The third of the Old Vic’s ‘In Camera’ live streamed performances is Brian Friel’s 1979 play Faith Healer, often described as his masterpiece.
Mates blogger: John Chapman
John Chapman is one of over 45 theatre bloggers who are part of the MyTheatreMates collective. This page features John's posts on MyTheatreMates. Take a look at our full list of theatre bloggers and our aggregated feed of all our Mates' posts. We’re always looking for new theatre bloggers. Could that be you? Learn about how to join us.
John Chapman works as a freelance education consultant, writer and copy editor. Prior to this, he was an Assistant Headteacher specialising in English and Drama. John first took to the stage as a schoolboy pretending to be a Latin frog. Decades later, he has been involved with 150+ productions, usually as an actor or director. He is currently a member of Tower Theatre in Stoke Newington, London. In 2016, he was in their “mechanicals” team that worked as part of the Royal Shakespeare Company’s A Midsummer Night's Dream: A Play For The Nation, appearing both at the Barbican and in Stratford-upon-Avon. In 2004, he served as a panellist on the Olivier Awards; he is currently an Offies assessor. He reviews for a variety of websites, writes his own independent blog 2ndFromBottom about his theatrical life.
The latest from John on MyTheatreMates
‘There is no doubt that Branagh’s performance is a bravura one’: LOOK BACK IN ANGER (Online review)
This version of Look Back in Anger is from 30 odd years later and was mounted by Renaissance Theatre, then a relatively new company formed by a young Kenneth Branagh. The play was directed by Judi Dench, his is a made for television re-creation from 1989.
‘Maureen Lipman gives a magnificent performance’: ROSE – Hope Mill Theatre (Online review)
Magnificently played and realised by Maureen Lipman, Martin Sherman and Scott Le Crass, Rose is well worth viewing.
‘An effortless watch’: SHIELDERS / THREE KINGS (Online review)
John Chapman ties up a few loose ends by catching up with short play/film Shielders as part of the Traverse Theatre Festival and the live stream of Stephen Beresford’s play Three Kings, starring Andrew Scott and streamed from The Old Vic.
‘The real deal’: For Quality Purposes / The Ockenden Witch (Online review)
Two one act plays – For Quality Purposes and The Ockenden Witch – have a great deal to say about modern life – even if one is set in 1564!
‘First & foremost a theatrical piece’: THE PRICE OF EVERYTHING (Online review)
Daniel Bye’s The Price Of Everything is first and foremost a theatrical piece which examines the function of narrative and makes us question the veracity of what we hear.
‘Aaron Monaghan fulfils his brief wonderfully’: THE PLAYBOY OF THE WESTERN WORLD – Druid Theatre Company (Online review)
Though the Playboy of The Western World may have been written in 1907 it still has clear resonances for the world today.
‘Absolutely ripe for comparisons’: At Home With The Brontës / Wasted (Online review)
Both At Home With The Brontës and Wasted have their plus points and it is interesting to see how the same subject matter can be treated in radically different ways.
Further outings to the virtual Edinburgh Fringe
For my first Edinburgh Festival “visit” last week, I found myself following a theme (more by accident than design) but this week I thought I’d freeform it a bit more. After all that’s what the Fringe is all about, isn’t it? Picking stuff at random, seeing what takes your fancy, taking a punt on something new. Except it didn’t quite work out like that….
‘Small Truth Theatre are to be congratulated’: DIGITAL CARAVAN THEATRE (Online review)
Small Truth Theatre have reimagined their unique site as an online digital space and are currently presenting a season of three audio dramas of around 15 minutes each under the general title of Digital Caravan Theatre.
‘You will find much to make you think about’: ALBION – Almeida Theatre (Online review)
If anything, the resonances in Mike Bartlett’s Albion have grown and strengthened as countrywide divisions have hardened.
‘There is not a dud piece in the pack’: THE GREATEST WEALTH – Old Vic (Online review)
The series of monologues under the collective title The Greatest Wealth was first performed at The Old Vic Theatre in 2018 as part of the celebrations for the 70th anniversary of the founding of the NHS.
‘I’m planning another “trip” soon’: Exploring the Edinburgh Fringe online-style
While an online Edinburgh Festival Fringe can hardly claim to have anything like the same degree of atmosphere, various organisers are to be congratulated with getting a variety of material online.
‘There is a real ensemble feel to the piece’: MEASURE FOR MEASURE – RSC (Online review)
This is Measure For Measure in a production by RSC supremo Greg Doran and set in turn of the 20th century Vienna. It is and remains a difficult play to pin down but the contemporary resonances remain inescapable.
‘A memorable contribution to online theatre’: MOMENT OF GRACE – Backstory Ensemble – The Actors Centre (Online review)
The first piece Moment Of Grace by Bren Gosling takes us back to the 1980s and the last time the country faced a crisis over a virus.
‘Verbatim theatre with a twist’: It’s True. It’s True. It’s True: Artemisia On Trial – Breach Theatre (Online review)
One of the early entries into the lockdown theatre world was Breach Theatre’s It’s True. It’s True. It’s True: Artemisia On Trial. After some time on furlough it’s now back online and available to watch again.
‘Couldn’t be more timely’: PLACE PRINTS 1-4 (Online review)
Place Prints is a fascinating audio series from writer David Rudkin about places in the UK. There are certain locations where that sense of the past is much stronger than in others. These places have their own stories and voices and Rudkin tells them with a sense of lyricism from which contemporary writers might well learn.
‘Knows what it wants to say’: JANE CLEGG – Finborough Theatre (Online review)
Jane Clegg falls into the category of a well-made play of three acts and is none the worse for that. Its elegant structure and growing sense of tension make it an absolute pleasure to watch.
‘Well constructed with tension rising throughout’: APRROACHING EMPTY – Tamasha Theatre Company (Online review)
In Approaching Empty writer Ishy Din proves himself an authentic voice, telling tales we have not heard before in a muscular and engaging style.
‘Paying tribute to what has been a marvellous season’: Thank you to the National Theatre At Home
So, bravo National Theatre. Others may have joined in the home streaming trend but nobody else did it bigger or better. Time to look for yet another new normal for Thursday evenings.