It is Caryl Churchill’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 remarkable of playwrights:
Photos: Tristram Kenton
Best Drama Series
The Crown (Netflix)
The End of the F***ing World (Netflix/Channel 4)
Gentleman Jack (HBO/BBC One)
Giri/Haji (BBC Two)
Chernobyl (Sky Atlantic)
A Confession (ITV)
The Victim (BBC One)
The Virtues (Channel 4) Continue reading “2020 British Academy Television Awards nominations”
I mean, just look at this absolute treasure trove of theatrical talent!
I’m off to listen to Patsy Ferran read Tom Wells, and Gabby Wong read Alexi Kaye Campbell, and Sarah Niles read Winsome Pinnock and…and…
“I don’t want realism, I want magic”
The thing is, if you’re going into a Sarah Frankcom/Maxine Peake collaboration with any notion of it being traditional, then more fool you. The pair have worked together several times (notably on The Skriker and Hamlet) and are clearly interested in advancing their creative vision, undoubtedly a feminist one but equally excitingly, an utterly adventurous one. So to label their take on Tennessee Williams’ A Streetcar Named Desire gimmicky is reductive, to bemoan its lack of specificity narrow-minded, to characterise its colour-blind casting thus a fucking disgrace. FYI Cavendish, if the actress playing Stella had been white, they still wouldn’t have been “related”, it’s called imagination.
Having got that off my chest, I should say that this is a remarkably intense Streetcar and it is one that requires dedication throughout its 3 hours+ running time, Frankcom’s key conceit taking its time to play out as Peake charts Blanche DuBois’ startling decline in the New Orleans abode of her sister Stella and her virile but violent husband Stanley. Uprooted from any over-riding sense of particular time and space, Fly Davis’ design has a strangeness that takes some getting used to, its expressionistic flourishes framing some stunning imagery. And this increasingly hallucinatory atmosphere is played up by the presence of Creole figures that haunt Blanche, floating around the edge of her consciousness more and more as her anxieties increase. Continue reading “Review: A Streetcar Named Desire, Royal Exchange”
“Foster’d, illumin’d, cherish’d, kept alive”
I’ve become a bit of a dab hand at making work trips coincide with theatrical opportunities and as with last year, the stars aligned to put me in Newcastle at the same time as the RSC, and to see a Shakespeare play I’d never seen before as well (only six more to go and one of those will come this weekend). Two Gentlemen of Verona doesn’t get anywhere near as much exposure as some of the others, a recognition that as an early play – possibly even the first he ever wrote – it bears the marks of a playwright still very much working his way into his craft.
It also plants the seeds of what would grow into several of his hallmark devices – the liberating freedom of the forest to solve the problems of the town or court, a woman dressed as a man, sudden and random declarations of love – but they’re deployed here with a little clumsiness as the quartet of lovers here wind their way through the trials and tribulations of love’s young dream. Where Simon Godwin’s production succeeds though is in embracing these issues and shifting the tone of the play from a comedy to more of a problem play. Continue reading “Review: Two Gentlemen of Verona, RSC at Theatre Royal Newcastle”
“I wasted time, and now doth time waste me”
I am aware that I’m flying in the face of received wisdom here but I really wasn’t a fan of the RSC’s Richard II. The announcement of David Tennant in the leading role ensured its sell-out success (regardless of the actual strength of the production) and its transfer to the Barbican after its initial run in Stratford-upon-Avon likewise proved to be the quickest of sellers. Its critical notices have been close to superlative too, so the level of expectation was certainly high.
But for all of this, I found Gregory Doran’s production to be largely quite dull, it hardly ever provoked excitement or even piqued my interest in the slow-moving telling of its tale of regime change and the corrosive effects of absolute monarchy on the individual. The inferences of a Christ-like demeanour to this King are heavily played and Tennant laps this up, irascible and irritable throughout and increasingly given to thoughts of his own divinity. Intentional perhaps, but hard to like. Continue reading “Review: Richard II, Barbican”
“Everywhere they curse the name of Boris”
The instinctive reaction when one hears of a production of a lesser-known work by a well-known writer tends to be one of healthy scepticism, as one waits to find out whether there was a good reason for its relative obscurity. But sometimes there are mitigating circumstances and Alexander Pushkin’s 1825 play Boris Godunov – receiving its first ever professional production in English here at the Swan Theatre – sufficiently provoked the ire of the state censors so that it was 30 years after his death before it was first approved and even then, continued political pressure ensured its limited impact.
The uncensored version was finally translated by Adrian Mitchell, premiered at Princeton in 2007 and selected now by Michael Boyd to mark his swansong as AD at the RSC, as part of the ensemble-led globetrotting A World Elsewhere season. And one can see why the Russian authorities wouldn’t have taken too kindly to Pushkin’s satire, indeed still to this day, as wrapped up in the tale of men lying, cheating and murdering their way to become Tsar in the late 1590s is an excoriating indictment of the Russian ruling elite. And what Boyd teases out in this fast-moving version, is that such autocratic leadership is seemingly endemic in this country and so its resonances play out right up to the current day.
Lloyd Hutchinson is an exhilarating presence as the titular Boris, whose increasingly wearied Ulster tones show the weight of a wrongfully seized crown as rumours swell that he murdered the old Tsar’s young heir Dmitry to secure his own place on the throne; Gethin Anthony has a striking energy as the monk Grigory who later grasps the chance to imitate Dmitry and manipulate his way into the hearts and mind of the people and thus grab power for himself, his quicksilver shifts in mood revealing a thrilling emotional instability; and there’s great work from Lucy Briggs-Owen’s pragmatically covetous Polish princess and from James Tucker and Joe Dixon as key courtiers who never allow anything as small as significant political differences to their leader to get in the way of their own advancement.
Boyd keeps his staging to a minimum on the thrust stage of the Swan, which highlighted his main conceit of the various costumes from different Russian ages hanging at the back of the stage, the players slowly working their way through the wardrobe to reach the Putin-inspired suits of the final scene. And this motif of the changing clothes also allowed for the production’s most striking moment in its evocation of battle-scenes through the beating of coats on the floor, surprisingly effective in its stirring simplicity and indicative of the extremely tight ensemble. John Woolf’s music has a similar unfussy quality that keeps it hauntingly moving and fans of stage gore won’t be disappointed with some grisly moments.
I was kindly invited as part of a bloggers’ event which meant I was lucky enough to get a Q+A session at the end of the show which was lots of fun and highly illuminating in a number of areas: the reality of the experience of actors in a rep season, the relationship with the audience in the open space of the Swan (which brought to mind something of the groundling experience at the Globe for me), the Shakespearean connections that many others were able to draw with Pushkin’s work, and the interesting note that this wasn’t intended to be a comedy but rather that the black humour came naturally through the process of putting it together. Boris Godunov is indeed funnier than one might expect but it also contains two powerful studies of the corrosive effects of chasing power which are superbly brought to life by Hutchinson and Anthony.
Running time: 2 hours (without interval)
Programme cost: £4
Booking until 30th March
There are so many short films out there featuring so many actors that I like that I found it impossible choose my favourites…so here’s a second set for your delectations, there may well be more to come!
The main reason I started looking at short films was after having been sent this little beauty which was a finalist in the 2010 Electric Shorts competition. I Do stars both Julian Ovenden and Aden Gillett so it should be clear why someone thought it relevant to my interests, but it is actually a really well put together little film by Duncan Cargill. It looks good, it is sexy and fresh and wittily clever all within less than three minutes. If you only watch one of these films, I’d make it this one! Continue reading “Short film reviews #2”
“Were it not better…that I did suit me all points like a man”
As You Like It is one of those Shakespeare plays that seems to pop up most regularly at the moment, so much so that its mere mention makes my heart sink a little. I quite like the play but it is not one of my favourites and so had been intending to give the many productions appearing all over the show a miss this year. The best intentions etc etc no willpower blah blah meant that I couldn’t resist popping into the Royal Exchange to take in this modern-dress version.
Chief of my reasons was the casting of Cush Jumbo as Rosalind: she was a highlight in the Pygmalion I saw at the same venue last year and I suspect she is an actress destined for big things. She is excellent here, at her best when disguised as a street-smart Ganymede, peppering her lines with hip-hop slang and becoming terrifyingly convincing as an awkward teenage boy. A terrific performance and definitely one to watch. Continue reading “Review: As You Like It, Royal Exchange”