The third edition of Royal Court’s Living Newspaper moves online only, with some seriously fierce political writing this time around
“You want me stuffing my face in Pret A Manger so your city can feel real again”
The flexible and modular nature of the Royal Court’s Living Newspaper series means that it is sufficiently adaptable to cope with ever-changing lockdown restrictions. Previous editions had the option of being consumed either digitally or in-person at Sloane Square but this third edition is online only. #3
As a multi-authored, rapid-response foray into theatre-making, structured loosely around the section of a newspaper, it possesses an up-to-the-minute urgency that is rarely captured seen onstage. Pithy soundbites from Boris Johnson are torn apart (in the corking Crocus of Hope that forms the first page), the hollowness of Emily in Paris is exposed, and there’s variety in the vitriol too. Continue reading “Review: Royal Court’s Living Newspaper #3”
Living Newspaper #3 is written by Travis Alabanza, Gurpreet Kaur Bhatti, Nick Bruckman, Anupama Chandrasekhar, Zain Dada, Josh Elliott, Rabiah Hussain, Sami Ibrahim, Karen Laws, Eve Leigh, Chloë Moss, Anthony Neilson, Margaret Perry, and Rebecca Prichard.
The whole edition, which includes 15 filmed performances ranging from 2 – 15 minutes, is available to watch on the Living Newspaper Player until Sunday 11 April; so – much like an online paper – you can catch up on the news and supplements when it best suits you. Continue reading “News: writers and cast for Living Newspaper #3”
It is Sarah Kane’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 challenging of playwrights:
Photos: Tristram Kenton
My White Best Friend (and even more letters left unsaid) sees the Bunker Theatre start the process of going out in a blaze of glory
“It’s all we can do to listen”
There’s a couple of months before the Bunker Theatre closes its doors but it does seem a rather wonderful f*** you to bring back their inordinately successful mini-festival and sell out every night before the run even started. Developers may gain from taking over this space but as evidenced here in this kind of forward-thinking, thought-provoking production, London’s theatre ecology stands to lose a lot.
Co-curated by Rachel De-Lahay and Milli Bhatia (who also directs), My White Best Friend (and even more letters left unsaid) is a raucous piece of gig theatre, centred on a provocation to a range of cracking writers to write letters “that say the unsaid to the people that matter most”. Those letters are then read to a standing audience, sight unseen by different actors every night. And there’s a DJ-led afterparty too, even on a Monday night! Continue reading “Review: My White Best Friend, Bunker Theatre”
What first attracted you to new TV show Treadstone you might ask? I couldn’t possibly say *eyes wander upwards…*
“You will be a great soldier for our cause”
I hadn’t intended to watch Treadstone but the realisation that Brian J Smith was in it made it somewhat more appealing… Throw in Jeremy Irvine too and suddenly it proves very much relevant to my interests. It’s a new TV series located in the Bourne film universe, full of international spy capers and also a bit of timeline trickery as it looks both at the beginnings of the Treadstone black ops programme in the 1970s and its present-day activities and their ramifications.
The neatest trick in Tim Kring’s series is to decentralise the narrative, so instead of a Bourne, or pseudo-Bourne figure at the heart of this story, we’re following a whole raft of sleeper agents across the globe as they’re ‘reactivated’ into killing machines. So there’s vigour and variety in the untold action sequences, and a real sense of stories to be told as all of these people struggle with the realisation of what they are responsible for, even as that responsibility has been robbed from them. So lots to look forward to, including a number of British faces such as Jamie Parker and Tom Mothersdale, alongside the pretty boys 😉
Fancy a new Caryl Churchill play? Well here’s four of ’em. Glass. Kill. Bluebeard. Imp. impresses at the Royal Court
True story, I’d intended this review of Glass. Kill. Bluebeard. Imp. to be much more formally adventurous than my usual four paragraphs. But my coding ain’t up to scratch and real life intervened to take up time and so I’m just using normal words and format to express my admiration for this quartet of new Caryl Churchill plays.
Directed by James Macdonald, they’re an often extraordinary combination, circling around ideas of myths and stories with her customary precision and linguistic expertise. Married to the ingenuity of Miriam Buether’s set designs, each cannily different to the other as they loom out of the darkness of Jack Knowles’ lighting, it is a full-on auditory treat. And that’s before we even mention a cast that includes Deborah Findlay and Toby Jones. Continue reading “Review: Glass. Kill. Bluebeard. Imp., Royal Court”
So many of the recommendations for shows to see next year focus on the West End. And for sure, I’m excited to catch big ticket numbers like All About Eve, Come From Away, and Waitress but I wanted to cast my eye a little further afield, so here’s my top tips for shows on the London fringe (plus one from the Barbican) and across the UK.
1 Medea, Internationaal Theater Amsterdam at the Barbican
Simon Stone’s sleekly contemporary recasting of Euripides is straight up amazing. Anchored by a storming performance from Marieke Heebink, it is as beautiful and brutal as they come. It’s also one of the few plays that has legit made me go ‘oh no’ out loud once a particular penny dropped. My review from 2014 is here but do yourself a favour and don’t read it until you’ve seen it.
2 Macbeth, Watermill Theatre
2018 saw some disappointing Macbeths and I was thus ready to swear off the play for 2019. But the Watermill Ensemble’s decision to tackle the play will certainly break that resolve, Paul Hart’s innovative direction of this spectacular actor-musician team will surely break the hoodoo…
3 Noughts and Crosses, Derby Theatre, and touring
Pilot Theatre follow on from their strong Brighton Rock with this Malory Blackman adaptation by Sabrina Mahfouz, a Young Adult story but one which promises to speak to us all. Continue reading “20 shows to look forward to in 2019”
I round up some of the recent casting news, including Queen Margaret at the Royal Exchange, Wasted at the Southwark Playhouse, Measure for Measure at the Donmar and The Woods at the Royal Court.
Shakespeare wrote more lines for Queen Margaret than he did for King Lear yet we know very little of her. Jeanie O’Hare re-acquaints us with one of Shakespeare’s major but rarely performed characters in her new play Queen Margaret. In a production that draws on original language from Shakespeare, director Elizabeth Freestone and Jade Anouka as Margaret, retell an iconic moment in British History through the eyes of the extraordinary Margaret of Anjou. This captivating exploration of The Wars of the Roses seen through the eyes of this astonishing, dangerous and thrilling woman opens the Royal Exchange’s Autumn Winter 2018/19 Season.
Anouka is joined by Islam Bouakkaz (Prince Edward/Rutland), Lorraine Bruce (York), Samuel Edward-Cook (Suffolk/Clifford), Dexter Flanders (Edward IV), Helena Lymbery (Hume), Lucy Mangan (Joan of Arc), Roger Morlidge (Gloucester), Kwami Odoom (Somerset/Richard), Bridgitta Roy (Warwick) and Max Runham (Henry VI). Continue reading “Casting news aplenty!”
Although technically you don’t read a play you’re watching, the point still stands. Coulda been done in a fraction of the time and I still wouldn’t have really got the hype.
Photo: Stephen Cummiskey