What really strikes home in The Beast Will Rise series is the sheer range of scenarios which Philip Ridley conjures, all – in one way or another – providing responses to the pandemic, lockdown, survival and mental health.
Having had a day to recover (!), I headed back for the second tranche of Frighteners from the Spontaneous Productions Theatre Company, highlighted as part of Scenesaver’s Fright Night programme for Halloween.
While University Of Wonder And Imagination is fun it is also educational and provides a stimulating introduction to a number of topics which can be explored further.
Continuity is just one of the online plays available from the Finborough Theatre’s repertoire. It is not an easy watch but has many important points to make about political and personal beliefs and is a worthy addition to the theatre’s growing roster of material which challenges and provokes.
The microplays in the Digital Caravan Theatre Series 2 are full of a richness born out of careful time management giving them a leanness which is sometimes lacking in longer works.
Although a rather more muted celebration than originally planned, The New Tomorrow is a powerful acknowledgment of the theatre’s ongoing mission to be a real centre for the community.
Back in April, part of Theatre Royal Stratford East’s response to the pandemic was to create a new type of project. They put out a call to key workers in the local community to share their stories via a video wall. Out of some of these writer Rebecca Lenkiewicz and director Nadia Fall have created a series of imagined monologues which have been filmed as No Masks.
Northern Comedy Theatre has once again brightened up the online drama landscape with Doing The Book Club, the latest in David Spicer’s Doing… series.
Edmund Dehn is great in Death of a Hunter as Ernest Hemingway, the role of a 20th century icon who lived and died explosively.
The pleasure of Sherlock In Homes: Murder at the Circus lies in watching half a dozen brains quickly scramble to come up with answers to what can be some pretty left field questions from the audience,
Buried Child is a family drama which transcends its genre and this excellent production enhances its already considerable reputation.
Feelgood musical Romantics Anonymous at Bristol Old Vic certainly works on both the level of a light confection and something more robust for the committed chocolatophile/musicophile.
A Marvellous Party, commissioned by the Noël Coward Foundation, ostensibly marks the centenary of Coward’s first appearance on stage and has been produced to raise funds for actors on both sides of the Atlantic who are struggling with the effects of the pandemic.
Writer/director Jack McNamara’s clever play The Boss Of It All remorselessly targets the ineptitude of the governing classes and, along the way, takes some delightful pot shots at the pretensions of a certain type of actor.
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.
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.
Magnificently played and realised by Maureen Lipman, Martin Sherman and Scott Le Crass, Rose is well worth viewing.
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.
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.
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.