28 posts categorized "Outside London" Feed

That was August in theatre land - news & castings that caught my eye plus hits, misses and celeb spots

August was dominated by Edinburgh for me but the London theatre wheels were still turning; here's my round up of my favourite bits of news, my theatre hits and misses and few celeb spots...(let me know if I missed anything while I was north of the border).

Foxfinder_poster_sept18Sally Field and Bill Pullman in All My Sons, Old Vic - yep Hollywood comes London theatreland next year in a co-production with Headlong (Jeremy Herrin directs). No dates yet but already I can't wait. 

National Theatre's artistic director Rufus Norris steps into the breach - there has been a spate of understudies and theatre staff saving the day when actors are indisposed but last night's performance of Home, I'm Darling saw Norris take to the stage to play Jonny for Richard Harrison.

Foxfinder full cast - You may have missed my July round-up (I did) which (would have) mentioned that Iwan Rheon and Heida Reed had been cast in Foxfinder at the Ambassadors Theatre, well joining them is Paul Nicholls and Bryony Hannah. It opens for preview on September 6.

The Wild Duck, Almeida - Fans of Robert Icke rejoice, he returns to the Almeida with a production of Ibsen's The Wild Duck. Speculation has already started about who will be in the cast.  Opens October 15.

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Round up: That was April in London theatre - Monster casting and A-list actor spots

MTNEW* I'm excited and nervous about the forthcoming stage adaptation of Patrick Ness’s novel A Monster Calls (the book is a favourite) but I couldn’t think of a better actor than Matthew Tennyson to take on the lead Conor. The production will have a run at the Bristol Old Vic from May 31 and the Old Vic from July 7.

* David Haig’s play Pressure (in which he also stars) is transferring from Park Theatre to the Ambassadors following a successful run at the Finsbury venue. Malcolm Sinclair and Laura Rogers co-star.

* Stan-fav Adam Gillen has been cast in Killer Joe, Trafalgar Studios, which stars Orlando Bloom and I'm really looking forward to seeing him in something very different to Amadeus. You can see photos of the cast in rehearsal over at What's On Stage and previews start on May 18.

* Kilburn's Tricycle Theatre has been renamed the Kiln Theatre post refurbishment with a new season that includes the UK premiere of Florian Zeller’s The Son.

* In a new twist on role swapping (recent role swaps: Mary Stuart, Almeida; RSC's Doctor Faustus and NT's Frankenstein to name just three) Hayley Atwell and Jack Lowden are to alternate playing Isabella and Angelo in Measure For Measure at the Donmar Warehouse.

* There is part of me that is excited and really curious and part of me that thinks: 'Gimmick to get repeated visits'. There is one version I'd particularly like to see but no way of knowing, having booked at ticket whether I'll get it. Previews start September 28.

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Review: Hidden passions and audience reactions in Desire Under the Elms, Sheffield Crucible

Casting-Announced-for-Desire-Under-The-ElmsThere was one of those audible audience reaction moments during Desire Under The Elms. I'm not talking about laughter, I'm talking about a sharp intake of breath, even a few 'oh's' around the auditorium.

I haven't seen many Eugene O'Neill plays but all those I've seen seem to expose the pure, often blind, power of certain human emotions. He pops the lid of the shaken soda bottle and Desire Under The Elms is no exception as the audience response demonstrates.

It's a farm setting, mud stage with wheat crop at the back, a water pump, pieces of farm equipments and then at various points pieces of furniture - a table, a bed etc are brought on.  Eben (Michael Shea) and his older half brothers have been left to work their father Ephraim's (Matthew Kelly) farm as he has disappeared. There is no love lost between the siblings and also with their father. The older brothers want to leave, head west to the gold fields to make their fortune while Eben wants to take control of the farm believing it is rightly his as it belonged to his late mother.

We hear a lot about Ephraim  from the brothers and it heightens the expectation of his inevitable arrival. When he does arrive he has a new young wife Abbie (Aoife Duffin) in tow. He walks slowly with a slight stoop, looks frail but he is anything but. He soon puts Eben in his place, the animosity towards him from his children is well deserved, this is not a loving father rather one that would rather burn the farm to the ground than leave it to his wastrel sons.

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Review: RSC's gender swap Salome, Swan Theatre, Stratford Upon Avon

Salome-production-photos_-June-2017_2017_Photo-by-Isaac-James-_c_-RSC_220811-e1497002267411This is my first Salome and my first Salome had a man - Matthew Tennyson - playing the titular character. The decision does raise the question of why give over lead female part to a man - it's not like there are a plethora of meaty lead roles for woman. Having not seen a woman play Salome I can't judge what the decision adds or detracts, other than the fact that it immediately pushes the play towards being about a broader spectrum of gender.

It is a sexually charged production that feels like the characters have just stepped away from a Bacchanalian orgy, the residual revelry and lust hanging in the air, the stage lit like an after hours club. A male singer stalks in leather hot pants and bondage-like straps. The male dominated court of King Herod (Matthew Pidgeon) is suited but with ties long discarded and top buttons undone. The soldiers wear white vests showing off their muscular arms even the prophet Iokanaan (Gavin Fowler), when he escapes from his cell beneath the stage, wears nothing but tight underwear.

Matthew Tennyson's Salome, dressed in a body skimming satin slip and high heels is at times feminine and masculine, chaste and flirtatious, victim and vengeful. There is no mistaking the impact s/he has on her step father Herod, there is carnal desire written all over his face when he looks at him/her. It is alarming to watch. Even at his/her most masculine there is a delicacy to Matthew Tennyson's Salome that makes his/her situation feel dangerous. 

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Review: Jack O'Connell - black boxers and potting the black in The Nap, Sheffield Crucible

The_Nap1-xlarge_trans++svEi3P8Qkw0HLYn_ZSpox602VQT6XhEWMIwOXdx7beMI'm sat on the front row at the Sheffield Crucible watching Jack O'Connell play snooker. Is this actually happening? I've been a huge Jack O'Connell fan since seeing him in indie films Starred Up* and 71 and have really wanted to see him on stage. So there is that.

Then there is the snooker. Long before theatre (yes there was a time before) the Crucible, in my mind, was the home of the snooker world championships. We were a snooker family, gathering around the TV to watch games and all had our favourite players. It was the time of Steve Davis, Dennis Taylor, Jimmy White and Stephen Henry (my favourite) and I dreamed of watching a game at the Crucible.

These past and present passions have been brought together thanks to Richard Wilson and Richard Bean. Richard Wilson, who is associate director at the Crucible always wanted to do a play about snooker there and Richard Bean agreed to write one. And so, voilá, I'm sitting watching Jack O'Connell play snooker.

He plays Dylan Stokes a young, up-coming player from a rough background who credits snooker with saving his life. His dad (Mark Addy) is an ex con and his mum (Esther Coles) is an alcoholic petty criminal. His career to date has been funded by Waxy Chuff (Louise Gold) a transgender crime boss who happens to be a former lover of his mum's. As his career starts to take off they all want a bit of him and the guardians of the game want a urine sample and to know if he's been asked to throw a game.

Richard Bean's One Man, Two Guvnors had me aching with laughter and The Nap too is stuffed with belly laughs but while One Man was a farce here it is more one liners and there is a thriller element too and not just from the pressure of playing the games. Making Dylan a vegetarian means obvious jokes but where the play really comes into its own is in the Malapropisms and mixing up of common phrases: "He's a child effigy" and "There's no smoke without salmon" are two of my favourites. Richard Bean was a stand up comic and at times the script is almost like a string of quick fire jokes.

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Review: James Graham's The Angry Brigade, Watford Palace Theatre

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Paines Plough's production of The Angry Brigade, photo by Richard Davenport

Harry Melling's police chief is vigorously swirling a biscuit in his cup of tea. It is small act of rebellion from a man who's wife, he tells his colleague, doesn't like him 'dunking' and marks one end of the spectrum of rebellion that is explored in The Angry Brigade.

The title of James Graham's new play refers to a real life group who in 1971 were Britain's answer to Germany's Baader Meinhof and France's 1st of May guerrilla groups. It was a period of youth-led discontent with bombing campaigns and protests about authority, class divide and capitalism. 

Graham says he was inspired by the ignited passions to protest seen in more recent years, a stark contrast to the apathy of his 30-something generation when they were at University. Passion for a cause is something that shines through on both sides of the narrative.

The first act follows the police investigation into a spate of bombings of political figures, public buildings and retailers. The police are at first baffled by the anonymity of the group calling themselves The Angry Brigade and it becomes a cat and mouse game to identify them.

In the second half the story is seen through the eyes of The Angry Brigade themselves as they set up operations from a flat in Stoke Newington.

Despite exploring events of more than 40 years ago you can't help draw parallels with contemporary issues. It is a depressing undertone but one that doesn't resonate fully until after the play is over.

Graham and director James Grieve take you on a journey that is laced with humour, fun and inventiveness. The police may represent order and law but the biscuit dunking is just the start. Those tasked with investigating The Angry Brigade are encouraged to forget the usual rules of workplace formality, banter and teasing ensues.

On Twitter I asked Graham if the playful humour in the first half was an act of rebellion in itself to which he replied: "Humour as a weapon has always intrigued me. Certainly think it shows resistance to expectations/the status quo..."

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Review: Maxine Peake is Hamlet at the Royal Exchange, Manchester

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Katie West and Maxine Peake in rehearsals for Hamlet at the Royal Exchange

This production will be remembered not just for Maxine Peake's superb youthful take on the Dane but for being the first Hamlet I've seen to really feel like a family drama.

There are few servants and no Fortinbras and the threat of war so that courtly life and politics feel peripheral. Sarah Francom's production focuses instead on the family politics: a remarriage and an uncle with a hell of a skeleton in the closet.

Peake, with partially shaved hair and androgynous look made Hamlet nervous, youthful and full of petulant energy that worried and exacerbated his parents. Gertrude (Barbara Marten) looked like a mother torn between her new husband and troubled son.

*Warning of production spoilers*

And Peake's Hamlet was certainly troubled. It's the first time in a while I've seen a Hamlet that felt like the Prince was genuinely on the verge of breakdown, barely keeping it together. To this end the To be or not to be speech was moved to much later in the play, just after the closet scene (and the interval) giving it added despair after what was an angry and fear-driven murder.

Having a Polonia (Gillian Bevan) rather than a Polonius was also an inspired choice. Hamlet has murdered a woman, a mother. Then there is the mother/daughter tension between Polonia and Ophelia (Katie West). It's something very different to that between father/daughter.

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Review: Mike Bartlett's An Intervention, Watford Palace Theatre

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Rachael Stirling and John Hollingworth in Mike Bartlett's An Intervention

It must be a rarity to see two new plays by the same writer within the space of 10 days. Mike Bartlett has been busy.

An Intervention is a co-production with Watford Palace Theatre and Paines Plough and sees Bartlett return to more simple story-telling of his Cock (tee hee, cannot resist). Rachael Stirling and John Hollingworth play best friends A and B whose friendship is tested to breaking point.

A is a passionate anti-war protester and B thinks intervention is better in the long run. But the argument that sparks a break down of their friendship is only a mask for what is really going on. A likes to drink. A lot. She is the life and soul of the party, always full of energy, witty and fun and that is her life. B, however, sees a different future for himself. He's got a new girlfriend (whom A hates) who has opened the door to a different lifestyle.

Bartlett puts friendship under a magnifying glass and examines what it means. When is it right to intervene, when should you stay quiet and at what point do you throw in the towel?

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Review: Arcadia, Bristol Tobacco Factory

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Piers Wehner as Septimus in Arcadia, Bristol Tobacco Factory

Tom Stoppard's Arcadia is one of @polyg's favourites, she particularly likes the maths and science in it. Unfortunately for me that is what turns me off. Maths was horrible for me at school and my ignorance on the subject means that chunks of the play just don't connect.

It's not that I don't appreciate the skill and craft of Stoppard's work, it's just that talk of maths is like listening to a foreign language I've only just mastered the pleasantries for. Fortunately Arcadia has much more to it.

Set in the same house but in two different periods, around 180 years apart, the characters of the modern time set about unravelling what happened in the house during the earlier period.

In 1809 Septimus (Piers Wehner) is tutor to the maths obsessed Thomasina (Hannah Lee), in love with her mother (Dorothea Myer-Bennett) and having an affair with a married woman who's husband Ezra Chater (Vincenzo Pellegrino) has just found out.

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Review: Simon Stephen's Blindsided, Manchester Royal Exchange

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Katie West and Andrew Sheridan in Blindsided. Photo by Kevin Cummins

Simon Stephen's writes specifically for the space at the Royal Exchange in Manchester, something I missed in seeing Port at the Lyttleton theatre just over a year ago.

The Royal Exchange, if you haven't been, is theatre in the round - a type of space most directors seem to shy away from Stephens commented on in a Q&A. It makes for an intimate and exciting performance space the actors appearing from different places and as an audience member you feel like you are leaning in to see something secret that is hidden from the outside world.

Like Port, Stephens has a young female protagonist, in this case 17-year old Cathy (Katie West) who has a young baby. She is studying one A-level in history, has a part time job and her mum Susan (Julie Hesmondhalgh) helps her out with 'little Ruthie'.

Then she meets John (Andrew Sheridan) a trainee accountant with a sideline in burglary. He charms and is charmed by Cathy and their relationship moves fast. Susan doesn't trust John and his flattery, call it gut instinct or experience but she sees through him.

But while John's faults and misdemeanors might make suitable fodder for a play itself it is the effect he has on Cathy and that is the surprise, particularly as it isn't what you'd think.

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