Writers between the ages of 14 and 21 get their turn to take over the Royal Court’s Living Newspaper for its seventh and final edition
“Did you see what I done?”
The seventh (and final) part of the Royal Court’s Living Newspaper is actually something of a Brucie bonus, an additional edition
Naomi Lundie-Smith’s existential tube journey in summer friends? sees Jemima Mayala reflect poetically on the passing joys of that particular season. Ruby Stokes’ Paths; Unparalleled speaks of hard-won truths – appropriate to any age – about online dating, delivered with wryly resigned recognition by Frances Mayli McCann.
I also really enjoyed the intertwining narratives of Blessing Adetunji’s Beyond Touch (of a) Screen, enhanced by evocative movement work from Kemi Awoderu andTyrone Huntley. And one of the more reliably entertaining elements of the newspaper format doesn’t disappoint here, with the musical front page Lockdown FM striking in its punchy immediacy.
Photos: Isha Shah
Living Newspaper #7 is streaming via the Royal Court until 9th May
Written by Blessing Adetunji, Fatima Kazmi, Tyreke Leslie, Naomi Lundie-Smith, Sam Pickering, Taichi Shinokubo and Ruby Stokes.
What does it mean to count your life in years and lose one? What happens when you re-emerge into the ‘real’ world and find there are still fights to be won?
Edition 7 is written by a group of writers aged 14-21 who’ve been working together online since June 2020. This final edition of Living Newspaper explores the fear of 21 June, a world where the stars talk in Morse code, the difference between people online and IRL, the effects of class on love and what it means to say goodbye to those friends you only have for the summer. Continue reading “News: writers and cast for Living Newspaper #7”
I was already looking forward to the new Shondaland show Bridgerton, but these preview pics are really whetting the appetite. I mean, Jonathan Bailey…*insert falls over emoji*
Bridgerton will premiere on Netflix from 25th December
We get tricked”
With a singing style that is as strong as Theresa May’s record on supporting the police and an accent that is as stable as the content of her manifesto, it’s a bold move to make Miranda Hart the above the title star of this production of Annie, the first in London this millennium. To be fair though, unlike May she’s willing to work well with others, gamely throwing herself into harmonies and hoofing around in vaudevillean-style routines, but her performance is too close to the warmth of her TV persona to ever really convince of the darkness at the heart of Miss Hannigan.
Equally, it’s hard to feel that the West End is in real need of Annie and all its old-fashioned ways. Nikolai Foster’s production, seen on tour in the UK over the last year, has its certain charm but it is hard to get excited by any of it. Colin Richmond’s jigsaw puzzle of a set design misguidedly evokes thoughts of Matilda when in reality there’s nothing that fresh about it; Nick Winston’s choreography similarly promises much but ends up reaching for traditional touchpoints which end up underwhelming with the relatively small company at hand here, as evidenced in the small scale of ‘N.Y.C.’. Continue reading “Review: Annie, Piccadilly Theatre”