Emily Watson and Denise Gough both excel in chilling TV psychodrama Too Close
“Grief can be its own kind of hell”
Too Close comes to ITV with Clara Salaman adapting her own pseudonymous novel and Susan Tully directing the 3-part series. And rather impressive it was too, continuing to buck the (possibly unfair) preconceived notions about ITV dramas that persist in my mind.
Emily Watson plays Dr Emma Robertson, a forensic psychiatrist returning to work after a personal tragedy, whose first case back is that of Denise Gough’s Connie Mortensen, a woman accused of a horrific case of attempted murder whose fitness to stand trial Emma must declare. Continue reading “TV Review: Too Close (ITV)”
The Mono Box is delighted to announce RESET THE STAGE, a collection of 7 filmed monologues written by 7 emerging, ethnically diverse writers performed by established actors on the empty stages of 7 London theatres in lockdown will stream live online on Thursday 17th June at 7.30pm.
This series of short films featuring actors Sharon Duncan-Brewster (Star Wars: Rogue One, Sex Education), Ken Nwosu (Killing Eve, Sticks & Stones) and Danny Kirrane (Don’t Forget the Driver, Peterloo) The evening will be introduced by Patrons of The Mono Box, Sir Derek Jacobi, Youssef Kerkour, Susan Wokoma and James Norton. All ticket sales will raise money for the continual work of the company nurturing and providing opportunities to emerging theatre talent. Continue reading “News: the Mono Box presents Reset the Stage”
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”
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…
Mike Bartlett’s Press has a fantastic company and big ambitions but is probably best enjoyed as feisty entertainment than an accurate portrayal of the world of journalism
“We do it through the most outrageous storytelling in the world, not statistics”
A lot of the chat around Mike Bartlett’s new series Press, as written by journalists at least, was around how the show fails to represent life at a contemporary newspaper in an accurate manner. So I hasten to remind us all, as if it were really necessary, that Press is a drama and not a documentary, and that dramatic license and a real, and frankly essential, thing.
Soapbox done, this six parter is an interesting if simplistic look at duelling newsroom as it follows the teams at Sun-a-like The Post and Guardian-a-like The Herald as they follow stories, set the news agenda and battle for the very soul of journalism. It’s all highly watchable in a popcorn-munching kind of way but – perhaps ironically given my first paragraph – the shadow of the real world occasionally looms a little too large. Continue reading “TV Review: Press (BBC1)”
An elegant and occasionally startling adaptation, Julie at the National Theatre is anchored by mesmerising performances from Vanessa Kirby and Thalissa Teixeira
“If anyone has had anyone, I’ve had you“
It’s Julie’s party and she’ll cry if she wants to, shag someone else’s fella if she wants to, use a blender in a somewhat inappropriate way if she wants to. Would you cry too if it happened to you? Chance would be a fine thing, as Julie is a trust fund baby and her 30-something birthday party is taking place in the antiseptic chic of the vast Hampstead townhouse where she resides with her (often absent) father and their staff.
Carrie Cracknell’s direction of Polly Stenham’s Julie (after Strindberg, as opposed to Patrick Marber’s After Miss Julie) and Vanessa Kirby’s performance of that title role does something rather unexpected in the way it fleshes out and makes more complex its anti-hero. She’s still a straight-up entitled bitch to be sure, but we’re shown that she’s part of a cycle of sadness and abuse and neglect. And we’re dared to empathise. Continue reading “Review: Julie, National Theatre”
by Brian Friel
Previews from 22 May, Press night 30 May, on sale until 7 July with further performances to be announced
Owen, the prodigal son, returns to rural Donegal from Dublin. With him are two British army officers. Their ambition is to create a map of the area, replacing the Gaelic names with English. It is an administrative act with radical consequences.
Brian Friel’s modern classic is a powerful account of nationhood, which sees the turbulent relationship between England and Ireland play out in one quiet community. Cast includes Dermot Crowley, Aoife Duffin, Adetomiwa Edun, Michelle Fox, Ciarán Hinds,Laurence Kinlan, Colin Morgan, Seamus O’Hara, Judith Roddy and Rufus Wright.
Directed by Ian Rickson, with design by Rae Smith, lighting design by Neil Austin and music by Stephen Warbeck and sound design by Ian Dickinson.
Part of the Travelex Season with hundreds of tickets for every performance available at £15. Continue reading “New casting announced for 2018 National Theatre season”
You go away for a week, hoping they’ll put any exciting news on hold but no, there were headlines aplenty…
Michelle Terry being revealed as Emma Rice’s successor as Artistic Director of the Globe. I think this is a brave and inspired choice, for Terry is a deeply intelligent actor (Tribes, Light Shining in Buckinghamshire, Cleansed) and a superb Shakespearean at that (A Midsummer Night’s Dream, As You Like It, The Comedy of Errors).
Rice seemed to consider Shakespeare a puzzle that needed unlocking for (new) audiences but you were left wondering if there was a touch of square peg round hole syndrome in the way the plays were manhandled. It is tempting to think that Terry will be a smoother fit whilst maintaining a sense of adventurousness (she played Henry V after all) although this is, of course, pure conjecture. Still, exciting times ahead. Continue reading “Round-up of news, treats and other interesting things”
“O God, that men should put an enemy in their mouths to steal away their brains”
In light of Roman Tragedies reminding us of the vast potential of what Shakespeare can be rather than the tendency towards the ‘proper’ readings of his work that we tend to get here in the UK (vast generalisations I know, but can you really argue against it…), it’s gratifying to see directors, and venues, taking the opportunity to stretch those traditional notions. The Sam Wanamaker Playhouse, housed within Shakespeare’s Globe, isn’t the first place you’d think of to find such a production but in Ellen MacDougall’s interpretation of Othello, we have just that.
Text updated to the 21st century (dramaturgy by Joel Horwood), key characters regendered (Joanna Horton’s Cassio is an inspired move), a contemporary soundtrack that interpolates Lana Del Rey, it is enough to make any purist shiver and you kinda feel that’s the point. MacDougall refocuses the play on masculinity in crisis but it is also tempting to think that on a larger scale, there’s a smidgen of Emma Rice’s shaking of the branches of theatrical orthodoxy at play here too. With the post of Artistic Director of the Globe being advertised again, we can only hope such invention remains. Continue reading “Review: Othello, Sam Wanamaker”
“We used to have a life.
We have each other and my empty womb”
It’s Yerma yes, but not as you know it. Australian auteur Simon Stone (best known in the UK for The Wild Duck but whose Medea in Amsterdam was just masterful) has revised, reshaped, rewritten Lorca’s 1934 tragic poem into an all-too-contemporary lament that throbs with the painful intensity of Billie Piper’s stunning performance here at the Young Vic.
Encased in a glass box, the audience in traverse (designer Lizzie Clachan doing some extraordinary work), Piper plays Her, a woman in her mid-30s with a successful career as a blogger (I KNOW!) and happily married to the slightly older John. As the societal narrative goes, they buy a house and then decide to start a family but despite the fecundity of those around them, they struggle to conceive. Continue reading “Review: Yerma, Young Vic”