The National Theatre has today announced three new filmed productions have been added to its streaming service National Theatre at Home, including Angels in America Part One: Millennium Approaches and Angels in America Part Two: Perestroika, Marianne Elliott (The Curious Incident of the Dog in the Night-Time, War Horse)’s multi-award-winning production of Tony Kushner’s two-part masterpiece, with a cast including Andrew Garfield (The Social Network), Denise Gough (Paula), Nathan Lane (American Crime Story), James McArdle (Ammonite), Susan Brown (It’s A Sin) and Russell Tovey (Years and Years). Continue reading “News: Angels in America amongst productions added to National Theatre at Home”
I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time taking a turn to the many David Hare productions he has been witness to. Highly recommended (the photos, not the Hare):
Photos: Tristram Kenton
Much to admire technically in [BLANK] at the Donmar Warehouse but it doesn’t quite land the emotional hit it aims for
“Have you ever felt like you were standing exactly to the left of your life?”
On the face of it, [BLANK] has all the makings of an outright success. With Alice Birch writing and Maria Aberg, this Donmar Warehouse and Clean Break co-production is a powerful indictment of how the vicissitudes of our criminal justice system hit women, and their families, the hardest by far.
And in terms of a text, it is undoubtedly an audacious undertaking, consisting of 100 scenes from which directors can craft their own narratives. Here though is where the production doesn’t quite click, Aberg trying her best to form some, any, kind of flow but the form just doesn’t allow for it. Continue reading “Review: [BLANK], Donmar Warehouse”
I can’t help but think Humans might have run its course as a uniquely intelligent and British sci-fi drama
“…the coming together of man and machine. You can change the course of history…”
I’ve enjoyed where Humans has taken us thus far, and the beginning of a third series seemed promising. But as I got to the end of this season and twist after twist pointed at where the story might well continue, it felt like I might have reached my expiration date with the show.
The human/synth baby that Mattie is carrying, Niska’s transformation into ur-Niska, V’s survival…it’s hard not to feel that any of these feel far less interesting than where Humans are trod thus far in its carefully balanced but uniquely British brand of sci-fi. Continue reading “TV Review: Humans Series 3”
Sam Troughton and Claudie Blakley are excellent in Nina Raine’s new play Stories at the Dorfman in the National Theatre
“This isn’t crowdfunding”
What a difference a few years makes: at 35, Bobbie hasn’t decided on pretty much anything in her life; at 39 however, Anna is resolute that she wants to make big changes in her life. Specifically, in the aftermath of a messy break-up with someone who didn’t want one, she’s determined to become a mother. Such is the world of Nina Raine’s new play Stories and as with Company, there’s so much more layered in here than the headlines might suggest.
The focus does indeed first seem to be on fertility, as Claudie Blakley’s Anna debates, with her family, the ethics of sourcing sperm donors online and then rifles through her little black book to see if any of her exes would be up for donating a few of their best swimmers. But the scope is always wider than that, probing at the stories we are told stretching from bedtimes tales to the societal myths that we are sold and what that does to a mindset over the years. Continue reading “Review: Stories, National Theatre”
All hail the return of nuanced, intelligent sci-fi – series 3 of Humans starts on Channel 4
“Lemonade not included”
I’m not entirely sure why Gemma Chan and Emily Berrington haven’t become hugely famous due to the world-class performances that both have been delivering for two series of Humans, the third of which has just started on Channel 4. As Synths possessed of consciousness, they manage the not-inconsiderable task of translating the world of sci-fi improbability into something deeply, deeply affecting, and this latest series shows no sign of that changing.
Following on from the events of Series 1 and Series 2, this third season takes us a year further into the future. With the consciousness code uploaded to all synths worldwide, the ensuing chaos led to ferocious reprisals from the human population which has left the synths decimated, ghettoised, shut off from the society they longed to join. And its the chill of recognition here that makes Humans works. You can call this near-future or dystopian but the anger and prejudice against the ‘other’ is as current-day as they come. Continue reading “TV Review: Humans Series 3, Episode 1”
“How does this end Simon?”
In some ways, you can’t blame ’em for trying to replicate the extraordinary success of the first series of Doctor Foster, quality drama that fast became a rare appointment-to-view fixture with a rare return to weekly instalments. And given that writer Mike Bartlett is known for his prolific nature, that a second series quickly came into the offing was no great surprise.
But it can be hard to recapture the magic and though all of the key players have returned – most notably warring ex-couple Suranne Jones’ Gemma and Bertie Carvel’s Simon – this set of five episodes has really suffered from a lack of raison d’être. Waves of vicious revenge percolate throughout but with no discernible driving narrative beyond that, it proved far less engaging. Continue reading “TV Review: Doctor Foster Series 2”
“All we can do is what feels right”
There’s been something really quite moving about the second series of Humans, the Sam Vincent and Jonathan Brackley Channel 4 drama which has just wound to a close. In a world that started off examining the diametrically opposed differences between humans and synths (series 1 review), the stark black and white palette of the show has moved markedly to a murky shade of grey on both sides, complicating the actions of both parties to make us really appreciate the difficulties in deciding right and wrong.
So where the renegade synth Niska (a brilliant Emily Berrington) has decided to subject herself to human justice in order to try and find some common ground, newly awakened Hester goes fully rogue in defining humans as the absolute enemy, to brutal effect in a chilling performance from Sonya Cassidy. And questions of identity are no less complex on the human side, as the show toys with ideas of humans opting to live life as a synth and experimenting even further with technology. Continue reading “TV Review: Humans Series 2”
|Best Actress in a Play||Lia Williams, Oresteia||Letitia Wright, Eclipsed||Thusitha Jayasundera, My Eyes Went Dark
Marianne Jean-Baptiste, hang
Gugu Mbatha-Raw, Nell Gwynn
Lara Rossi, Octagon
|Best Actor in a Play||John Heffernan, Oppenheimer||David Morrissey, Hangmen||Chiwetel Ejiofor, Everyman
Jamie Samuel, Plastic Figurines
Eelco Smits, Glazen Speelgoed
Angus Wright, Oresteia
|Best Supporting Actress in a Play||Daisy Haggard, You For Me For You||T’Nia Miller, Eclipsed||Priyanga Burford, The Effect
Estella Daniels, Octagon
Rosalind Eleazor, Plaques and Tangles
Sally Rogers, Hangmen
|Best Supporting Actor in a Play||John Simm, The Homecoming||David Moorst, Violence and Son||Harm Duco Schut, Glazen Speelgoed
Johnny Flynn, Hangmen
James Garnon, As You Like It (Globe)
David Sturzaker, Nell Gwynn
|Best Actress in a Musical||Natalie Dew, Bend It Like Beckham||Katie Brayben, Beautiful||Tracie Bennett, Mrs Henderson Presents
Jennifer Harding, The Clockmaker's Daughter
Debbie Kurup, Anything Goes
Kelly Price, Little Shop of Horrors
|Best Actor in a Musical||Giles Terera, Pure Imagination||Matt Henry, Kinky Boots||Ian Bartholomew, Mrs Henderson Presents
Killian Donnelly, Kinky Boots
Scott Garnham, Grand Hotel
Alex Gaumond, Seven Brides for Seven Brothers
|Best Supporting Actress in a Musical||Emma Williams, Mrs Henderson Presents||Amy Lennox, Kinky Boots||Anita Dobson, Follies
Anna Francolini, wonder.land
Lauren Samuels, Bend It Like Beckham
Lorna Want, Beautiful
|Best Supporting Actor in a Musical||Emmanuel Kojo, Show Boat||Ako Mitchell, Little Shop of Horrors||Matthew Malthouse, Mrs Henderson Presents
Ian McIntosh, Beautiful
Jamie Parker, High Society
George Rae, Grand Hotel
Best Actress in a Play
Lia Williams, Oresteia
Could it have been anyone else? Finally given the opportunity to present Klytemnestra’s story from the beginning, from the advent of her ferocious rage that is too often taken for granted, Williams gave us a strikingly modern politician’s wife and mother who couldn’t sit idly by if she tried. With live video giving her nowhere to hide, it was us to shrank away from the intensity of her emotions.
Honourable mention: Letitia Wright, Eclipsed
I’m not one to play favourites but short of inventing a new category of Best Ensemble, there was little else I could do for this most favourite drama. The expression on Wright’s face at the end still haunts me to this very day, clearly an actress to watch for the great things she’s bound to deliver.
Best Actress in a Musical
Natalie Dew, Bend It Like Beckham
Redefining the triple threat to singing, acting and scoring, Dew proved to be an effortlessly charming leading player in this film adaptation. Guileless, appealing and wonderfully warm, her performance was quite the surprise and a welcome anchor for a show that is still holding on to its place in the West End.
Honourable mention: Katie Brayben, Beautiful – The Carole King Musical
Cassidy Janson may have stepped into her shoes now but there was real joy for me in watching Brayben graduate to this leading role, having admired her work for a long time. And if the show itself isn’t the strongest in the West End, the sheer conviction of her performance level ensured it worked.