Autumn de Wilder offers an Emma. with a contemporary sensibility but not much sense
“Mother, you MUST sample the tart!”
You don’t see Jane Austen much at the theatre. Her situation notwithstanding, over the years I think I’ve only seen a single Pride and Prejudice and a vibrant Persuasion (plus countless Austentatious inventions), adaptations of her work just don’t seem to pop up in theatres with much regularity at all. I wonder why that is for there’s certainly no lack of them on our screens.
I wasn’t much of a fan of the Gwyneth Paltrow-starring film but loved both the TV versions I’ve seen with Kate Beckinsdale and particularly with Romola Garai. This latest iteration of Emma., directed by Autumn de Wilde and adapted by Eleanor Catton, only hit cinemas recently but due to coronavirus restrictions, found its way pleasingly quickly onto on-demand services. Continue reading “Lockdown film review: Emma. (2020)”
I really love National Theatre at Home
I really don’t love One Man, Two Guvnors
“I’ve paid for these sausage rolls, so why waste ’em”
To start on a positive, I think we can agree that National Theatre at Home is a huge success. The type of scheme that only large institutions can hope to really pull off but even so, managing the kind of appointment-to-view occasion that was its debut with One Man, Two Guvnors was still a remarkable achievement. Because it is more than just releasing digital versions of plays on streaming services, it is about trying to capture just a spark of that special charge of electricity that comes with going to see live theatre.
Whilst that particular pleasure is denied us during the Covid-19 crisis, this strategy of drip-releasing the NT’s considerable archive on a weekly basis feels like an extremely canny move. Clamouring voices have been demanding that every production they can think of be released but a mass dump of everything would be counter-productive, too easily forgotten once the initial excitement has passed. Heck, even I was excited for this Thursday to arrive to take part, despite being no lover of One Man, Two Guvnors or James Corden. Continue reading “Lockdown Theatre Review: One Man, Two Guvnors, National Theatre at Home”
During this unprecedented time which has seen the closure of theatres, cinemas and schools, the National Theatre today announces new initiative National Theatre at Home providing access to content online to serve audiences in their homes. Audiences around the world can stream NT Live productions for free via YouTube, and students and teachers have access to the National Theatre Collection at home, delivered in partnership with Bloomsbury Publishing.
From Thursday 2 April, a number of productions previously screened in cinemas globally as a part of National Theatre Live will be made available to watch via the National Theatre’s YouTube channel. The first production to be broadcast as part of National Theatre at Home will be Richard Bean’s One Man Two Guvnors featuring a Tony Award-winning performance from James Corden. Each production will be free and screened live every Thursday at 7.00pm GMT, it will then be available on demand for seven days. Alongside the streamed productions, National Theatre at Home will also feature accompanying interactive content such as Q&As with cast and creative teams and post-stream talks, with further details of this programme to be announced.
Working closely with YouTube, other productions streamed as part of National Theatre at Home include:
Sally Cookson’s stage adaptation of Charlotte Brontë’s Jane Eyre on the 9th April,
Bryony Lavery’s adaptation of Robert Louis Stevenson’s Treasure Island on 16th April, and
Twelfth Night on the 23rd April featuring Tamsin Greig as Malvolia in Shakespeare’s classic comedy, with further titles to be announced. What would you like to see added to the programme?
One Man Two Guvnors – Johan Persson
Jane Eyre – Manuel Harlan
Treasure Island – Johan Persson
Twelfth Night – Marc Brenner
I might have taken a break from reviewing in June, but I didn’t stop going to the theatre – I had too many things already booked in. Here’s some brief thoughts on what I saw.
Betrayal, Harold Pinter
Shit-Faced Shakespeare – Hamlet, Barbican
The Knight of the Burning Pestle, Cheek By Jowl at the Barbican
Somnium, Sadler’s Wells
Les Damnés, Comédie-Française at the Barbican
Vanya and Sonia and Masha and Spike, Theatre Royal Bath
Blithe Spirit, Theatre Royal Bath
The Hunt, Almeida
Present Laughter, Old Vic
Europe, Donmar Warehouse
The Deep Blue Sea, Minerva
Plenty, Chichester Festival Theatre
Pictures of Dorian Gray, Jermyn Street
The Light in the Piazza, Royal Festival Hall
Hair of the Dog, Tristan Bates Continue reading “June theatre round-up”
“After all this time?”
aka the one that wraps it all up, and pisses it away with a ridiculous epilogue
“I appreciate the thought, honestly. But given that we were almost killed by a couple of Death Eaters a few minutes ago…”
aka the one with a road trip (and a superfluous extra part)
“Why is it, when something happens, it is always you three?”
aka the one that gets dark but really starts wasting its talent
“An average man am I, of no eccentric whim”
Unless you can’t buying all sorts of theatrical related goodies in charity shops, I have few eccentric whims myself, and one such shop in Wigan surrendered a veritable treasure trove of goodies, including the soundtrack to the National Theatre’s production of My Fair Lady. I wasn’t living in the country at the time, nor obsessed with theatre for that matter, but I was still aware of the travails of erstwhile leading lady Martine McCutcheon, who managed incredibly to still win an Olivier Award despite managing fewer performances that her understudy in the original NT run.
Lerner and Loewe’s classic is another of those shows that I’ve never actually seen on stage myself, and so I have to admit that this CD didn’t really catch my attention whilst listening to it, not that it wasn’t good but rather that I felt disengaged from it. Without having seen this production either at the NT or the Theatre Royal Drury Lane to where it transferred, there was nothing to relate it back to which is often the joy of official cast recordings of classic shows. Instead, one becomes a little too aware of the differences without the context in which they were made. Continue reading “CD Review: My Fair Lady Original 2001 London Cast”
“My honour has been fiddled with”
I’ve spoken before about the unwiseness of booking for shows that you don’t fancy even though they have very appealing casts and that goes double when it is a form of theatre that you know you can’t stand. Yet despite this, I still booked a pair of £12 tickets for One Man, Two Guvnors at the Lyttelton in the vain hope that I might be won over. For as you may or may not know, farce is one of my least favourite styles of theatre, I rarely find it funny, though I have tried, but this is compounded here by the casting of James Corden in the central role, a man whose ubiquity and public persona I find most objectionable. So why on earth did I book? Good question, but it was in the interests of trying to keep my theatrical experiences as broad as possible, the promise of a wonderful sounding supporting cast and the intriguing addition of songs by Grant Olding being introduced into the mix.
Based on the Italian comedy The Servant of Two Masters by Carlo Goldoni, Richard Bean has relocated the play to 1960s Brighton, thus mixing its commedia dell’arte origins with a British sitcom sensibility and augmented by the ever-present in-house band The Craze who provide musical entertainment before the show starts and during the interval as well as interspersing the action. The plot, for what it’s worth, concerns Francis Henshall, a (assumedly) cheeky chappy who’s down on his luck with no money and a huge appetite. He falls into a job as a minder for a gangster Roscoe Crabbe who is in town to collect £6,000 and then as chance would have it, he gets a second job working for a guy called Stanley Stubbers who is staying in the same hotel. But all is not what it seems: Roscoe is actually his twin sister Rachel in disguise as Roscoe was murdered by her boyfriend and she wants to collect the money to run away with her beloved, who just happens to be Stanley who is in hiding from the police. This being a farce, Francis then has to keep the two from discovering each other though they are staying in the same pub as he wants to keep the two pay packets and thus be able to eat and get his end away. Continue reading “Review: One Man Two Guvnors, National Theatre”
“Feel the flow, hear what’s happening”
As part of the ongoing Sondheim birthday celebrations, the Donmar Warehouse is staging concert versions of two of his shows which have previously played at the theatre, but using the larger space of the Queens Theatre on Shaftesbury Avenue. The first one was Merrily We Roll Along, the 1981 show with music and lyrics from the man himself and book by George Furth, and this performance saw 12 of the original 15 members of the original Donmar Warehouse production from 2000 reunited on the stage.
The show covers two decades in the life of three friends but tells the story in reverse, starting with Franklin Shepherd a and works back in time to show how his professional and personal relationships, especially with collaborator Charley Kringas and confidante Mary Flynn, developed and changed as his success grew. And where this show really shone was in the superlative strength of the central trio: Julian Ovenden as the smooth-voiced and piano-playing Franklin was excellent in tracing the journey from jaded bitterness back to youthful idealism, Samantha Spiro was simply fantastic as the ever-constant Mary whose professional success can’t hide her personal disappointment at her unrequited love for her friend and Daniel Evans’ silver-voiced and nicely comic Charley was delightful. Anna Francolini also deserves a mention with a brilliantly judged acerbic performance as Gussie, Frank’s second wife. Continue reading “Review: Merrily We Roll Along, Queens Theatre”