“It’s because you love him too much”
So a slightly odd position to be in, as we saw Harry Potter and the Cursed Child Parts 1 and 2 nearly 7 weeks ago at their first previews. And with the #keepthesecrets campaign already in full force then, I didn’t write up a review, opting instead for this preview of sorts. And even now, I’m loathe to write too much about it, for it really is the kind of play, and production, that benefits from the multiple elements of surprise contained within.
And it really is packed full of them, from all aspects. Based on an original new story by JK Rowling, Jack Thorne and John Tiffany, Thorne’s play revels in the richness and full depth of the Harry Potter universe to the point where the named cast are described as playing “roles include…” so as not to spoil what’s to come. This does have the knock-on effect of making this a play not really suitable for newcomers but I can’t imagine too many of them will have booked! Continue reading “Review: Harry Potter and the Cursed Child, Palace – totes spoiler free!”
“How is that even possible?!”
Well it’s finally here, Harry Potter and the Cursed Child Parts 1 and 2 have landed at the Palace Theatre in a blaze of insane publicity and media coverage desperate for a touch of that JK Rowling magic to drive web traffic. In some ways, I’m no different (hence this post!) but in one crucial way I do have the advantage – I’m one of the lucky audience members who has now seen both shows, along with the one and only scene-stealing appearance of Sprocket the owl.
It’s no secret that Rowling is asking people to #KeepTheSecrets and there’s always an interesting tension about whether or not one should observe an embargo when you’ve paid for your ticket (a whole £10 per show too, we weren’t going crazy!). So for now, I’m leaving you with this little collection of teasers about some of my favourite things from the show and be warned, they do increase in mild spoilerishness (mostly about staging, the final E is the one to avoid if you’re not sure…forgive me JK!). Continue reading “Preview: Harry Potter and the Cursed Child, Palace”
“How long have you wanted to be a singer?
‘Since I was a kid’”
I don’t think even now I really believe that the kids in the film of Bugsy Malone aren’t actually singing – like with Father Christmas and the future for Wigan Athletic, I choose to believe. Fortunately, there’s no such doubt in Sean Holmes’ production of the show, written by Alan Parker with music and lyrics by Paul Williams, a mammoth run of which has been chosen to inaugurate the newly refurbished Lyric Hammersmith. It’s the first professional production in over a decade of this inimitable Chicago gangster classic and Holmes and children’s casting director Jessica Ronane have pulled together a group of exceptionally talented youngsters who sing live, dance, act and fire splurge guns aplenty
Having seen the show twice now, it is remarkable how different the energy was between the two sets of child performers I got to see, they’ve clearly been encouraged to establish their own mark on their roles and it’s a joy to behold. Max Gill’s Fat Sam is an absolute scene-stealing delight, absolutely nailing the comic timing and slapdash slapstick of this hapless boss whereas Sasha Gray captured more of the attention as a supremely confident Bugsy in his group; Thea Lamb’s achingly soulful voice fills her Blousey full of longing, compared to a perkier turn from Zoe Brough; and I couldn’t pick between Asanda Jezile and Samantha Allison as Tallulah, both shining as this most sardonic of songstresses. Continue reading “Review Bugsy Malone, Lyric Hammersmith”
Best New Play
King Charles III by Mike Bartlett – Almeida / Wyndham’s
Taken at Midnight by Mark Hayhurst – Theatre Royal Haymarket
The Nether by Jennifer Haley – Duke of York’s
Wolf Hall / Bring up the Bodies by Hilary Mantel, adapted by Mike Poulton – Aldwych
Best New Musical
Beautiful – Aldwych
Here Lies Love – National Theatre Dorfman
Memphis – Shaftesbury
Sunny Afternoon – Hampstead / Harold Pinter
A Streetcar Named Desire – Young Vic
A View from the Bridge – Young Vic / Wyndham’s
My Night with Reg – Donmar Warehouse / Apollo
Skylight – Wyndham’s
The Crucible – Old Vic Continue reading “2015 Laurence Olivier Awards nominations”
“I’ve read the studies. No one has been able to draw a conclusive correlation between virtual behaviour and behaviour in-world.”
Just a quickie for this revisit to US playwright Jennifer Haley’s The Nether, first seen at the Royal Court last summer, which has now transferred to the Duke of York’s and as my colleague for the afternoon said afterwards, isn’t it great to see plays like this with productions like this in the West End. Weighty subjects like the abdication of responsibility in the digital age and the morality of sexual conduct online when it is ostensibly make-believe or “outside consequence” as one character puts it, and a production that reflects its Sloane Square origins in reuniting almost the entire cast without succumbing to big-name casting.
My original review can be read here and it still stands. Es Devlin’s design and Luke Halls’ video work look even better in the larger theatre, hugely slick both in the cool technological sweep of its 2050 setting but also in the elegant evocation of its online world, The Hideaway, where the mind is left to run riot as to what people might get up to in there. Amanda Hale and Stanley Townsend maintain their coolly combative partnership as law enforcer and online maestro respectively and there’s alternately skin-crawling and heart-breaking work from opposite ends of the age spectrum from David Calder and Zoe Brough/Isabella Pappas/Jaime Adler/Perdita Hibbins* (delete as appropriate).
Running time: 80 minutes (without interval)
Booking until 25th April
I realise I’m just adding (belatedly) to the plethora of 2015 features already published but so many of them trod the boringly familiar ground of forthcoming West End shows (and in the Evening Standard’s case, managed to recommend booking for three shows already sold out from their list of six). So I’ve cast my net a little wider and chosen a few random categories for just some of the shows I’m recommending and looking forward to in 2015.
Continue reading “Looking ahead to 2015”
“Just because it is virtual doesn’t mean it isn’t real”
There are times when an age guidance notice can seem like mollycoddling, but there are others when they are truly justified. The UK premiere of Jennifer Haley’s play The Nether by Headlong and the Royal Court is most certainly one of the latter cases, recommended for over 18s only as one of the more disturbing plays we are likely to see this year. The play is one of the more devastatingly effective looks at how the internet has shaped the way we live our lives and how society is struggling to keep up with, and govern, this fast-changing world. Writing now, a few days after seeing it, it still haunts my mind – a combination of Jeremy Herrin’s stunningly mounted production and a searingly brutal play.
Haley’s ‘Nether’ is her futuristic version of the internet where virtual reality has been fully integrated, so people are able to create their own realms like webpages. The playwright pushes that to the extreme in ‘The Hideaway’, a world created by Stanley Townsend’s Sims for him and other like-minded souls to act out their paedophiliac tendencies without actually committing any crime as it currently stands. Young detective Morris, Amanda Hale, has hauled Sims in for questioning though as she wants the details of the whole thing so she can shut it down, arguing that even online realms need to be policed, that all our interactions lead to our deeper understanding of the rules of the world. Continue reading “Review: The Nether, Royal Court”