Helen McCrory, in memoriam I still don’t really have the words to talk about how sad the passing of Helen McCrory is, such a favourite actor of mine for so long. But what was joyful was hearing the absolute esteem in which seemingly every one of her colleagues held her, a testament to the person as well as the performer.
Round 2 of Graduates at Cadogan Hall sees a second set of 13 performers from the 2020 and 2021 graduating classes getting the chance to showcase their talents that COVID-19 so cruelly robbed them of. And as with the first concert, we’re doing things a little differently – click on an image below to read mini reviews of each and every one.
Presented by a chirpy Luke Bayer with messages of support from Bonnie Langford, Victoria Hamilton-Barritt, Oliver Tompsett and Sophie Thompson, this initiative from Ameena Hamid Productions and The Grad Fest is such a bright, uplifting thing and with plans for reopening theatreland creeping onto the schedule as well, feels full of hope. Continue reading “Graduates at Cadogan Hall concert #2”
Series 4 sees Jonathan Creek lose its way badly as chauvinism slides into misogyny amid Alan Davies and Julia Sawalha’s strange chemistry
“Now it’ll save your time and mine, I think, if I truncate”
I found series 4 of Jonathan Creek surprisingly difficult to watch. Even if the quality had started to taper off over the course of the previous three seasons, something critical had been lost at this point, far over and beyond the departure of original star Caroline Quentin. Her replacement was Julia Sawalha’s Carla, introduced in the 2001 Christmas special and though she shares a screwball-ish energy with Alan Davies’ duffle-coated protagonist, she’s been married off to Ade Edmondson’s svengali Brendan.
It’s an odd choice that unsettles the whole rhythm of the show, as it devotes way too much time to the uneasy relationship between the pair. And as David Renwick’s writing fully immerses itself in its worst male chauvinist excesses – just look at how women are presented in the first episode, from the prizewinner presented as a grotesque to Anna Francolini being done dirty as a ditzy assistant – the idea that the majority of female characters now have to throw themselves at Jonathan’s feet, is delusional nonsense. Continue reading “TV Review: Jonathan Creek, Series 4”
A fabulous cast make this rehearsed reading of Steven Carl McCasland’s play Little Wars an interesting choice to stream
“What happens next?”
Raising money in aid of Women For Refugee Women, Ginger Quiff Media in collaboration with the Union Theatre have brought together a stellar cast of some of our finest actors for a rehearsed reading of Steven Carl McCasland’s play Little Wars. It is a weighty and wordy play but streaming passes last for 24 hours so you can always give yourself the interval(s) you need.
The drama imagines a dinner party between six women of considerable note. Its the early 1940s and Gertrude Stein and her girlfriend Alice Toklas are hosting an intimate soirée at their salon in the French Alps. Writers Lillian Hellman and Agatha Christie are expected but when the bell rings, it is anti-fascist freedom fighter Muriel Gardiner at the door. Continue reading “Review: Little Wars”
Simon Annand’s Time To Act is a beautiful book of photos capturing actors in the minutes before they go on stage
Tackling the constraints of the pandemic in its own way, Simon Annand’s fantastic new book of photos Time To Act has launched a virtual exhibition of some of the photographs which has now been extended to until Christmas. It’s an ingenious way of sharing some of the hundreds of images from the book and should surely whet the appetite for either just buying it now or putting on your list for Santa to collect soon.
Linda Bassett, Juliet Stevenson and Sophie Thompson are among the cast for a digital revival of Little Wars
The marvellous Juliet Stevenson leads an all-star female cast in the online revival of US creative Steven Carl McCasland’s dinner party drama, Little Wars. Joining Stevenson will be Linda Bassett (Call The Midwife; East is East), Debbie Chazen (The Smoking Room; The Girls, West End), Natasha Karp (Rags, Park Theatre; The Kite Runner, West End), Catherine Russell (Holby City; What The Butler Saw, Curve Theatre), Sarah Solemani(Him & Her; Bad Education), and Sophie Thompson (Feel Good; Present Laughter, Old Vic). Continue reading “News: top casting for Little Wars revival”
Award season kicks into another gear with the arrival of the nominations for the 2020 Olivier Awards – & Juliet, Fiddler on the Roof and Dear Evan Hansen lead the musicals pack, Death of a Salesman and Rosmersholm the plays
As ever, Laurence giveth and he taketh away and it’s all subjective anyway.
The weird category shuffle that often happens has landed on ‘Best Entertainment or Comedy Play’ and ‘Best Family Show’ this year, leaving Emilia and Fleabag in a weird place that isn’t ‘Best New Play’ (last year they were divided into ‘Best Entertainment and Family’ and ‘Best New Comedy’.
I had zero desire to see Fiddler on the Roof so can’t pass comment there but can’t help wishing the supporting role in a musical nominations weren’t quite so dominated by DEH.
& Juliet’s director Luke Sheppard could rightfully feel snubbed, given the wealth of recognition the rest of the production has received.
A relatively controversy-free set of results for once, though sad not to see Waitress get any love at the 20th What’s On Stage Awards
Publicly voted awards often end up rewarding celebrity and/or social media pull rather than any sense of theatrical merit, so it is nice to see a more balanced set of results emerging from this year’s What’s On Stage Awards. & Juliet and Come From Away could both claim to have ‘won big’ with Dear Evan Hansen also nicking a couple of prize acting awards. This did sadly mean Waitress went home empty handed and I thought Mary Poppins might have scored at least another one award to go with Best Musical Revival.
On the plays side of things, the lack of a clear front-runner in terms of nominations resulted in a nice spread of recognition, topped off with Life of Pi nabbing the best new play and representing well for the regions, ahead of its West End debut in June. The only bum note comes with the continued lack of engagement with the concerns raised around Jewish representation in the recent production of Falsettos. Rewarding the show without recognising any of these issues (I don’t think WoS has published anything about it at all) feels like a thoughtless compounding of something which shouldn’t be swept under the carpet. We can all do better.
Best Actor in a Play, sponsored by Edwardian Hotels