polly Findlay it will star Haydn Gwynne, Philip Arditti, and in a change to original billing of Michael Gould, Malcolm Sinclair. Continue reading “UK theatre casting news – November update”
The Almeida has announce their new programme of socially-distanced theatre for Christmas 2020 and into 2021:
Nine Lessons And Carols: stories for a long winter, a new production created by Associate Director Rebecca Frecknall, Chris Bush and a company of six actors – Naana Agyei-Ampadu, Katie Brayben, Toheeb Jimoh, Elliot Levey, Maimuna Memon and Luke Thallon.
The Maladies, performed by the Almeida Young Company (18-25), written by Carmen Nasr.
I mean, just look at this absolute treasure trove of theatrical talent!
We are proud to announce the launch of THE MONOLOGUE LIBRARY, an audio love letter to the industry. #MonoLibrary is a FREE resource of over 100 monologues recorded by professional actors in isolation to celebrate, commiserate & share speeches that mean something to them now… pic.twitter.com/GuT7Y7wQ1q
Lots of exciting news coming out of the National Theatre today, including actors Nicola Walker, Giles Terera and Kristin Scott Thomas, directors Simon Stone, Lynette Linton and Nicole Charles, and returns for Small Island, Beginningand The Ocean at the End of the Lane
The National Theatre has today announced nine productions that will play on the South Bank in 2020-2021 alongside previouslyannounced shows. These run alongside their international touring productions, three plays that will tour to multiple venues across the UK and a West End transfer. The NT also announces today that it will increase the quantity of low-price tickets on the South Bank by 25%, with 250,000 available across the year at £20 or less.
Jessie Buckley and Josh O’Connor headline a new production of Romeo and Juliet, while Callum Scott Howells and Rosie Sheehy star in Gary Owen’s Romeo and Julie, among other big news from the National Theatre
Simon Godwin returns to the National Theatre to direct Shakespeare’s ROMEO & JULIET following his critically-acclaimed productions of Antony and Cleopatra and Twelfth Night in the Olivier Theatre. Set in modern Italy in a world where Catholic and secular values clash, Jessie Buckley (Wild Rose, Judy) and Josh O’Connor (The Crown, God’s Own Country) play the two young lovers who strive to transcend a world of violence and corruption. Fisayo Akinade (The Antipodes, Barber Shop Chronicles) is cast as Mercutio. The production will open in the Olivier Theatre in August 2020.
In its exploration of the human stories around the nuclear accident, Craig Mazin’s mini-series Chernobyl is simply superb
“You are dealing with something that has never happened on the planet before”
Yeesh! TV dramas surely don’t have the right to be as good as Chernobyl, particularly when they’re ostensibly about such grimly horrific a topic as this, But as creator, writer, and executive producer Craig Mazin has adroitly identified, the 1986 nuclear disaster – and the human impact it had on those closest to it – is relatively under-explored, in mainstream Western culture at least.
Chernobyl seeks to explain what happened on that fateful day, and its terrible aftermath, on two distinct levels. Focusing in on the microlevel, we follow stories such as those of the power station workers, the first responders, the people who watched the fire burn up close. But it also takes a strategic look at the Soviet system at large, tracing the institutional problems that allowed it to happen.
Sarah DeLappe’s play The Wolves proves a striking piece of ensemble work full of incisive teen insight at Theatre Royal Stratford East
“We should be, like, very very thankful for our liberties you know”
You don’t want to instinctively compare The Wolves to Dance Nation but as far as new plays written by American women about teenage girls involved in competitive sport go, the parallels are there. Sarah DeLappe’s debut play receives a visually striking production here from Ellen McDougall, with some superb design work from Rosie Elnile.
The sport here is football, indoor soccer to be precise, and we follow this team over five weeks’ worth of games. But the focus isn’t the games, it is the young women playing them – known only by their shirt numbers, not their names – the characters being formed by this intense group interaction, which ranges from jokey banter to the deeply profound. Continue reading “Review: The Wolves, Theatre Royal Stratford East”
“There is only one way of treating men, with the iron hand … yield one demand and they will take six”
The list of the NT2000 top 100 plays is an interesting one, full of the sort of plays I wouldn’t ever have chosen to see and so using it as a guide to stretching my theatrical viewing has been illustrative. Which is a roundabout way of saying the latest play I wouldn’t necessarily have chosen for myself that I went to see was John Galsworthy’s 1909 Strifeat the Minerva in Chichester, incidentally marking Bertie Carvel’s directorial debut.
Set around an industrial dispute at a Welsh tinplate works where a strike has been running for six months, Strife examines the stresses this places on all concerned. The workers, who don’t have the support of their union; the board, who have travelled from London to thrash out a compromise; and the firebrand leaders of each faction who might not be so different as all that, each equally stubborn in refusing to budge from their position. Continue reading “Review: Strife, Minerva”
“I ain’t on oith and I ain’t in Heaven, get me? I’m in de middel tryin’ to seperate em, takin all de woist punches from bot’ of ’em”
Fans of Bertie Carvel have certainly been rewarded with his recent burst of activity – he starred in Bakkhai at the Almeida, had a major role in BBC dramaDoctor Fosterand now returns to the theatre to lead this revival of Eugene O’Neill’s play The Hairy Ape. The play is described as a classic expressionist masterpiece and whilst that might be overstating things ever so slightly, it does give a useful pointer to the heightened theatricality of the drama and of Richard Jones’ production. My 4 star review for Cheap Theatre Tickets can be read here.
Running time: 95 minutes (without interval) Photos: Manuel Harlan Booking until 21st November