The OnComm is the new award for online shows from across the UK (and beyond) and was introduced in
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”
“I go, and it is done”
They appear to be creatures of habit up in Sheffield. Just as big musicals pop up at Christmas, a high profile Shakespeare forms the centrepiece of their autumn schedules and powerless to resist once again, I made my way to the Crucible, this time for Macbeth. Last year’s Othello was an extraordinary success – John Simm’s Hamlet the year before somewhat less to my tastes – and the casting news of Geoffrey Streatfeild and Claudie Blakley whetted my appetite for what lay ahead in Daniel Evans’ production.
But part of the problem in investing too much expectation in anticipated performances means that one can end up blinded to the more general merits of a production through the haze of disappointment. And so it was here as the central casting just doesn’t seem to work. I have no problem at all with atypical interpretations of characters, such subversions often lead the way to sensational new insight, but I simply couldn’t get a handle on what was trying to be done here. Continue reading “Review: Macbeth, Crucible”
The latest play to open at the National Theatre is Burnt By The Sun, a story set in Russia, in the days just before Stalin did bad things in the Great Purge, of a revolutionary and his wife and family whose tranquil repose is rocked by the return of a former lover of the wife. The play was based on a film which won the best Foreign Language Oscar and the Grand Prize at Cannes, but I have to admit to not being familiar with it at all.
This play exemplifies for me one of the key strengths of the National Theatre does best: putting together high quality ensemble casts and allowing them to create the necessary atmosphere and feelings in which the play can unfold. Whereas it may feel that not an awful lot actually happens in the first half, I was swept up in the genuine camaraderie of the ensemble, especially in the group scenes around the table and the time simply flew by. Stephanie Jacob deserves a special mention for her comic turn as Mokhova the help, but all the actors really deliver here and set the scene for the events of Act 2.
Continue reading “Review: Burnt By The Sun, National Theatre”