51 posts categorized "Old Vic" Feed

Happy New Theatre Year: 9 plays I'm particularly looking forward to seeing in 2019

Starting off 2019 with plenty of theatre in the diary, these are the nine plays I'm particularly looking forward to seeing (in date order):

RG-3X9vs_400x400Kompromat, Vault Festival (23-27 Jan)

What the website says: Inspired by the still-unsolved 2010 murder of GCHQ agent Gareth Williams, Kompromat is a tense drama of double agents and our capacity for self-deception played out against a high-stakes game of love.

Why I'm excited: Having read an early draft a couple of years ago and then attended a rehearsed reading at the Arcola I've got a good feel for what this might be like.

Tartuffe, National Theatre (9 Feb-30 Apr)

What the website says: A scalpel-sharp comedy looking at the lengths we go to find meaning – and what happens when we find chaos instead.

Why I'm excited: Tartuffe is one of the classics I've long wanted to see, John Donnelly has done the adaptation and Olivia Williams is in it. I love Olivia Williams.

Jesus Hopped The 'A' Train, Young Vic (14 Feb-30 Mar)

What the website says: From Pulitzer Prize winner Stephen Adly Guirgis (The Motherfucker with the Hat), comes this critically-acclaimed dark comedy about the American justice system and the contradictory nature of faith. 

Why I'm excited: I loved The Motherfucker With the Hat when I saw it in 2015 at the National and I've been waiting for another Stephen Adly Guirgis play to hit London ever since.

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2018 theatre review: Favourite moments from the surreal to the emotional and some awards

110+ plays and my first visit to the Edinburgh Fringe (15 plays in 6 days), 2018 was quite a year...

Magic and memorable moments:

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Patsy Ferran in My Mum's A Twat, Royal Court. Photo: Helen Murray.

Feeling part of the set:  Sitting on a bean bag on the carpet in Patsy Ferran's 'bedroom' for My Mum's a Twat at the Royal Court (and she said hello to me).

Audience reaction #1: The audience gasping at the 'snap' during a scene in the RSC's Julius Caesar where a little boy's neck 'was broken’. Obviously, no child was harmed etc.

Audience reaction #2: Finding myself stood up singing Amazing Grace with the entire audience at the Royal Court during 'Notes From The Field'.

Actor interaction: Kia Charles winking at me and grinning during Quiz, Noel Coward Theatre (benefits of on-stage seating).

Surreal moment #1: Alex Hassell introducing himself to me and Poly was a bit surreal (stopped myself from blurting out 'I know, I saw you play Prince Hal/Henry V etc.)

But what made it more surreal is that we were in a church hall in Pimlico and after the meet and greet we sat in a circle to watch and sometimes be part of a production of Macbeth.

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2018 theatre review: My favourite plays of the year (and my first six star play)

So I've published my favourite fringe plays list and my least favourite plays list, time now for my best plays of 2018 overall, gleaned from everything I've seen - large productions and small, commercial theatres, subsidised and fringe:

via GIPHY

Misty, Trafalgar Studios

A play which put the pulse back into the West End and as a result was a breath of fresh air.

A Monster Calls, Old Vic

I was nervous about seeing a stage adaptation of a much-loved book but the creativity with which it was staged combined with the performances meant I was an emotional wreck by the end. So much of an emotional wreck, I had to walk around for a bit afterwards to compose myself.

Queens of Sheba, Underbelly, Edinburgh Fringe

A play about the dual prejudice of sexism and racism encountered by black women that succeeded in being both angry, uplifting and empowering.

It left me feeling teary in a happy/sad/exhilarated way and ready to march if the call came.

There is another chance to see it at the New Diorama Theatre, Jan 30-Feb 3 as part of the Vault Festival.

Notes from the Field, Royal Court

It was an uncomfortable, seat-squirming, horrifying joy to sit and experience and I gave it an unprecedented six stars. Yes, six stars.

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The shameless Ben Whishaw birthday post - my favourite stage performances

Shh, it's a rainy Sunday afternoon... it's Ben Whishaw's birthday so in 'celebration' here are the stage performances of his that are my favourites.

Ben Whishaw Hamlet programmeHamlet, Old Vic

Ok so technically I didn't see him perform it live but I have seen the V&A video recording a couple of times.

His Hamlet made so much sense. He was young, clever, inexperienced, fragile and at times immature and petulant.

Basically, he was a young adult thrown into an extraordinary situation and ill-equipped to cope. 

And he snot cried.

The full review is here which also includes links to related interviews and other tidbits.

Baby in Mojo, Comedy Theatre - now the Harold Pinter

Don't ask how many times I saw this, it was a lot.

It was a move away from the sensitive souls he's very adept at playing, something more akin to Sidney in the film Layer Cake. 

And I liked that, I like to see his versatility, his wilder performance side.

While underneath the surface there is a tragedy to Baby, he presents as someone wildly unpredictable and is dangerous as a result.

He also did a brilliant dance which was a mix of impish, wild abandon and menace.

Read my first thoughts plus links to more detailed reviews.

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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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Best (and worst) of London theatre for 2018...so far...and the actress in two plays on the list

As the halfway mark of 2018 rushes past, it's time to reflect on the highlights and low lights of London's theatre productions so far (edit: scroll to the bottom for the most read posts).

julius caesar bridge theatre Rev stan
Julius Caesar warm-up gig, Bridge Theatre. Photo: Rev Stan

I'm not sure whether it's a reflection of more varied programming generally or just where my interests predominantly lie these days but it's a list dominated by women protagonists and BAME stories.

Best of the big stuff (West End and off West End)

Girls and Boys, Royal Court

Carey Mulligan's performance is a tour de force, precise, subtle and complex. It is a devastating and brilliant piece of theatre and it's transferred to the Minetta Lane Theatre in New York Theatre where it runs until July 22.

The York Realist, Donmar Warehouse

Like My Night With Reg crossed with God's Own Country and the steamiest flirtation on stage for a long while.

Julius Caesar, Bridge Theatre

Stuff with Ben Whishaw in it doesn't always make it into my best of lists but being part of the mob was at times like being at a rock concert, a rally and in the middle of a war - never thought I'd enjoy standing at the theatre.

The Great Wave, National Theatre

Had no prior knowledge about the true events this play is based on but it proved the adage that the truth really can be stranger than fiction.

Summer and Smoke, Almeida

The first of two appearances on this list for Patsy Ferran, Summer and Smoke was a delicate, yet tense and heartbreaking play and I'm so glad it's got a transfer to the West End. See ATG's official website for details.

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Two transfers - An Octoroon and Sea Wall - are they as good in bigger venues? Or a shout out for diversity.

It's great to see small production transfer to bigger venues so more people get to experience them but there is always a danger they lose something in a larger space.

An Octoroon national theatre posterAnd so it was with a mixture of excitement and trepidation that I have been to see two transfers recently - An Octoroon and Sea Wall.

An Octoroon first wowed me at the Orange Tree in Richmond where it served as a reminder of why I go to the theatre. (You can read my original review of An Octoroon here.)

Same intimacy?

Its transfer is to the Dorfman at the National Theatre which is a great choice as the space is flexible so the original staging, with the audience on four sides, can easily be recreated.

You would think it would lose some of its intimacy in the bigger venue but it didn't.

And crucially An Octoroon is a testament to not only why we need plays that reflect a more diverse narrative but also why theatres need to be attracting a more diverse audience.

By diverse I'm talking about both age and ethnicity.

Less staid

I've written before the difference it makes sitting in an audience that is more reflective of London's population, it makes for a less staid, less vanilla theatre-going experience.

And so it was for An Octoroon, right from the very beginning when the fourth wall was broken and there was a verbal response to actor Ken Nwosu's greeting when he came on stage.

This was an audience engaged and gripped from the outset and it just heightens your own enjoyment being part of that collective experience.

Go see An Octoroon if you can get a ticket. It's just as brilliant at the Dorfman, details at the end of the post.

 

 

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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: Ben Chaplin and Séana Kerslake in Mood Music, Old Vic

Once you tune your ear to the style of the narrative and the pace of delivery Mood Music rocks.

There have been many disputes between musicians over the years - Rolling Stone has a top 12 - and former music journalists Joe Penhall takes this as the theme for his new play Mood Music at the Old Vic.

Cw-25149-660x375It is a play in which the dialogue is presented as simultaneous conversations and it takes a little getting used to but once you do is extremely effective.

The dispute that forms the central narrative is between a music producer and artist but the story is presented from each protagonists viewpoint via conversations with lawyers and therapists.

Bernard (Ben Chaplin) is the successful (and doesn't he know it) producer talking to his therapist Ramsay (Pip Carter) and lawyer Seymour (Neil Stuke).

Up and coming singer/songwriter Cat (Séana Kerslake) has her own therapist Vanessa (Jemma Redgrave) and lawyer (Kurt Egyiawan).

The two worked on an album together and then took it on tour but neither think they are getting the appropriate recognition for their work.

Rapid pace

Director Roger Mitchell often positions the actors so that they have to talk across the opposing pair - something that metaphorically reflects their relationship.  

The pace is rapid switching between recollections with barely a beat so that the stories unfold simultaneously - and you have work a little to get into the rhythm of it.

But what this style of dialogue does powerfully is show the two different perspectives on events, the different attitudes towards collaboration and the different personalities of Bernard and Cat.

Bernard is brazen, entitled, borderline sociopathic, Cat is bruised, the underdog but has her claws out.

 

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Review: Fanny & Alexander, Old Vic - tense, gripping, joyous but still overly long

It is at times gripping, tense, funny and joyful but equally there were times when I was impatient for it to move on

There was a moment after the first of two intervals during Fanny & Alexander at the Old Vic when I felt myself sit up straight. Up until that point the play had been entertaining but suddenly it got interesting as well.

Now there is nothing wrong with entertaining - it can be an overlooked element of theatre - but when you've got a play with a running time of 3 hours 45  minutes (when I saw it, it's since had 15 minutes trimmed away) entertaining isn't quite enough.

fanny and alexander old vic jay brooks
Fanny & Alexander, Old Vic. Photo: Jay Brooks

The Ingmar Bergman film, from which this has been adapted by Stephen Beresford, was also a bit of a beast in its running time - just over three hours - but I've not seen it so the story was a surprise.

Fanny and Alexander are young siblings growing up in a bohemian apartment block. Their parents Emilie (Catherine Walker) and Oscar (Sargon Yelda) are actors who run a successful theatre.

Their grandmother (Penelope Wilton) is an actress, their uncle Gustav (Jonathan Slinger) is a womaniser and uncle Carl (Thomas Arnold) has married a German woman no one seems to like.

The children take parts in their parents plays and it is a sociable, creative and free upbringing among their extended family and friends.

It is a childhood full of stories, play and fun, despite the various tensions between the adults.

Oscar has a vivid if sometimes macabre imagination - he 'sees' and talks to the grim reaper. Is he just a worrier or is there something more fatalistic about his visions of death?

The latter would appear true when his father Oscar dies suddenly and, still grieving, Emilie, marries Edvard (Kevin Doyle) a widowed bishop.

This was the moment that I sat up. The hour or so up to the first interval is like watching a colourful, animated toy box with its set of ornate furniture and rich, red theatrical drapes.

When Emilie moves with the children into Edvard's home, the set is stark, the box has been stripped bare and painted white. It reflects the austere, strict, authoritarian style of parenting that Edvard employs.

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