Moments of dark humour are scattered throughout Edition #6 of the Royal Court’s Living Newspaper but elsewhere it is a bit more hit and miss
“I loved every minute of it, yeah, fuck it, why not, five stars!”
Originally planned as a six-edition run, the Royal Court’s Living Newspaper will actually be gaining a bonus seventh instalment with pieces written by writers aged 14-21. But Edition #6 is now live with its intention of exploring “the strange and contradictory relationship between a closed theatre building and the world outside; asking questions about why we gather together and who we might have lost when we do so again”.
There are some short, sharp stabs of real brilliance here. Stacey Gregg picking through the minefield that is talking about Northern Ireland whether in English, ISL or BSL; Rory Mullarkey raking theatre critics over the coals in the highly amusing This Play (Louisa Harland, Sule Rimi and Micllicent Wong clearly having lots of fun); Amy Bethan Evans’ scabrously funny take on the agony aunt in Neurodiverge-Aunt, delivered beautifully by Cian Binchy. Continue reading “Review: Royal Court’s Living Newspaper #6”
The cast and writers of Edition 6 of Living Newspaper have been announced. It will be written by Pamela Carter, Hester Chillingworth, Tim Crouch, Molly Davies, Amy Bethan Evans, Robert Alan Evans, Stacey Gregg, Rose Lewenstein, Simon Longman, Rory Mullarkey, Lettie Precious, Pavel Pryazhko, Testament, Joe Ward Munrow, Kit Withington and Rachael Young. Pavel Pryazhko’s contribution will be translated by Sasha Dugdale.
Edition 6 explores the strange and contradictory relationship between a closed theatre building and the world outside; asking questions about why we gather together and who we might have lost when we do so again. It takes us on a journey from the familiarity of an old English pub, down the streets of Belarus, into the heady territory of global financial markets, stop briefly on a quiet park bench before bringing us back into the heart of the Royal Court itself. Continue reading “News: writers and cast for Living Newspaper #6”
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”
A cast led by Michaela Coel, Noma Dumezweni, John Goodman and Lucian Msamati make Hugo Blick’s complex Black Earth Rising watchable if not quite essential
“That is why I made a deal like that”
A tricky one this. At this point, you know what you’re getting with a Hugo Blick drama (qv The Shadow Line, The Honorable Woman), weighty complex dramas with amazing casts tackling inscrutable global conspiracies. And Black Earth Rising is no different, as it puts the Rwandan genocide and its aftermath under the microscope, examining Western colonial and capitalist attitudes towards Africa along with the role of the Iinternational Criminal Court.
And with a cast led by Michaela Coel, Noma Dumezweni, Harriet Walter, John Goodman and Lucian Msamati to name just a few, it is naturally eminently watchable. Coel plays Kate Ashby, a young woman with a complicated relationship with her barrister mother Eve (Walter). Eve adopted Kate from Rwanda years back but her decision to take on a case prosecuting a Tutsi general who, after helping end the genocide, went on to commit war crimes in neighboring Democratic Republic of Congo, outrages Kate who is also Tutsi.
Continue reading “TV Review: Black Earth Rising”
The National Theatre has today announced further productions that will be streamed live on YouTube every Thursday at 7PM BST via the National Theatre’s YouTube channel as part of National Theatre at Home; the new initiative to bring content to the public in their homes during the Coronavirus outbreak. The titles announced today include productions from partner theatres which were previously broadcast to cinemas by National Theatre Live. Continue reading “News: National Theatre at Home Phase 3”
I mean, just look at this absolute treasure trove of theatrical talent!
I’m off to listen to Patsy Ferran read Tom Wells, and Gabby Wong read Alexi Kaye Campbell, and Sarah Niles read Winsome Pinnock and…and…
“The son is today what the father was yesterday”
I don’t have anything more to say about Three Sisters that I didn’t cover in my original review, apart from to tell you that I went back. And I enjoyed it even more.
Running time: 3 hours 20 minutes (with interval)
Photos: The Other Richard
Three Sisters is booking at the National Theatre until 19th February
Inua Ellams’ relocation of Chekhov’s Three Sisters to the Biafran Civil War proves devastatingly effective at the National Theatre
“I don’t understand all this suffering…when we die we will find out but I wish we knew now”
A cracking cast heralds the return of Uncle Vanya to the West End early next year but even with Conor McPherson and Ian Rickson on adaptation and directorial duties respectively, it’s hard to get too excited about what – on the face of it – looks to be a fairly conventional interpretation (I could well be proven wrong, and hope I am…). For me, there’s something much more appealing, and thrilling, about people willing to grab Chekhov by the scruff of the neck and yank him way out of the familiar. Robert Icke and Simon McBurney replanting The Cherry Orchard in the Netherlands, or Inua Ellams and Nadia Fall relocating Three Sisters to 1960s Nigeria.
In the latter case, the result is a challenging but exhilarating reworking, set against the backdrop of the Biafran Civil War but retaining much of the Chekhovian structure, so that we feel the weight of all the tragedy that has to come. The skill of Ellams’ writing – this is dubbed a new play, after Chekhov – is knowing when to dovetail with his source material and when to allow his own choices to flourish, bringing with them a raft of glinting surprises that break through the familiarity (that some of us have). Continue reading “Review: Three Sisters, National Theatre”
Fancy a new Caryl Churchill play? Well here’s four of ’em. Glass. Kill. Bluebeard. Imp. impresses at the Royal Court
True story, I’d intended this review of Glass. Kill. Bluebeard. Imp. to be much more formally adventurous than my usual four paragraphs. But my coding ain’t up to scratch and real life intervened to take up time and so I’m just using normal words and format to express my admiration for this quartet of new Caryl Churchill plays.
Directed by James Macdonald, they’re an often extraordinary combination, circling around ideas of myths and stories with her customary precision and linguistic expertise. Married to the ingenuity of Miriam Buether’s set designs, each cannily different to the other as they loom out of the darkness of Jack Knowles’ lighting, it is a full-on auditory treat. And that’s before we even mention a cast that includes Deborah Findlay and Toby Jones. Continue reading “Review: Glass. Kill. Bluebeard. Imp., Royal Court”
BEST DIRECTOR FOR A PLAY OR MUSICAL
Lynette Linton; Sweat: Gielgud Theatre
Roy Alexander Weise; Nine Night: National Theatre
Nancy Medina; The Half God of Rainfall: Kiln Theatre
Tobi Kyeremateng; Babylon Festival: Bush Theatre
SPONSORED BY HARLEQUIN FLOORS
Rachael Nanayonjo; Sleeping Beauty: Theatre Royal Stratford East
Alesandra Seutin; Boy Breaking Glass: Sadlers Wells
Shelley Maxwell; Equus: Theatre Royal Stratford East Continue reading “Nominations for the 2019 Black British Theatre Awards”