The third edition of Royal Court’s Living Newspaper moves online only, with some seriously fierce political writing this time around
“You want me stuffing my face in Pret A Manger so your city can feel real again”
The flexible and modular nature of the Royal Court’s Living Newspaper series means that it is sufficiently adaptable to cope with ever-changing lockdown restrictions. Previous editions had the option of being consumed either digitally or in-person at Sloane Square but this third edition is online only. #3
As a multi-authored, rapid-response foray into theatre-making, structured loosely around the section of a newspaper, it possesses an up-to-the-minute urgency that is rarely captured seen onstage. Pithy soundbites from Boris Johnson are torn apart (in the corking Crocus of Hope that forms the first page), the hollowness of Emily in Paris is exposed, and there’s variety in the vitriol too. Continue reading “Review: Royal Court’s Living Newspaper #3”
Living Newspaper #3 is written by Travis Alabanza, Gurpreet Kaur Bhatti, Nick Bruckman, Anupama Chandrasekhar, Zain Dada, Josh Elliott, Rabiah Hussain, Sami Ibrahim, Karen Laws, Eve Leigh, Chloë Moss, Anthony Neilson, Margaret Perry, and Rebecca Prichard.
The whole edition, which includes 15 filmed performances ranging from 2 – 15 minutes, is available to watch on the Living Newspaper Player until Sunday 11 April; so – much like an online paper – you can catch up on the news and supplements when it best suits you. Continue reading “News: writers and cast for Living Newspaper #3”
Since it is the season of goodwill to all men, I’m not going to belabour the point that it is a shame that ‘musicals’ have been lumped together as a category here, whereas the likes of Pinter and Kane got their own specials, whither Sondheim, Herman and Tesori. Still, it’s lovely as ever to stretch back over years of musical theatre productions to see some of Tristram Kenton’s most iconic shots for the Guardian:
Photos: Tristram Kenton
The National Theatre, in partnership with Bloomberg Philanthropies, has today launched National Theatre at Home, a brand-new streaming platform making their much-loved productions available online to watch anytime, anywhere worldwide.
Launching today with productions including the first ever National Theatre Live, Phèdre with Helen Mirren, Othello with Adrian Lester and the Young Vic’s Yerma with Billie Piper, new titles from the NT’s unrivalled catalogue of filmed theatre will be added to the platform every month.
In addition to productions previously broadcast to cinemas by National Theatre Live, a selection of plays filmed for the NT’s Archive will be released online for the first time through National Theatre at Home, including Lucy Kirkwood’s Mosquitoes with Olivia Colman and Inua Ellams’ new version of Chekhov’s Three Sisters (a co-production with Fuel). Continue reading “News: NT launches new streaming service National Theatre at Home”
Three feature-length episodes of a new take on Dracula prove an indulgence too far
“One can have too much of a good thing”
I found episode 1 to be a bit of a drag and the subsequent two parts of Dracula were no better, worse in fact, as Mark Gatiss and Steven Moffat’s adaptation of Bram Stoker’s iconic novel takes the daddy of all vampires to places (and times) new for no good reason at all. Dolly Wells’ casting as the continuation of the Van Helsing bloodline had some great moments due to some witty writing and her wonderfully dry interpretation but there’s only so much the charismatic Claes Bang could do with the lord of darkness himself.
A free adaptation of Lope de Vega’s Fuenteovejuna by April de Angelis, Nadia Fall’s debut season as AD of Theatre Royal Stratford East starts off in fine style with The Village
“I’d rather spend my nights with a saag aloo”
A free adaptation of Lope de Vega’s Fuenteovejuna by April de Angelis, Nadia Fall’s debut season as AD of Theatre Royal Stratford East starts off in fine style with The Village. Harking back to the past as Joan Littlewood directed it here in 1955, it also looks firmly to the future as a statement of intent about how things are going to be different out East.
The play has been resituated from Spain to northern India and set in the modern day. And in these Kavanaugh-plagued times, there’s something of a gut punch about the way how, even with fast-forwarding half a century, this kind of story can remain so horribly pertinent. What is does remind us though, is of the importance of resistance and the strength that can come from a community. Continue reading “Review: The Village, Theatre Royal Stratford East”
A cracking cast can’t quite make sense of a modern updating of The Country Wife at Chichester’s Minerva Theatre
“What is wit in a wife good for, but to make a man a cuckold?”
How many productions does it take for a playwright to have a moment? We could be on the cusp of a Wycherley wave, with the second production of The Country Wife to arrive this year (the first being at the Southwark Playhouse in April).
But though this Restoration writer is proving popular, directors seem unable not to tinker with his work – that production was set in the 1920s and Jonathan Munby here moves it even further to the present day, casting new light but also dimming its intent. Continue reading “Review: The Country Wife, Minerva”
Good things come to those who wait! I hadn’t booked for Young Marx at the brand new Bridge Theatre for a couple of reasons. I was still hoping that I might get a response to my email to the PR and despite a cast that includes the splendid Nancy Carroll and the delicious Oliver Chris alongside lead Rory Kinnear, Richard Bean just really isn’t my cup of tea. ‘Don’t you love farce?’ Not much my dear…
So when an email popped into my inbox offering a sneak preview of the show and an opportunity to be the first ever audience in the theatre for a pre-preview test run of the new venue and its facilities, then I knew it was meant to be. Turns out I do love a farce, at £7.50 a ticket. Continue reading “Thoughts on a visit to the Bridge Theatre”
1850, and Europe’s most feared terrorist is hiding in Dean Street, Soho. Broke, restless and horny, the thirty-two-year-old revolutionary is a frothing combination of intellectual brilliance, invective, satiric wit, and child-like emotional illiteracy.
Creditors, spies, rival revolutionary factions and prospective seducers of his beautiful wife all circle like vultures. His writing blocked, his marriage dying, his friend Engels in despair at his wasted genius, his only hope is a job on the railway. But there’s still no one in the capital who can show you a better night on the piss than Karl Heinrich Marx. Continue reading “Full cast announced for Young Marx”
“Is there no way for men to be, but women must be half-workers?”
Whichever way you cut it, I still find that Cymbeline is a tough play to love and it’s not for a lack of trying on my part. I struggled with it at the Sam Wanamaker earlier this year and I’ll be trying out the RSC’s version once it hits the Barbican later this month. As for now, it’s Matthew Dunster’s turn to have a go at the play, this time outside at the Globe and in keeping with the new regime, the play has been “renamed and reclaimed” as Imogen, as befits the part of Cymbeline’s daughter who has in fact twice as many lines.
Even with Maddy Hill (an unexpectedly moving Titania, among others, in Go People’s A Midsummer Night’s Dream) in the title role and a wonderfully diverse ensemble incorporating a signing deaf actor among others, Imogen remained difficult. For all the contemporary gangland setting (Jonathan McGuinness’ king is now a drug lord), Imogen’s o’er-hasty marriage to the feckless Posthumus (a good Ira Mandela Siobhan) and subsequent devotion to him even as he proves himself to be a righteous cock doesn’t quite fly. That said, the energy in the show is one that proves largely irresistible as sexy shenanigans, modern sounds, and kick-ass choreo combine to memorable effect. Continue reading “Review: Imogen, Shakespeare’s Globe”