A feast of visiting drama, dance, comedy, family shows and music for all tastes and ages is heading to Chichester Festival Theatre for the Winter 2021/22 season.
We’re particularly proud to offer a new home-grown production: the revival of one of the best plays of modern times, John Patrick Shanley’s Pulitzer Award-winning Doubt: A Parable, directed by Lia Williams and starring Monica Dolan and Sam Spruell in their Chichester debuts. Continue reading “News: Chichester Festival Theatre announce Winter 2021/22 season”
Vivienne Acheampong, Adelayo Adedayo, Ray Emmet Brown, Ernest Kingsley Jnr, Tamara Lawrance, Rudolphe Mdlongwa, Mark Monero and Cecilia Noble have been cast in the UK premiere of Is God Is written by Aleshea Harris and directed by Royal Court Associate Director Ola Ince.
Is God Is by Aleshea Harris will run in the Royal Court Jerwood Theatre Downstairs from Friday 10 September 2021 – Saturday 23 October 2021 with press night on Thursday 16 September 2021, 7.30pm.
With set design by Chloe Lamford, costume design by Natalie Pryce, lighting design by Simisola Lucia Majekodumni, composition by Renell Shaw, sound design by Max Perryment, movement direction from Imogen Knight, choreography by Jordan ‘JFunk’ Franklin and special effects design by Susanna Peretz. The associate designer is Shankho Chaudhuri, the assistant director is Leian John-Baptiste, the dialect coach is Dawn-Elin Fraser and the fight director is Philip D’Orléans. Continue reading “Late summer casting news”
Series 1 of The Windsors proves that Hugh Skinner can do no wrong, nor Haydn Gwynne for that matter
“We’ve outgrown our usefulness like nipples on men”
Despite starring several of my theatrical faves, I’d never quite got around to watching The Windsors. But given that I’m off to see the stage show The Windsors: Endgame tomorrow, I thought I’d give Series 1 a whirl since it is on Netflix. And I have to say I absolutely frigging loved it.
George Jeffrie and Bert Tyler-Moore’s parody of the House of Windsor takes the form of a fast-moving soap opera, which means that the joke rate is phenomenal and as in the fashion of many a comedy show, if you’re not enjoying a particular turn, you don’t have to wait more than a few minutes before the next one appears. Continue reading “TV Review: The Windsors, Series 1”
Irvine Iqbal has launched a new project called Same Voices Unite, which aims to raise awareness of the impact of Covid-19 in India and to get the message through, he has helmed a star-filled video featuring West End performers as part of its main campaign.
The video will feature a performance of Dan Gillespie Sells and Tom Macrae’s ‘It Means Beautiful’, from West End musical Everybody’s Talking About Jamie, sung by a cast of more than 30 performers. Audiences of the video will be directed to the One Family charity donation page. Continue reading “It Means Beautiful, for India Covid Relief”
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”
Good things come to those who wait! I hadn’t booked for Young Marx at the brand new Bridge Theatre for a couple of reasons. I was still hoping that I might get a response to my email to the PR and despite a cast that includes the splendid Nancy Carroll and the delicious Oliver Chris alongside lead Rory Kinnear, Richard Bean just really isn’t my cup of tea. ‘Don’t you love farce?’ Not much my dear…
So when an email popped into my inbox offering a sneak preview of the show and an opportunity to be the first ever audience in the theatre for a pre-preview test run of the new venue and its facilities, then I knew it was meant to be. Turns out I do love a farce, at £7.50 a ticket. Continue reading “Thoughts on a visit to the Bridge Theatre”
1850, and Europe’s most feared terrorist is hiding in Dean Street, Soho. Broke, restless and horny, the thirty-two-year-old revolutionary is a frothing combination of intellectual brilliance, invective, satiric wit, and child-like emotional illiteracy.
Creditors, spies, rival revolutionary factions and prospective seducers of his beautiful wife all circle like vultures. His writing blocked, his marriage dying, his friend Engels in despair at his wasted genius, his only hope is a job on the railway. But there’s still no one in the capital who can show you a better night on the piss than Karl Heinrich Marx. Continue reading “Full cast announced for Young Marx”
“I would you were as I would have you be”
Emma Rice’s Summer of Love got off to a slightly sticky start at the Globe with a mystifying take on Romeo and Juliet from Daniel Kramer and as we move onto Twelfth Night, which she is directing herself, there’s a similarly uncompromising attitude in place. For the production reminded me nothing so much as a camp episode of Monarch of the Glen (sadly not Monarch of the Glum) and whilst it is often fun to watch, it’s not always the most effective treatment.
Rice’s iconoclastic approach is there from the get-go – a prologue set onboard the SS Unity before its shipwreck sees the company dancing merrily to Sister Sledge. And once in this decidedly Celtic Illyria, Orsino has a Lionel Richie mullet, Andrew Aguecheek is a would-be b-boy, serenades are played on cassette decks…why we’re in 1979, as good a time as any to explore cross-dressing hijinks of gender exploration. Continue reading “Review: Twelfth Night, Shakespeare’s Globe”
“It’s a little bit Punjab
And a little bit UK”
It’s been just about a month since Bend it like Beckham heard the final whistle at the Savoy so I thought I’d cast a reviewer’s eye over the Original London Cast Album which was released last year. I’ve long been a fan of Howard Goodall’s work and this score was no exception, hooking me from the first time I saw to the show to the second and the third with its fusion of his own inimitable British style and the Bhangra influences drawn from Gurinder Chadha’s book, aided in authenticity by co-orchestrator Kuljit Bhamra.
Recorded live in the theatre (although there’s minimal sound from the audience until the very end), it sounds a real treat and it really does give the best of both the worlds it represents. Whether individually as in Sophie-Louise Dann’s ‘There She Goes’ or Rekha Sawhney leading the bridal party in the gorgeous Punjab lament ‘Heer’, or multiculturally as the majority of the music, it is always highly tuneful and musically interesting, highlighting styles of music that are too rarely seen in the West End. Continue reading “Album Review: Bend it like Beckham (Original London Cast Album)”