Rev Stan's theatre blog

That was January for Stan in theatre-land

Well what a jam-packed theatre month that was. One really interesting and exciting casting announcement was that Jonjo O'Neill is take on Richard III for the RSC this year. And then there was the news that the V&A is giving some of its play recordings an airing on the big screen. (Trevor Nunn directed, Ben Whishaw starring Hamlet was last Sunday but plenty of other gems still to come, definitely worth a look - and it's free.) 

There was also talk of Prof Snape (other Alan Rickman roles do exist) treading the West End boards once again, which really would be a treat. 

The West End also bid farewell to Jerusalem although its star Rylance has said he would be interested in revisting the role of Rooster but not for a while. The end of the production was marked by the uncermonious chopping up of Roosters caravan so it would fit in the back of a lorry.

Doing my bit for the arts I saw 11 plays and there was certainly an interesting mix although nothing quite stood out enough to get five Stan stars. 

Of my two favourites the first was Constellations at Royal Court upstairs which saw the fab Rafe Spall and Sally Hawkins using beautifully nuanced performance to examine choice vs pre-destination. It finishes this Saturday but is all sold out and from stories I hear of Monday scrambles for day seats, the queue for returns is likely to be long.

And the second fav was Execution of Justice at Southwark Playhouse which used a cast of many to cleverly re-enact the trial of Dan White who murdered Harvey Milk using a verbatim script. A thought provoking and affecting production but you'll have to take my word for it as it finished last week.

My least favourites of the month were The Changeling at the Young Vic which I felt was trying a little too hard to be contemporary and symbolic for my liking but seems to be getting some quite good reviews so don't take my word for it. It runs until February 25. And The Tempest at the White Bear which had a very irritating Miranda.

February is not going to be quite so jam packed (there are fewer days for a start) but I'm already excited about The Way of the World at the Sheffield Crucible and In Basildon at the Royal Court. 

Sir Trevor Nunn introduces V&A Hamlet screening and studying Ben Whishaw's performance a second time

The first and only time I've seen what I regard as the definitive Hamlet, was on a small telly with headphones in the V&A theatre and performance archive nearly three years ago. As part of the archives 20 anniversary celebration they are showing a selection of the plays  on a big screen and today was said definitive Hamlet, the Old Vic's 2004 production starring Stan fav Ben Whishaw and directed by Sir Trevor Nunn, who braved the snowy weather to introduce the recording.

In what he claimed was an unprepared speech, he talked about how this production came into being, a production which sees not only the protagonist played as a 19-year-old but also his fellow students, mother and uncle as much younger than theatre-land normally casts.

Previously unaware that the recording existed (the archive is for national record not commercial purposes) Sir Trevor seemed genuinely pleased to have the opportunity to see it again: "Theatre is usually like drawing in the sand, the waves come in and wash it all away so there is nothing left to see."

At the time Hamlet was playing at the Old Vic negotiations were ongoing about making a TV version but these came to nothing.

Now the story of how he got the idea for a young Hamlet began when he was what he describes as "a precocious 18-year-old, or rather a more precocious 18-year-old". He put on a production of Hamlet with a company of teenage actors and felt then that the play was always about this age group.

Ten years later he directed Alan Howard in the lead role for the RSC. Howard was then in his early 30s and Nunn realised that what he was putting on "was a conventional production".

"Theatre history decrees that Hamlet is played by an actor in their 30s or even 40s and we've grown accustomed to that," he explained. "In the 19th century touring companies the lead actor, who would naturally be given the part, would always be of a certain age."

One for the Ben Whishaw fans: The Pride interviews and clips

Haven't come across this one before. It's Alexi Kaye Campbell, Ben Whishaw, Andrea Riseborough, Hugh Dancy and Adam James all talking about The Pride, what it's about and what it's like performing.

It's bringing back very fond memories of seeing the play and my trip to New York. And also making me wonder what Alexi is working on at the moment. (And when Mr W is going to get back onto the stage again, of course.)

 

 

V&A to screen theatre video recordings from the archive and Stan is very excited

If you've never booked to see a play recording in the theatre video archive at the V&A museum it is certainly an interesting experience shaped, quite naturally, by an environment designed for researchers rather than enjoying theatre.

But soon, for a selected number of plays, there will the chance to see recordings in comfort, on the big screen in the museum's posh education wing.

The V&A's collection of theatre recordings is just  bursting with plays I missed and would love to see that it makes me hyperventilate a little just reading about what they have. 

Nine plays have been chosen for the first season of public screenings starting with Aladdin at the Hackney Empire in 2010 on Jan 22.

Naturally the play I'm most excited to see is Hamlet at the Old Vic with Ben Whishaw from 2004. I've seen it on the small telly in the archive but to watch it on a big screen is an opportunity I can't miss. Also on my list is The Alchemist with Simon Russell Beale recorded at the National Theatre in 2006 and the Eve Best/Benedict Cumberbatch Hedda Gabler from the Duke of York's Theatre in 2005.

Each play will be introduced by either a member of the original cast or a museum curator. As Mr W always claims in interviews not to remember anything about any of his performances after he's finished them my money is on him NOT being an original cast member doing an intro for Hamlet. But a Rev can dream.  

Further plays are yet to be announce but you can view details of the schedule, timings and location on the V&A website

Dear Santa, please work your magic on London theatre in 2012

Hi Santa,

It's Christmas Eve and I know you are busy but fear not, I don't need any of this for tomorrow (the theatres are closed) but if you could sprinkle some of your magic over theatre-land I'd be most grateful.

I've been a very good theatre-goer his year. Have always remembered to turn my phone off, not eat noisey sweets or talk during the performance. 

Yours with much anticipation,

Rev Stan xxx

1. Ben Whishaw on stage. He's in the Evening Standard's 50 most influential theatre people list but he's been a bit tardy when it comes to stage work in fact 2009 was the last time he trod the boards in London. Believe he is free from March-ish. 

2. Royal Court membership administrators come down off planet theatre. Announcing the new season at 7am and putting the tickets on sale at 9am. Hello? People with real lives and jobs and busy friends to organise? Oh and while we are on the topic, emailing members that more tickets have gone on sale five hours after they've gone on sale...the reason for paying the annual membership is?

3. Richard Clothier back on stage because I'm a little bit in love with him.

4. Katie Mitchell remembers there is an audience watching or straining to watch and listen to her plays.

5. David Tennant back on stage but not a comedy as I don't think I could cope with the hysterically amused Dr Who fans again quite yet.

6. The front four rows of seats at the Lyttleton Theatre ripped out and burnt and replaced with three rows of comfortable and more thoughtfully positioned seats, preferably raked.

Philip Ridley revival and a new play for 2012... and some wishful thinking

My first introduction to Philip Ridley was thanks to Ben Whishaw appearing in Leaves of Glass at the Soho Theatre in 2007 (and the first time I saw Mr W on stage). It sparked an interest in Ridley's work that is yet to wane. I liked the gritty realism, laced with a touch of the fantastical.

He has a reputation for writing controversial pieces - Leaves of Glass is fairly sedate, I'm led to believe, from what I've read about his other work. Mr W appeared in Mercury Fur in 2005, described by The Stage as a 'theatrical thump in the solar plexus', and it remains top of my list of Ridley plays I've yet to see - I've been slowly ticking off his back catalogue as they reappear.

This year I saw his new play Tender Napalm, which certainly reaffirmed my love of his writing. So naturally I'm excited to read that there will be a double dose of Ridley next year, a revival of Pitchfork Disney at the Arcola in January followed by a new play, Shivered, at the Southwark Playhouse in March.

Pitchfork comes from way back in the archive, 1991 it was first performed, too early to read reviews online but it's known for heralding a period of theatre dubbed the 'nasty nineties'. 

Shivered sounds equally intriguing and a return to the grim, gritty futuristic setting of plays like Pitchfork and Mercury. Naturally I'm reaching straight for the plastic fantastic to book tickets.

Casting hasn't been announced for either play but I'm wishing fervently that Ridley and Whishaw work together for a third time (it's been two years now since he was on the London stage). If that does prove true just remember where you read it first. And no, I definitely do not have any inside knowledge.

Picture is of Ben Whishaw in Mercury Fur

 

I'm not the only one questioning the age of recent Hamlets

Just seen this little piece by Sebastian Shakespeare in the Evening Standard tagged onto the bottom of some briefs:

Sheen shines

Michael Sheen's acclaimed Hamlet offers eloquent reproof to Uncle Monty's self-pitying refrain in Withnail & I: "It is the most shattering experience of a young man's life, when one morning he awakes, and quite reasonably says to himself, I will never play the Dane." Sheen, aged 42, is not by stretch of reason or imagination a young man.

There has been a fashion for older Hamlets in recent years, with Jude Law, David Tennant and Rory Kinnear taking to the stage. Sheen is a fine actor but I'm not sure how I will be able to suspend enough disbelief to imagine him as a youth. The best Hamlet I've seen was 22-year-old Ben Whishaw in Trevor Nunn's 2004 production. It was an utterly compelling performance and he spoke every word with clarity, conviction and feeling, as if he were uttering it for the first time. Whishaw had youth on his side, Sheen has experience. May the best man/boy win.

Although I must add that having recently seen Sheen's Hamlet, the off-the-wall production completely distracted me from my usual obsession with the age of Hamlet (I'm sure @glenpearce1 won't believe me).

Naturally I agree with his comment about Mr W and not just because he's my favourite actor. When I saw a recording of his Hamlet it was like the play finally clicked into place, in fact I called it my hallelujah moment.

The Last of the Duchess and the Ben Whishaw experience

I'm going to confess right from the start that it is going to be a little difficult to review The Last of the Duchess at the Hampstead Theatre because I had a certain favourite actor of mine sat right behind me and I'm sorry but I found that at little bit diverting.

I could write a whole post about the utter coincidence of it all but that would only really be interesting to me and probably two other people who feel the same way (ask nicely by email and and I might give you a moment by moment account of the evening ;0). So I'm going to launch straight into what thoughts I did have about the play.

It's based around a book that was written by Lady Caroline Blackwood  (Anna Chancellor) who went to interview the Duchess of Windsor, for The Times, when she was an elderly widow living as a reclusive in Paris. Once there Caroline comes up against Maitre Suzanne Blume (Sheila Hancock), the Duchess' formidable and controlling lawyer whose achilles heel is a snobbery that allows her to be easily flattered.

With Blume threatening to sue - or worse - for anything that isn't the most favourable report of the Duchess and blocking any access to the woman herself, Caroline begins to suspect that there is more to her than just an over protective friend. Is the Duchess still alive? Why won't Blume let anyone see her? Why are the Duchesses things being sold off? But then Caroline likes a drink in a 'carry a bottle of vodey in a handbag' sort of way, so are her suspicions the irrational thoughts of an alcoholic?

It has the makings of a great mystery and also has it's laugh out loud moments. Of course it is very well acted (aside from a handful of line fumbles) as you would imagine from such an experienced cast. It is engaging more in an amusing way than as a thriller. And maybe this is the problem.

In which Stan tries to get Ben Whishaw a job at the Propeller Theatre Company

Dear Mr Hall,

You've got an all male Shakespeare company, right? Need any new actors?

Well just in case you do, let me introduce you to Mr Ben Whishaw. He's done a bit of Shakespeare, played Hamlet once, directed by Trevor Nunn - have you heard of him? And he donned moobs to play Ariel in a film of The Tempest which is like extreme cross-dressing.

He's also played Konstantin in The Seagull which everyone says is like Hamlet so that must count too.

Aside from experience, he's also quite slight of build so could definitely play girls (he'd be perfect for Juliet) and doesn't seem to eat much so would be cheap on tour.

But most of all he's keen. In fact he said he'd love to have a go at playing a female character in Shakespeare.

Please consider him for your Company. Everyone who works with him says he's really nice.

Yours hopefully

Rev Stan

PS If you need to get hold of him this is his agent

 

Five actors I'd move heaven to see on stage

This post started life back in June from a question @polyg asked while we were waiting for a play to start. And of course it needed some thought before answering, nearly three months worth in fact. 

There are plenty of great actors I enjoy watching on stage but the play and the role often informs the choice of going to see it.

So this has to be about, who I would rush out to see, regardless of what they were in. Well no thought for my first choice, but the remaining four...

1. Ben Whishaw - First saw him in Leaves of Glass at the Soho Theatre in 2007 after being mesmerised by him on screen in Perfume: Story of  Murderer. I've seen everything he's done on stage ever since (and TV and Film, yes even the shorts) plus a recording at the V&A archive of his Hamlet from 2004.

I flew to New York to see The Pride - well I'd never been before so it was the perfect excuse and people go for less ie shopping. He's never disappointed me, he always makes interesting choices and he never fails to convince in his performances. He's one of those talents that says just as much without words and I always find my eye wandering over to where ever he is on stage just to see what he is doing.

Plays seen:Leaves of Glass, ...some trace of her, rehearsed reading of Ice Cream, Cock & The Pride

2. Benedict Cumberbatch - BC had been bimbling along at the back of my conscience for a while, mainly for his TV roles. It's funny because he's become intrinsically linked with the character of Sherlock now and yet he first dazzled me in After The Dance at the National Theatre. Emotionally repressed is not easy to pull off without alienating the audience but you could feel his inner turmoil.

And then there was Frankenstein. Such a spectacle requires big performances.

I fear his next stint at the theatre maybe some time off as his dance card seems full with film and TV engagements at the moment.

Plays seen: After The Dance, Frankenstein (creature), Frankenstein (Victor)