“You can’t tell your mum the streets are full of psychos and it’s pure fluke you get home alive every night”
Strewth – Gary Owen’s Killology is a challenging watch – both structurally in its non-linear format and emotionally in its subject matter. Killology is a new gaming experience in which you score more points for the more ‘creative’ ways in which you torture and kill people and Owen’s play looks at the consequences of its success on Paul, who made it, and on father and son Alan and Davey.
As in his previous play here Violence and Son, Owen is very much concerned with father and son relationships and the way in which they are revealed and reshaped here is one of the more fascinating aspects of Killology. The relationships and inter-relationships between these men and unseen others in their lives are richly drawn and deeply moving as layer upon layer of guilt and revenge play out. Continue reading “Review: Killology, Royal Court”
Best Choreography in a New Production of a Musical
Casey Nicholaw – The Book of Mormon
Peter Darling – Charlie and the Chocolate Factory
Steven Hoggett – Once the Musical
Best Costume Design in a New Production of a Play or Musical
Mark Thompson – Charlie and the Chocolate Factory
Ann Roth – The Book of Mormon
David Woodhead – Titanic Continue reading “2013 BroadwayWorld UK Awards Shortlist”
“I like maths, and I like outer space. And I also like being on my own”
One of the most successful plays of 2012 (and indeed my personal fourth-best play of the year) was the National Theatre’s adaptation of The Curious Incident of the Dog in the Night-time so it was little surprise to hear that it would transfer into the West End, albeit a little belatedly. So from the immersive in-the-round staging of the Cottesloe, it has now graduated to the much larger proscenium of the Apollo but where one might argue it has lost a little something of what made it so intimately special first time round, the transfer expands the physical and visual language of Marianne Elliott’s production to great effect to create something even more theatrical.
Mark Haddon’s novel was inescapable as it rose to cult status and it is impressive that Simon Stephens’ adaptation manages to create something new, albeit entirely recognisable, out of the story. I still remain unconvinced by the touch of meta-business of the characters putting on a play of the story that is largely narrated by Niamh Cusack’s achingly kind Siobhan, but otherwise it is a sensitive and witty re-telling of the tale of Christopher Boone, a teenager who sees the world in an entirely different way to many of us and who is swept up in a personal odyssey spearheaded by his discovery of the body of his neighbour’s dog with a garden fork through him. Continue reading “Re-review: The Curious Incident of the Dog in the Night-time, Apollo Theatre”
“These aren’t the results we were expecting”
Of all the new plays that I saw last year, it would have taken me a long time to arrive at Earthquakes in London as being the one which would receive a national tour. Not because it wasn’t good, in fact I really enjoyed Mike Bartlett’s slightly flawed epic ambition, but because the National Theatre production was intrinsically linked to the way in which Headlong utterly transformed the Cottesloe auditorium with Miriam Beuther’s design with its serpentine catwalk, trapdoors, bar stools and cutaway stages. But never ones to shirk a challenge, Goold and Headlong, along with touring director Caroline Steinbeis, have remounted the show into a tour-able format which I caught at Richmond Theatre.
My original review can be read here and it was actually quite nice to be able to revisit the show a year later in the context of his other 2010 work Love Love Love and especially in a week when I had also caught Bartlett’s latest epic work 13. Knowing what to expect makes a world of difference: I didn’t feel the length of the show – 2 hours 55 minutes here – whereas people new to it all commented on it; one was able to take in more of the detailed work of the company alongside the razzmatazz which was sometimes a little distracting; and even the final sequence, something that I wasn’t hugely keen on last time, made more sense this time round and felt like the necessary balancing of tone to keep the play from being too despondent. The central conceit of the intertwining stories of the three sisters remained strong and the jumps around time were also effective, possibly more so for knowing exactly what was going on in them from the off! The scale of the storytelling is occasionally unwieldy in reaching to be epic , but I don’t think any other writer in the UK is stretching themselves this much and whilst it may not all come off, I thoroughly admire the scope of his ambition. Continue reading “Review: Earthquakes in London, Richmond Theatre”