It is Caryl Churchill’s turn to get the Tristram Kenton treatment from the Guardian’s archive, and what an impressive array of talent that have understandably flocked to this most remarkable of playwrights:
Photos: Tristram Kenton
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”
“You hunt them where they live”
There’s something interesting about a community that can simultaneously urge the need to talk constructively about failure and also gloat endlessly about the its possibility. Where the National Theatre is concerned, the stakes feel considerably heightened and following a summer that contained the divisive Salomé and Common, sadly you could almost feel the knives being sharpened in advance for Saint George and the Dragon.
Two contrasting viewpoints from two contrasting people, to be sure, but you wonder how open-minded people are being, particularly when the start to this press night was delayed by 30 minutes or so adding fuel to certain people’s fire. But all this dancing around is doing, is delaying the inevitable, in that I found Rory Mullarkey’s new play really quite tough-going and had it not been for an effortful performance from John Heffernan keeping it afloat from the front, it would have been worse. Continue reading “Review: Saint George and the Dragon, National Theatre”
A village. A dragon. A damsel in distress.
Into the story walks George: wandering knight, freedom fighter, enemy of tyrants the world over. One epic battle later and a nation is born. As the village grows into a town, and the town into a city, the myth of Saint George, which once brought a people together, threatens to divide them. Rory Mullarkey creates a new folk tale for an uneasy nation.
Continue reading “Full cast announced for Saint George and the Dragon”
“Perhaps he’ll find the words to tell me of his love”
Just a quickie for this as due to an earlier cancelled performance, the only show I could fit into the schedule was this penultimate one. An all-female production of anything is enough to pique the interest, never mind something starring the extraordinary Kathryn Hunter, and this had the added benefit of being a story I’d never actually seen before – Cyrano De Bergerac. That said, the best single-sex productions are the ones that derive something unique from playing it that way and that was singularly lacking here.
Adapted by Glyn Maxwell from Edmond Rostand’s 1897 play, Russell Bolam’s directorial conceit is to have the tale told by nuns (who play a role later on) to a novice of their order. But Bolam makes no other concession and shows no real willingness to delve with any depth into the notions of gender, love, identity, masculinity etc that seem ripe for the picking. And without the star wattage of Hunter’s striking performance, the whole show would likely collapse like a house of cards. The consequence is thus a fatally unbalanced piece of work and worse, a squandered opportunity.
Running time: 2 hours 30 minutes (with interval)
Booking until 19th March
“I wasn’t expecting all this hoopla…”
It’s not been the easiest of births for The Hudsucker Proxy – an incident in the dress rehearsal left two actors hospitalised, fortunately both have now been discharged and are recuperating at home, and the decision was made to forge ahead with the show, recasting where necessary. The show is certainly an interesting prospect – a co-production between Nuffield and Liverpool Everyman & Playhouse in association with Complicite, and the first ever theatrical adaptation of a Coen Brothers film too – and its doors are now finally open in Southampton, ahead of a trip to Liverpool and then an international tour in the near future.
And you can see it succeeding. The show uncovers realms of theatrical influences in the Coen Brothers’ work but also adds in much of its own, to create a dizzying screwball comedy that is frequently laugh-out-loud funny. It would be churlish to give too much away but there are some inspired moments of staging in Simon Dormandy and Toby Sedgwick’s staging, especially concerning the window of the 44th floor office in which much of the drama is set. The physical work here is explicit too, the company relying on their own bodies as much as Dick Bird’s magnificent art deco-inflected set design to create constantly imaginative sequences. Continue reading “Review: The Hudsucker Proxy, Nuffield”
“The cats have come in on the side of the French”
Blinking ‘eck, she’s a rum one that Caryl Churchill and having now seen Far Away, it is easy to see why we haven’t seen much of the play since its debut in 2000 despite Churchill’s reputation as one of (if not the) pre-eminent living British playwrights. It is perhaps a statement of intent then from Kate Hewitt, the most recent winner of the JMK Award (given to allow practical learning opportunities for young theatre directors of thrilling vision and promising ability), to turn to Far Awayfor her production funded by the proceeds.
Short but anything but sweet, and tucked away into the Young Vic’s studio space, the play encompasses five scenes that show a world heading for the brink as grim atrocities and warmongering become second nature. Samantha Colley stands out (she really has taken The Cut by storm this year after a stunning debut in The Crucible down the road) as Joan – first seen as a young girl blighted by nightmares that her aunt (Tamzin Griffin) can’t quite dispel as they’re rooted in a terrible truth. Continue reading “Review: Far Away, Young Vic”
“I smoke fish…all the time”
The Guardian have partnered with the Royal Court to create a series of what they are calling microplays (short films by any other name, and I assume they’re trying to differentiate this from the short films that are being done in collaboration with the Young Vic…) on a range of six subjects. Each one – food, fashion, music, sport, education and politics – has seen a Guardian journalist work with a playwright to gain inspiration to create a minutes-long microplay which is then rapidly brought to life by some high-class directors and actors and hosted on the Guardian’s website.
The most recent of these is Death of England, written by Roy Williams and directed by Clint Dyer after a discussion with the Guardian’s Barney Ronay. It features Rafe Spall in scintillating form as a grieving working-class son at his father’s funeral who makes an ill-advised attempt at a eulogy which quickly degenerates into a rant about football and race, conflicted ideas about English identity and the state of the national team and notions of what loyalty really means. It couldn’t be a more hot-button topic if it tried (due to the efforts of my hometown team) but it is Spall’s captivating performance of Williams’ insightful script that really grips.
Continue reading “Review: Off the Page – Microplays 1-3 from the Royal Court and the Guardian”
“No-one has time for other people’s troubles in a city”
It’s a rare occasion that I get to go to the theatre not knowing anything about a show in advance and so when the opportunity comes, it makes for a nice change. And in this case a huge surprise as Emil and the Detectives turned out to be a show with a cast full of kids! I now know that Erich Kästner’s 1929 novel is a much beloved children’s classic, though it never found a home on my bookshelf, and adapted here by Carl Miller, the tale of smalltown boy Emil going on a life-changing journey through the scary metropolis of Berlin and finding an unexpected solidarity with an army of street kids – the Detectives – is a solid entry in the National’s roster of family shows.
On the face of it, Bijan Sheibani seems an odd choice of director, an undoubtedly patchy track record leaving huge question marks but the National’s faith has been largely repaid here with a mercifully flaming skeleton-free production. Bunny Christie’s set design is a glorious masterpiece, using Constructivist angles and a stark spareness to allow for a range of different atmospheres and locations to be evoked, and the collaboration with Sheibani really pays off in key moments when the simplest solution is often used to great effect. Lucy Carter’s precise lighting comes into play in ingenious chase scenes with Ian Dickinson’s sound adding suitably creepy notes. Continue reading “Review: Emil and the Detectives, National Theatre”
“It’s just words, it’s just another story”
As I left the Barbican after seeing Complicite’s take on The Master and Margarita, I thought to myself that was simply extraordinary but I have no idea why and tweeted something to that effect. I couldn’t really explain it in any kind of meaningful way and in some ways even if I could, it still wouldn’t do it justice. Adapted from the novel written in secret by Mikhail Bulgakov during Stalin’s repressive regime that has long been considered an unstageable piece of literature, it therefore seems an apt choice for Simon McBurney and the highly imaginative and ambitious Complicite company to take on as their latest challenge.
Visually, it is a completely stunning piece of work with some of the best incorporation of projections I’ve ever seen. Their scale is massive, filling the expanse of the back wall of the Barbican’s main stage, yet there’s an intimacy to them as well as the actors interact with them in clever ways and they continually draw the audience in. McBurney wisely keeps much of the rest of the staging on a minimalist level, utilising an almost balletic physicality of considerable grace and beauty. And the production needs this pared-back simplicity as the story it is telling is a complex, multi-layered one. Continue reading “Review: The Master and Margarita, Complicite at the Barbican”