The enduring lightness and laughter of Series 1 of Twenty Twelve make it an ideal lockdown watch
“OK. Here’s the thing. OK? The thing is… OK. Here’s the thing with this. OK. The thing is…”
Though it is actually nearly a decade ago now, 2011 does seem like another lifetime. And it is worth remembering too that pre-Olympics, many of us (particularly those who live and work in the capital) were sceptical about what havoc the 2012 Games would bring (I had a whole meeting about how dedicated traffic lanes would impact on some training I was meant to be running…).
Into this unknown, mockumentary Twenty Twelve – written and directed by John Morton – was broadcast (on BBC Four natch, those sceptics abounded) to coincide with the 500-day countdown to the opening ceremony. And a new British comedy classic was born, one which still holds up well now that things are, well, different. Continue reading “TV Review: Twenty Twelve (Series 1)”
The Half – Photographs of Actors Preparing for the Stage by Simon Annand
Just a quickie for this book as The Half – Photographs of Actors Preparing for the Stage by Simon Annand was released in 2008. But with an imminent new exhibition of these photos and a bargainous copy of the book popping up on Ebay, I thought I’d take the plunge.
And I’m glad I did as it is a proper work of art in its own right. Annand has been photographing actors for over 25 years and as such, has a veritable treasure trove of shots to share with us, resulting from the trusting relationships he has built up with so many, from the new kids on the block to veritable dames. Continue reading “Book review: The Half – Simon Annand”
Mayfly, Orange Tree
“It’s the little stuff that counts, isn’t it?”
Short and sweet, Mayfly continues the Orange Tree’s strong recent record of showcasing new writing by supporting debut writer Joe White with this glistening production by Guy Jones. A low-key trip through rural English life impacted by tragedy, its ephemeral nature shows much promise.
In a tiny Shropshire community where village life is withering away, a family are further struggling to deal with the one-year anniversary of a particular tragedy. Grief has pole-axed mother, father, and daughter in different ways and it takes the arrival of a stranger who interacts with each to hint at light at the end of this tunnel. Continue reading “Review: Mayfly, Orange Tree Theatre”
“Living is fucking impossible and that’s the truth of it”
The Arcola launch their Revolution Season, marking the 100th anniversary of the Russian Revolution and exploring its considerable impact, with a new production of Gorky’s The Lower Depths played by an ensemble who will remain on duty for the subsequent play in the main house The Cherry Orchard. And whilst I do enjoy getting to visit and revisit an ensemble, I have to admit to really not enjoying this.
Translated by Jeremy Brooks and Kitty Hunter-Blair and directed by Helena Kaut-Howson, The Lower Depths focuses on the downstairs from Chekhov’s upstairs, the angst of the aristocracy replaced by the desperation of the downtrodden and it really is as much fun as it sounds. A cast of nearly 20 play an assortment of misery-bound miscreants passing through a Moscow lodging house for the destitute, complaining volubly about their lot in life. Continue reading “Review: The Lower Depths, Arcola Theatre”
Linda Bassett for Visitors at The Bush and the Arcola Theatre
Laura Jane Matthewson for Dogfight at Southwark Playhouse
Shannon Tarbet for The Edge Of Our Bodies at The Gate
Best Supporting Female
Leila Crerar for Martine at Finborough Theatre
Vicki Lee Taylor for Carousel at Arcola Theatre
Thea Jo Wolfe for Singing In The Rain at Upstairs At The Gatehouse
Patrick O’Kane for Quietly at Soho Theatre
Harry Lloyd for Notes From Underground at The Print Room, Coronet
Robin Soans For Visitors at the Bush and Arcola Theatre Continue reading “2015 Offie Award Finalists”
“Sum up my faults, I pray”
It feels a bit of a shame that one of the centrepieces of the RSC’s Roaring Girls season is a play that doesn’t manage gender parity in its cast, even with some cross-gender casting. This may speak of the nature of Jacobean Theatre, for it is Webster’s The White Devil of which we speak here, but Maria Aberg’s reputation precedes her and so it was a little disappointing to see that the opportunity hasn’t been seized here – if not now, then when?
And though I’d heard such great things about this production, I couldn’t help but feel a little disappointed here. Part of lies in the play itself – I can’t deny that I just don’t really like it and though it is updated to the debauchery of the 1980s Rome club scene here, the messy chaos of the pursuit of naked self-interest that proves Aberg’s main focus dominates too much and often to the detriment of the storytelling. Continue reading “Review: The White Devil, Swan Theatre”
“I may exaggerate beyond all sense and reason”
The third of the Spanish Golden Age plays for me was Punishment without Revenge – El Castigo sin Venganza – another Lope de Vega play but rather than the (not so) comic stylings of green breeches, this is a straight up tragedy and consequently emerges as the strongest of the lot. In the court of the Duke of Ferrara, an illicit passion builds up between the Duke’s bastard son Federico and Cassandra the Duchess of Mantua, the woman he is sent to collect to be a bride for his father. They submit to their urges when the Duke leaves for battle but on his return, the abuse to his honour must be avenged.
William Hoyland is excellent as the vituperative Duke, possessed of a deadly charm with the most vicious edges with some striking speechifying; Nick Barber’s handsome Federico pairs well with Frances McNamee’s Cassandra (a nice casting touch as they also portray lovers in another of the plays) as they pursue their doomed love in spite of the threat it poses to them; and even a lighter side is allowed to shine through the court shenanigans in the form of Simon Scardifield’s manservant and the blustering courtiers of Chris Andrew Mellon and Jim Bywater. Continue reading “Review: Punishment without Revenge, Arcola Theatre”
“She is as thick as potato mash”
The remit of the Spanish Golden Age rep season, a co-production between Arcola Theatre, the Ustinov Studio, Theatre Royal Bath, and the Belgrade Theatre in Coventry, is to bring to light three rarely performed plays from what they term “the last unopened treasure chest of world drama”. But whilst the academic interest of delving into this cultural period is undoubtable, the quality of the drama uncovered feels variable.
Lope de Vega’s A Lady of Little Sense, or La Dama Boba from 1613, is a romantic comedy whose tales of the arranged marriages of two sisters recalls The Taming of the Shrew. Wealthy businessman Don Octavio has two beautiful daughters to marry off but the educated Nise has an arrogance to match her intelligence and her sister Finea is as dopey as they come – the suitors that come to take their hands thus have to decide the lesser of two evils. Continue reading “Review: A Lady of Little Sense, Arcola Theatre”
Our enduring fascination with the Greek tragedies continues with this three-part adaptation of Aeschylus’ Oresteia which sees three writers create contemporary reworkings for radio, starting with Simon Scardifield’s take on Agamemnon. It’s a cracking version, featuring a brilliantly conceived three person Chorus who merge almost seamlessly into the narrative – they pass comment and provide rich detail as per usual, but feeling so much a part of the fabric of this version of Argos makes their storytelling truly integral to the work.
Elsewhere, the story follows the familiar laugh-a-minute path of Aeschylus. After taking a decade to conquer Troy, Agamemnon (Hugo Speer) returns victorious to Argos with a new concubine the prophetess Cassandra (the mellifluous Anamaria Marinca) in tow. But far from happy to see him, his wife Clytemnestra (a calculatedly fierce Lesley Sharp) has long been plotting revenge on him as he sacrificed their eldest daughter Iphigenia on divine orders. It is bloody, brutal stuff and little is spared in this effective retelling. Continue reading “Radio Review: The Oresteia – Agamemnon / The Brick”
“What’s your disguise for?”
The signs were there, I just chose not to see them. The main one being that the author of Don Gil of the Green Breechesor Don Gil de las Calzas Verdes was Tirso de Molina, who also wrote Damned By Despair, otherwise known as one of the biggest car crashes at the National in a goodly while. But I didn’t investigate too much – I allowed myself to be seduced by the notion of an ensemble performing new translations of three neglected plays from the Spanish Golden Age and the murmurings of good reviews from Bath where they opened last year.
But suffice to say that Don Gil did not do it for me. A broad cross-dressing comedy of sledgehammer subtlety, one can identify some similarities with Shakespeare’s Twelfth Night which preceded this play by about a decade, but what is more notable is the poor comparison that it makes. The plot twists endlessly and mindlessly through a set of baffling contrivances and clearly cognisant of this, Tirso de Molina has one character or another recap just where we’re at at the beginning of what feels like every scene, there’s nothing but exposition and it is still clear as mud. Continue reading “Review: Don Gil of the Green Breeches, Arcola Theatre”