The Black British Theatre Awards (BBTAs) is the UK’s first award show to celebrate the excellence and influence of Black performers and creatives within the UK theatre industry.
BEST DIRECTOR AWARD FOR A PLAY OR MUSICAL
Anthony Simpson-Pike, Lava, Bush Theatre
Miranda Cromwell, and breathe…, Almeida Theatre
Tinuke Craig, The Color Purple – at Home, Curve, in association with Birmingham Hippodrome
BEST MUSICAL DIRECTOR
Femi Temowo, and breathe…, Almeida Theatre
Ian Oakley, From Here, Chiswick Playhouse
Nadine Lee, Bagdad Cafe, The Old Vic
BEST PRODUCER AWARD
Almeida Theatre, and breathe…
Chris Steward and Shanay Holmes, West End Musical Celebration at Palace Theatre
Tanisha Spring, A Killer Party
BEST CHOREOGRAPHER AWARD
Dannielle ‘Rhimes’ Lecointe, The Sun, The Moon and The Stars, Theatre Royal Stratford East
Ingrid Mackinnon, Romeo and Juliet, Regent’s Park Open Air Theatre
Sarah Golding, Cruise, Duchess Theatre Continue reading “Nominations for the 2020 Black British Theatre Awards”
Jasmine Lee-Jones’s award-winning seven methods of killing kylie jenner transfers downstairs at the Royal Court
“You knew what you were doing when you posted that tweet”
After a successful run in the Jerwood Theatre Upstairs which garnered Alfred Fagon, Evening Standard and Critics’ Circle Most Promising Playwright Awards, Jasmine Lee-Jones’ seven methods of killing kylie jenner transfers downstairs at the Royal Court in striking form.
Provoked by a tweet from Forbes declaring Kylie Jenner to be a ‘self-made’ billionaire, Cleo unleashes a tirade via an anonymous Twitter account. As she goes increasingly viral, her pal Kara tries to talk her down off the ledge but it is clear that Cleo is only just getting started. Continue reading “Review: seven methods of killing kylie jenner, Royal Court”
“What would you do to take control?”
Fractured timelines can be an interesting way to tell a story – fragmented shards of drama shuffled in a non-linear narrative, forcing audiences to piece together a throughline to the truth, such as it may exist. But in these cases, we are very much at the mercy of playwrights actually providing enough information to reconstruct enough of a plot. And sad to say, I’m not too sure that Fiona Doyle’s Abigail actually does that.
That’s not to say that we need to be given all of the answers, to have everything spelled out for us completely, but Abigail remains inscrutably vague to the end. It would be a fascinating exercise to reorder the script here, reconstruct Doyle’s writing to see if that really is the case but in its current state, directed by Joshua McTaggart over the course of an initially intriguing hour, the play still proves frustratingly ephemeral. Continue reading “Review: Abigail, Bunker Theatre”
Thou metst with things dying,
I with things new-born”
It’s easy to feel a little jaded when it comes to Shakespeare, the same plays coming round with regularity and not always inspiring such great theatre. So I’m delighted to report that Michael Longhurst’s production of The Winter’s Tale for the Sam Wanamaker Playhouse is probably the best version of the play I’ve ever seen. The Kenneth Branagh Company’s The Winter’s Tale was a staid disappointment for me, previously the Crucible had let me down too but in the candlelit atmosphere on Bankside, something truly magical is happening.
It’s a tricky play to get right in its split of two very different worlds but where Longhurst really succeeds is in suggesting that Sicilia and Bohemia perhaps aren’t too separate at all. Modern designers often highlight the dichotomy between the chilly stateliness of Leonte’s Sicilia with the freewheeling japery of Polixenes’ Bohemia but in the simplicity of Richard Kent’s design, they’re both very much on the same sliding scale – psychological darkness pervading the light in both worlds, the promise of redemption ultimately illuminating one and the other too. Continue reading “Review: The Winter’s Tale, Sam Wanamaker Playhouse”
“Few love to hear the sins they love to act”
A New Year, a new chance for the Sam Wanamaker Playhouse, a venue that critics love to describe as beautifully atmospheric because they’ve never had to sit anywhere apart from the good seats that press agents put them in. For it is a difficult theatre for the regular theatregoer – recreating as it does the candlelit ambience of a 17th century indoor playhouse, it also has that (possibly) Jacobean feature of premium seating at over £60 a pop. At the other end of the scale, £10 standing spots are available in the upper gallery but there, one has to deal with considerably restricted views.
As a result, it’s thus been a theatre I’ve easily decided not to frequent that often – the levels of discomfort in the backless seats not endearing me much either – but the lure of the last Shakespeare play I’ve yet to see in Pericles and Rachael Stirling, John Light and Niamh Cusack in The Winter’s Tale has tempted me to bite the bullet. That said, I will be unflinchingly honest about the experiences, as it is a theatre where you want to be forearmed with as much knowledge as possible. For reference, I saw Pericles from standing spot D32 in the upper gallery. Continue reading “Review: Pericles, Sam Wanamaker Playhouse”