The finalists of The ONCOMMs 2022

The OnComm is the new award for online shows from across the UK (and beyond) and was introduced in
May 2020. 

LIVE STREAM
GAYATRI The Royal Queen Consort of the Majapahit Kingdom /  7evenotes Production / Alexander Triyono & mhyajo / Available via https://res.cthearts.com/event/34:3465/34:59436/
The Black CatThreedumb Theatre / The Space / Unfortunately this show is no longer available.
TrestleOVO Productions / Maltings Theatre / View until 10 April at https://maltingstheatre.co.uk/whats-on/trestle

RECORDED (DIRECT)
A Brief List of Everyone Who Died / Patch of Blue / Finborough / View at https://www.youtube.com/user/finboroughtheatre
Talking Gods (series of 5 plays) / Arrows & Traps / View at https://www.arrowsandtraps.com/talkinggods
Tomatoes Tried to Kill Me But Banjos Saved My Life / Keith Alessi / View at https://online.thespaceuk.com/show/tomatoes-tried-to-kill-me-but-banjos-saved-my-life
Touchy / 20 Stories High / View via https://www.20storieshigh.org.uk/show/touchy/ Continue reading “The finalists of The ONCOMMs 2022”

TV Review: Silent Witness Series 13

God-tier guest casting, daring deviation in the storytelling and Leo getting hit on the head, Series 13 of Silent Witness is probably one of my absolute faves 

“Your kind think you’re some kind of heroic martyr, you won’t be told or fobbed off. If people get dragged into your mess then it’s jolly unfortunate but you don’t give a shit because you have right on your side”

Now this is the good stuff. Series 13 of Silent Witness opted to shake things up just a little more than usual and the result, for me, is one of their most effective seasons to date. For one, having Leo be the one who is attacked rather than Nikki is (three series on the trot in case you’d forgotten) is just nice for the variety but adding a note of frailty into this most sanctimonious of characters works well.

It also sets up a cracking episode which sees Nikki and Harry at loggerheads as they take the same evidence and end up with wildly different conclusions which they’re then forced to defend in court. And a campus shooting episode, whilst having hardly anything to do with forensic pathology, is brilliantly conceived and chillingly executed. Fresh takes on the storytelling really makes this series feel alive. Continue reading “TV Review: Silent Witness Series 13”

Film Review: Dolittle (2020)

Sadly falling short of the ‘so bad it is so very good’ mark, this Robert Downey Jr-led Dolittle is just bafflingly, boringly bad

“That dog is licking the queen”

At that point where I couldn’t quite lift my arm to find the remote, I ended up watching Dolittle through apathy more than anything else, ending up rather transfixed by how bad it was and hoping in vain it would tip over into something camply enjoyable. Reader, it won’t surprise you to learn it did not.

The film’s troubled production history is no secret – substantial reshoots and a ballooning budget ensured it was a commercial failure.  But what is incredible is how obvious, and obviously bad, all the tinkering is. Having lost faith in original director and co-writer Stephen Gaghan – a left-field choice to begin with – the subsequent attempts to rework it are just the worst kind of butchery. Continue reading “Film Review: Dolittle (2020)”

Review: Doctor Who – Time Fracture

It’s the end of the universe – so of course Doctor Who – Time Fracture is utterly chaotic. It is also rather good fun.

“The gateway is active”

Time Fracture isn’t the first time Doctor Who has ventured into the world of immersive theatre. Punchdrunk’s The Crash of the Elysium was a triumph a decade ago so it’s about time (and relative dimension in space) that we got another and fresh from the success of their Gatsby experience, Immersive Everywhere have launched this huge new immersive endeavour. A time bomb has been dropped in 1940s London but its cataclysmic explosion is only due in the near future. Only us – a team of volunteers recruited by the Doctor – can save the day – sonic screwdrivers at the ready.

The need for #spoilers means that I can’t give too much away but the show takes full advantage of the cracks in time caused by the bomb falling to offer up vignettes that involve major historical figures, explore far-future technological innovation and nod to the rich and varied legacy of Doctor Who and its iconic characters. I can safely say I had two properly wish-I-could-hide-behind-the-sofa moments – one of which is ingeniously staged late on – and two hairs-on-end moments, one of which reconfirming just how brilliant Jodie Whittaker’s Doctor is. Continue reading “Review: Doctor Who – Time Fracture”

The finalists of The ONCOMMs 2021

The OnComm is the new award for online shows from across the UK (and beyond) and was introduced in
May 2020. 

1. Recording pre-lockdown (direct)
(i.e. with little or no editing)
Going Viral / Daniel Bye
Hysteria / Spymonkey
Jane Clegg / Finborough Theatre
The House Of Bernarda Alba / Graeae

2. Recording pre-lockdown (edited)
(i.e. with significant editing)
Bubble / Theatre Uncut
Cyprus Avenue / Royal Court & Abbey Theatre
SeaWall / Simon Stephens
The Encounter / Complicité Continue reading “The finalists of The ONCOMMs 2021”

The 2013 Manchester Theatre Awards nominations

Best Actor
David Birrell, Sweeney Todd, Royal Exchange
Kenneth Branagh, Macbeth, Manchester International Festival, St Peter’s Church
Nigel Cooke, To Kill A Mockingbird, Royal Exchange
Paul Webster, Sugar Daddies, Oldham Coliseum
Jack Wilkinson, David Copperfield, Oldham Coliseum

Best Actress
Marianne Benedict, Chicago, Oldham Coliseum
Cush Jumbo, A Doll’s House, Royal Exchange
Gillian Kearney, Educating Rita, Library at The Lowry
Alex Kingston, Macbeth, Manchester International Festival, St Peter’s Church
Maxine Peake, Masque Of Anarchy, Manchester International Festival, Albert Hall
Shannon Tarbet, To Kill A Mockingbird, Royal Exchange Continue reading “The 2013 Manchester Theatre Awards nominations”

Review: King Lear, Minerva

“I am even the natural fool of fortune”

 
Poly over at The Other Bridge Project asks the question “can you have too many King Lears” and though she’s adamant that you can’t, I have to say my heart sinks a little every time a new production is announced, whether here in Chichester with Frank Langella or Simon Russell Beale’s forthcoming turn for the National Theatre early next year. But the enduring reputation of Shakespeare’s late classic attracts the kind of casts that are irresistible to a theatrical junkie like me and so I find myself a glutton for punishment going back again time after time.

And though I’d love to say that Angus Jackson’s production, running just a short while in the Minerva before transferring to New York, was worth the effort, it didn’t really do it for me. It is a hugely Lear-centric version of the play, placing Langella’s titanic monarch even more at the heart of the play than usual, and recalibrating the journey he takes as madness seizes him after a bit of a rum do with his three daughters. It’s a striking move, and one which showcases Langella well, but it does come at the expense of the richness of the ensemble.

Continue reading “Review: King Lear, Minerva”

Review: The Heart of Robin Hood, Royal Shakespeare Theatre

“A forest is owned by no man”

I don’t have any memory of booking The Heart of Robin Hood at all! But sometime late in November I did indeed book it and failed to put it in my calendar – I may well have been drunk, I most definitely was tired! – and it was only The Trainline sending me a reminder about the train journey that alerted me to what I should be indeed be doing this Thursday afternoon.

The most impressive thing about the production, that is evident from the off, is Börkur Jonsson’s set design which has to rank as one of the most inventive uses of a thrust stage ever. A huge branch of a tree is suspended above a wide green swathe of astroturf which slopes from on high at the back of the stage, down into the auditorium. Thus the forest of Sherwood is evoked, with platforms and sections peeling back to suggest the castle of the nobles. It really is an ingenious piece of staging, endlessly delightful in the constant little reveals and surprises it came up with and even in the sheer fun of seeing people slide down into view from the top. Continue reading “Review: The Heart of Robin Hood, Royal Shakespeare Theatre”

Review: Realism, Soho Theatre

“What good is it going to do you, moping about your flat all day”

New Artistic Director for the Soho Theatre, Steve Marmion, has chosen an ambitious way to start his tenure using one company to perform two plays – one English premiere of an Edinburgh hit and one new commission – both exploring matters of the mind and sanity. The first of these is Anthony Neilson’s Realism, the story of a man who wants to spend his Saturday doing ‘f*** all’, just curled up on his sofa. This he does, but what Neilson explores is that even in the act of physically doing nothing, the mind remains highly active and can take us on a marathon of a journey that can be just as exhausting as actually running one.

So the tiniest action our protagonist carries out: opening the post, putting a load of washing in, making some toast, triggers memories and trains of thoughts, delving into the full gamut of the emotionally bruising recent past, sexual fantasies and as far back as childhood but also spinning off into fantastical moments and imagining his own funeral. The hugely endearing Tim Treloar takes us on his journey with great skill, negotiating the peaks and troughs as his conscious and sub-conscious clash in the most bizarre of ways. Continue reading “Review: Realism, Soho Theatre”

DVD Review: Macbeth

This filmed version of Macbeth follows on from the well-received Hamlet, starring David Tennant and Patrick Stewart, that was also captured for posterity but given the filmic treatment rather than just recorded on stage. The entire adult cast, including Stewart and Kate Fleetwood as the murderous couple, from the original Chichester production reunited to film this in high definition in the gloomy tunnels and bunker-like rooms at Walbeck Abbey.

Director Rupert Goold relocates the action to the Cold War Era thus making war-torn Scotland something closer to Stalinist Russia:, the hallmarks of fascism are ever-present with giant posters of the ruler dominating rooms, a police state mentality prevailing with torture used to maintain fear and control over the people as the Macbeths seek to sate their bloodlust and desire for the crown through any means necessary.

I’m not too sure how I feel about Stewart as an actor, something about him just turns me off, but he is undoubtedly impressive here, demonstrating a clinical control over the verse and playing the dictator-like ambition turning to paranoid desperation with conviction. Fleetwood’s Lady Macbeth was chillingly effective as the driving force behind this blood-thirsty ambition, portraying a real malevolence that curdles inside her as the loveless marriage begins to crack.

Goold’s assignment of the weird sisters as surgical-masked nurses who are frequently seen around the edges of scenes puts a stronger emphasis on the supernatural side of things, suggesting the ominous inevitability of his fate and perhaps even manipulating it themselves. Polly Frame, Sophie Hunter and Niamh McGrady are all excellent though and the visual and sound effects employed on their performances adds an extra layer of disturbing menace.

As ever, Macduff and Malcolm’s killer scene dragged interminably, but there were nice performances from Tim Treloar as a bookish Ross, Suzanne Burden as the butchered Lady Macduff. But what shines as the biggest benefit to the whole thing is the use of close-ups to really capture the nuances of performances that could well have escaped people on the front row, never mind up in the gods. There’s a level of detail that one is allowed to observe here, that really elevates this from a mere recording of a staged production and demonstrating where this format has a clear value and shouldn’t just be dismissed as ‘no substitute for the real thing’.

Yes, this is not the same thing as going to the theatre but nor is it pretending to be and instead offers an opportunity that couldn’t really be equalled whilst sat in the stalls and made this an interesting and significant thing to watch.