New audio play Making Massinger by Simon Butteriss is filled with drama and intrigue but feels as though it could use a little editing in places.
Balancing a fine line between radio play, true crime shockumentary and theatrical whodunit, but transcending each medium, director Tamara Harvey makes Henry Filloux-Bennett’s play What a Carve Up! fizz with relentlessly building fury.
Following on from the instant success of National Theatre At Home streaming event, it’s got me thinking about all the other wonderful NT Live screenings that I’d love to come to the small screen as part of this series. I have narrowed it down to my top 10.
Original History Boy Samuel Barnett takes on the 10 Questions for 10 Years challenge.
Screening Alan Bennett’s Allelujah! on the big screen may well alter the viewer’s perspective, placing it within the tradition of television and film drama that lends itself to the cliffhanger-based six-part series that Bennett’s broad and episodic approach calls upon.
In some ways, Allelujah! is perfectly symptomatic of the problem I have with the Bridge Theatre. Does London really need any new theatres, no matter how much people think they want interval madeleines?
The politics are an Old Labour and North London hybrid and, the hospital on stage is probably more fantasy than NHS reality. But when national treasures do something new, we should all rejoice. Allelujah, indeed.
A new Alan Bennett play is an event. And hospitals – the epicentres of birth and death – are eventful places. Allelujah! is a match made in heaven then.
Allelujah! is not a masterpiece, mainly because most of the characters are underdeveloped and there is too much going on, but it is extremely funny and it has something very urgent to say, and says it without compromise.
A love letter to the NHS, masterfully written by Alan Bennett with lots of lovely touches – the 25-strong cast is impressive and really brings the play to life.
Alan Bennett has perhaps by chance hit two topical news hot-potatoes – barely a week old – even while deliberately tackling more obvious fave targets like NHS cuts and the Thatcher legacy.
While Puig’s masterpiece Kiss of the Spider Woman doesn’t quite work when fleshed into a physical entity, I am reminded of the unique and all-conquering power of the human imagination, and I am forever thankful that stories such as this are produced and continue to make people think, feel and dream.
Rivera and Baker’s adaptation does focus more on the personal than the political, so this does feel very much like the story of these two men rather than a searching insight into the LGBTQ experience in Latin America. But with that in mind, it is a painstakingly evocative study of the power – and limits – of love.
Love London Love Culture picks five of the best shows to book for in March including The Best Man, Kiss of the Spider Woman and Caroline, Or Change.
Samuel Barnett and Declan Bennett will lead the company of Laurie Sansom’s upcoming revival of Kiss of the Spider Woman at London’s Menier Chocolate Factory.
Towering staircases and sliding panels transform the big stage from tavern to genteel house, with a pleasingly inexplicable intermittent folk-band lurking on the top landing. Here for two and a half frenzied hours Simon Godwin zingily interprets George Farquar’s Restoration comedy with a cast of 21, not one part a dud. It is farce bordering on panto, edged with songs, enlivened with scuffles, glorified with random absurdities and containing a hard nugget of feminist polemic.
Twelfth Night is generally classified as one of Shakespeare’s comedies, but last week it officially became a history play as well, after its phenomenal haul in this year’s Tony Awards nominations. Mark Rylance is already something of a Tony legend. He has won Best Actor twice for two other London transfers –1960s farce Boeing-Boeing in […]