Grief by Mike Leigh

Dorothy - Lesley Manville
Victoria - Ruby Bentall
Edwin - Sam Kelly
Hugh - David Horovitsch
Gertrude - Marion Bailey
Muriel - Wendy Notthingham
Maureen - Dorothy Duffy

Directed by Mike Leigh and designed by Alison Chitty

Seen, as seems to be my tradition with Mike Leigh's plays, at the very last performance in the Cottesloe in a brilliant, last minute seat.

I sit in such awe of Ms Manville that it seems trite to say that this roll seemed written for her. The organic way in which Mr Leigh work inevitably gives the impression that each actor makes their own role but that would be simplifying the process disrespectfully.

These performances are all perfectly pitched with humour and heartbreak in equal measure. I do hope that young Ms Bentall was able to dip in and out of her dour zone as she left the stage or this would not have been a jolly experience for her.

The set was realistic but gratifyingly simple and yet perfectly functional for the narrative. If felt like a home that should have been comfortable but somehow wasn't.

Unlike most actors who burst into song on stage, the lovely serenades between Dorothy and Edwin were beautifully nostalgic, entirely natural and completely lacking in contrivance.

I had a wonderful evening in their company.

Travelling Light by Nicholas Wright

Maurice Montgomery - Paul Jesson
Tsippa, Moti's aunt - Sue Kelvin
Moti Mendl - Damien Molony
Jacob Bindel, a timber merchant - Antony Sher
Ida, Jacob's wife - Abigail McKern
Aron, Jacob's son - Jonathan Woolf
Itzak, Jacob's son-in-law - Karl Theobald
Anna Mazowiecka - Lauren O'Neil
Josef, foreman at the sawmill - Colin Haigh
Hezzie, a workman - Darren Swift
Mo, a workman - Mark Extance
Rivka, Jacob's daugher - Alexis Zegerman
Nate Dershowitz - Damien Molony
Little Boy - Nell McCann
Ensemble - Tom Peters, Jill Stanford, Geoffrey Towers, Kate Webster

Actors on film
Teacher - Tom Keller
Rabbi - Harry Dickman
Young woman - Julia Korning
Dying man - Michael Grinter
Reb Gershon - Jack Chissick
Reb Korovitz - Jeffry Kaplow
Doctor - Philip COx
Wife - Norma Atallah
Servant - Jill Stanford
Young servant/Granddaughter - Elsie Mortimer
Yeshiva Boys - Tom Allwinton, Roy Baron, Pablo Carciofa, Daniel Kramer, Henry Markham-Hare, Pip Pearce.

Seen at the beginning of it's run in the Lyttelton Theatre via a half price ticket in a surprisingly good seat (row O) despite sitting next to a couple who talked, quizzed, explained crunched and rustled all through it and thought the musical accompaniment to the silent film sequences was a period for uninhibited general debate.They were impervious to the glares from the people in front of them. I'd hate to have watched The Artist in their company.

Well now then. This is a beautiful premise, performed commendably by most of the cast. The tale is a simple one and a little too much of the dialogue targets the lowest common denominator in the audience. Sometimes there is solace in the easily identifiable progress of a piece like this and if it had been any more complicated, I would not have heard it above the din on my neighbours. I was fortunate enough to hear almost all of the filmic witticisms which are varied and many. The explanation for Mr Scher's comedy accent was delicious and completely acceptable. On occasion it strayed dangerously into the area of farce a couple of times which made me a little grumpy but the audience loved it. It was a Friday.

The effort involved in making this very effective set design work is utterly commendable. It's a bugger of a stage to get right and this piece uses the space perfectly. The projection material was wonderfully handled.

I'm not sure it's worked out what it wants to be yet. The audience were loving the comedy and it's fine to make a period piece funny and educational but it was just a bit too trite in places. That said, there wasn't a moment when my thoughts drifted, other than controlling my desire to punch the idiots next to me.

Constellations by Nick Payne

Marianne - Sally Hawkins
Roland - Rafe Spall

Directed by Michael Longhurst and designed by Tom Scutt.

Seen in the middle of it's premiere run at the Royal Court Upstairs under a sky of balloons. The moon's a balloon, you know.

This gave me the same kind of visceral thrill I got from the first time I saw Caryl Churchill's A Number.

It's so tight, witty and poignant. These two incredible actors perform with such inclusive comfort and I could watch it again quite easily, knowing that I would see a different show each time.

13 by Mike Bartlett

Sarah - Genevieve O'Reilly
Amir - Davood Chadami
Ruth - Geraldine James
Martin/Paul - Nick Blakeley
Shannon - Katie Brayben
Rachel - Kirsty Bushell
Stephen - Danny Webb
Holly - Lara Rossi
Edith - Helen Ryan
Zia - Shane Zaza
Rob - Matthew Barker
Mark - Adam James
John - Trystan Gravelle
Ruby - Grace Cooper Milton
Dennis - Nick SIdi
Liam/Terry - John Webber
Carol - Sioned Jones
Alice - Natasha Broomfield
Sally - Esther McAuley
Esther - Barbara Kirby
Fiona - Zara Tempest Walters
Sir Christopher - Martin Chamberlain
Other parts played by members of the Company.

Directed by Thea Sharrock and designed by Tom Scutt.

Seen in the middle of it's opening run at the Olivier. Bought a side-ish seat under the wonderful GILT scheme & scuttled along the entire length of the otherwise empty row to a centre aisle seat.


I do enjoy Mr Bartlett but I prefer his more claustrophobic pieces, or should I say I enjoy his work when space is at a premium.

Don't get me wrong, I reserve a special part of my brain especially to thrill at the full use of the drum revolve in this stage and in that respect I wasn't disappointed but the material just seemed too big and rambling. I wanted something drum-tight and this seemed to have some frayed edges.

It's cinematic, has something clever and has some lovely performances. Adam James steals every scene he's in. I have a special soft spot for the work of Kirsty Bushell and can't quite work out why we don't see more of her.

Haunted Child by Joe Penhall

Julie - Sophie Okonedo
Thomas - Jack Boulter
Douglas - Ben Daniels

Director - Jeremy Herrin
Designer - Bunnie Christie

Seen one month into it's premiere run at the Royal Court downstairs during the wonderful winter bargain period

It has been over six months since I made an entry here and almost as long since I have been to the theatre, such is the sorry state of my lifestyle these days. I could not let another Penhall come and go without making an effort to sneak into it.

I had a moment at the start when I feared this might be a little self-conscious but then the writing I know and love kicked in and it was heartbreaking and funny, moving along at a comfortable pace and resolving beautifully. It's not without flaws and slightly questionable logic from the Julie character but I liked the journey.

I enjoyed the set but admit to not quite understanding the uplighting through the floorboards. I thought the little boy was very good, considering he is a little boy.

Since it's a while since I've been to this building which I used to visit once a week, I sensed a change. I was in the circle and the front of house staff were having to marshall inconsiderate patron. One person was chastised for not turning their iPad off, even though the lights had not yet gone down but the Kindle user next-door-but-one was left unshamed. At one point, someone shouted repeatedly at another to turn their iPhone off. It may have made for a performance without noise or light pollution but the atmosphere in the circle took a while to relax.

The bar was open but not serving food so soon after the New Year.....whatever......I guess they couldn't get fresh supplies. The Front of House staff were exceptionally lovely, as ever although I scarcely recognised any of them. The bookstall was reassuringly stuffed and cordially attended.

This may not be the last post of the week.

Emperor and Galilean by Henrik Ibsen translated by Ben Power

The Pagan Cantor - Jeremy Avis
Gregory - Jamie Ballard
Sintula - Matthew Barker
Ephesian Sailor - Tam Dean Burn
Eutherius - Simon Coombs
Ursulus - Richard Durden
Jovian - Daniel Flynn
Peter - John Heffernan
The Christian Cantor - Michael Henry
Fromentius - Chris Jared
Agathon - James McArdle
Maximus - Ian McDiarmid
Ammian - Simon Merrells
Publia - Carole Nimmons
Helena - Genevieve O’Reilly
Medon / Oribasis - Prasanna Puwanarajah
Myrrha / Macrina - Lara Rossi
Julian - Andrew Scott
Constantius - Nabil Shaban
Gallus - Laurence Spellman
Maurus/Hilarion - Alexander Vlahos
Sallust - Jack Whitam
Varro - Oliver Wilson
Persian Stranger - Sargon Yelda


Director - Jonathan Kent
Designer - Paul Brown

Seen whilst still in preview in a glorious standby seat within the beautiful auditorium of the Olivier.


If ever there was a production that would be hard to envisage being staged anywhere else it is this one. The drum and revolve were used to such incredible effect and put me in mind of the old productions of the 80's.

This is a long production but the first two hours before the interval flew by in a way I can't recall since Tony Hopkins gave his Lear here.

The performances were engaging from the very beginning and the sets were awesome.
If I had one criticism, and this may have been addressed by now, I would kill the invasive, monotonous drone of the insects in Athens. Perhaps the balance could be adjusted but it was beyond ambience. It really started to painfully grate.

Rocket to the Moon by Clifford Odets

Frenchy - Sebastian Armesto
Belle Stark - Keeley Hawes
Ben Stark - Joseph Millson
Cleo Singer - Jessica Raine
Willy Wax - Tim Steed
Phil Cooper - Peter Sullivan
Mr Prince - Nicholas Woodeson
Ensemble - Lisa Caruccio Came, Dan Crow, Morgan Deare, Rendah Heywood, Leighton Pugh

Director - Angus Jackson
Designer - Anthony Ward

Seen on the last night of it's run at the Lyttelton after a wonderfully entertaining platform event.

Stunning, stockingless, ruthless in her youth, Cleo Singer arrives in Ben Stark’s dental practice and turns his married, humdrum world upside down. She promises passion, escape, if only he knew how. But Stark is not alone in his frustrated dreams and in those stifling, shared offices there’s rivalry over a woman discovering life, a woman who’s hungry for expression and for love. And she’s no pushover, she’s looking for the real deal.

Why don’t you suddenly ride away, an airplane, a boat! Take a rocket to the moon! Explode!

Written in 1938 by Clifford Odets, the American master of dazzling, acerbic New York repartee, Rocket to the Moon puts opportunity in the way of a quietly desperate man and waits.

None of you can give me what I’m looking for: a whole full world, with all the trimmings!

Passionate, amusing and luxurious performances from everyone involved. The cast were beautifully weighted against each other and chosen with great care and thought.

The set design was perhaps unnecessarily ambitious but a pleasure, nonetheless.

Chicken Soup with Barley by Arnold Wesker

Ada Kahn - Jenna Augen
Hymie Kossof - Steve Furst
Bessie Blatt - Rebecca Gethings
Dave Simmonds - Joel Gillman
Prince Silver - Ilan Goodman
Monty Blatt - Harry Peacock
Ronnie Kahn - Tom Rosenthal
Sarah Kahn - Samantha Spiro
Harry Kahn - Danny Webb
Cissie Khan - Alexis Zegerman
Young Ronnie Khan - Charlie Cancea/Sonnt Ryan

Directed by Dominic Cooke, Designed by Ultz

Seen on a Monday night cheapie during previews of this revival at The Royal Court. Notables in the audience: Penny Smith, Mark Lawson, Joe Penhall

I love and respect Mr Cooke and he's coaxed some tour-de-force work from his cast and designer, Ultz but ultimately I am not convinced this script that was so passionately pertinent in it's time, can actually stand up, unedited in this day and age.

It's much too laboured and long. That's not a statement on the pace which was well metered. It just needs some carving to bring it in much closer to the 2hour including interval. The debate is held in a present that is tired and dusty in our contemporary minds. The effort from the cast cannot be faulted but their material needs to be more taught.

A Delicate Balance by Edward Albee

Agnes - Penelope Wilton
Tobias - Tim Pigott-Smith
Claire - Imelda Staunton
Edna - Diana Hardcastle
Harry - Ian McElhinney
Julia - Lucy Cohu

Directed by James Macdonald and designed by Laura Hopkins

Seen mid-run during it's revival at the Almeida in Islington in what I shall now declare is one of the best two seats in the house.


Such is the downward trend in my theatre-going, I had completely forgotten how easy it is to park for free in that part of Islington on a Saturday afternoon. So I struggled with buses and the shoppers of Upper Street unnecessarily but for a great reward.

This is a rambling Albee but it exposes so much truth in the glorious mouthpiece of Agnes, so perfectly portrayed by the radiant Ms Wilton. Her considered conversations with Tobias are beautifully balanced with the hilariously understated antics of Claire.

I'm sure all the proper reviews have declared every detail this production as a triumph. That such a wordy, long piece can hold the audience in the silence never heard from the wandering minds of fidgets, is enough accolade to commend it.

As the lights went down on for the start of the final act, I felt reassured that the denouement would unravel satisfactorily but this comfort afforded me the chance to be completely intoxicated by the choice of Agnes' dressing gown. The action begins when the light is still low in the sky as it struggles through the side window and this gown might have had it's own individual LEDs lifting the folds and form of Ms Wilton as she glides around the stage. I'm only sad there isn't a better picture of it readily available.

April 14: A Night of New Stories

Ten Four Theatre gave their inaugural production to a packed arch tonight with a series of monologues inspired by today's date.

The first of eight pieces to open the evening could be either terrifying or exhilarating. To ensure the latter, a director would dream of being able to cast someone like Tom Mison and he would hope to be given the kind of writing with which he can at once hit the ground running whilst working the audience around his fingers like putty. Everything was right about "True Love" by Ziella Bryars. Directed by Kate Shearman to within a centimetre of each pause, there was as much comedy the breaths so deftly delivered by Mr Mison, as there was in the heartbreaking text. A tale of love, betrayal, revenge and deep longing.

Sophia Branson Boursot's "Cat Woman", directed by Laura Keefe might have had a tough task to follow that opening piece but Hannah James' quirky and charming delivery kept the momentum going with a tale of unexpectedly acquired companionship and the conspiracy of lottery numbers.

Charlotte Coy's performance in Maev Mac Coille's "A Door" was positively seductive as she recounts the moment when she fell hopelessly in love with her partner. This piece had wit, a touch of absurdity and a beautiful resolve.

For the final piece before the interval, Tom Mison takes the role of the writer/director of "The Bounded" and leaves the performance to Tim Wyatt whose credentials were sadly left off the programme notes for the night. He presents his monologue from within a cupboard which is very nearly tall enough for him to stand up straight in. Nearly that is, but not quite and therein lies the immediate visual cue that this was going to be deliciously silly. So it continued, with clues, a series of silly anecdotes and occasional apparently random outbursts which all pulled nicely together to reveal an April Fool's joke which did not go to plan. Another cleverly constructed piece from Mr Mison.

After an interval, Jolyon Coy was directed by Charlotte Coy (she of the iridescent performance in "A Door") in "The Lasker Award" by Fred Quillemby. This was an achingly funny introduction to addiction control with which Mr Coy kept us in stitches.

If you were to hold a gun to my head and ask if there were any weaker points to this wonderful evening, I would have to say that Lisa Ommanney's "Angel" must carry that mantel. It is a well written piece and Faye Merrall's direction of Tom Moores was perfectly fine but this piece was bravely sombre in the middle of the other taught comedic pieces and it is only for that reason, I would say it was less engaging.

"PERFECT + DAY - STRESS" by Tom Glover was performed by Sam Bern to a degree that once again had me clutching various organs for fear they'd pop out of me with all the laughter. It was just another tale of an obsessive compulsive numerologist. It had to be a pitch perfect performance for it to work at all and under the directorship of Christopher Brandon, it was just that.

Mr Brandon wrote the last piece, "John" in which Jolyon Coy directed James Rigby in another heartbreaking performance. A story of bullying and revenge, some of this piece does rely perhaps a little too much upon the audience being theatrically savvy but happily, on 14th April 2011 in Southwark, the target assembly was entirely present.

Everyone involved in putting this evening together should be exhausted and very proud.

Wastwater by Simon Stephens

Harry - Tom Sturridge
Frieda - Linda Bassett
Mark - Paul Ready
Lisa - Jo McInnes
Sian - Amanda Hale
Jonathan - Angus Wright
Dalisay - Jasmine Chen, Candice Chen

Directed by Katie Micthell and designed by Lizzie Clachan

Seen at the Royal Court for £10 in a brilliant Monday seat booked that morning, at the start of the run.

A complicated, contemporary ramble through the seemingly dispassionate minds of three pairs of gently connected souls.

Tom Sturridge must surely be a worthy successor to Ben Whishaw in Ms Mitchell's affections and his pairing with Linda Bassett was like watching flour and cool water slowly merge to make a smooth paste.

Katie Mitchell has such a wonderful talent for casting. These two connect assuredness and barely disguised uneasiness like a child's wooden jigsaw.






The final act is the really uncomfortable one because it involves a child but it also gives us the resolution that we knew would come but had been resisting.

A fabulous piece of writing, beautifully performed and directed.

There's an interview here and a podcast here but poke around the Royal Court link for more information, reviews and a video teaser.

Our Private Life by Pedro Miguel RozoTranslated by Simon Scardifield

Sergio - Eugene O'Hare
Carlos - Colin Morgan
The Mother - Ishia Bennison
Tania - Clare Cathcart
The Psychiatrist - Adrian Schiller
The Father - Anthony O'Donnell
Joaquin - Joshua Williams

Directed by Lyndsey Turner and designed by Lizzie Clachan

Seen at the Royal Court Upstairs in it's third performance of the run.

This had better look sharp and settle in before press night although most performances seem to be sold out already. It's a bit of a mess and I fear the fault may be across the language divide.

I had the strong sense that there could be something very good in here but it felt messy and the punch points seemed misplaced. The idea of thoughts being as loud as dialogue in a family who don't communicate properly is a wonderful line of discussion but it wasn't exploited other than for a few lame laughs. This was exacerbated some over-excited members of the audience exploding false guffaws at the start but even they weren't able to sustain them once they'd got over seeing Merlin in the flesh (who seems to have forgotten what to do on a stage).

It doesn't stop there. The mother was poorly cast in particular. She gave an energetic performance but having a brash, 'Jewish Mother' in a family who reference their Catholic upbringing more than once seemed like a strange choice however Joshua William's portrayal of the boy hails another performer's career to watch out for.


The set was clever and simply served the plot although my OCD was bothered by the messy way the tablecloth was skewed across the table for the duration. Had there been an interval, I would have straightened it myself. A traditional stage was used but at right angles to the normal configuration in order to give more width. This meant fewer, longer rows of seats and annoyingly there was no centre aisle.

A Flea in Your Ear by Georges Feydeau in a translation by John Mortimer

Olympe -Di Botcher
Romain Tournel- Jonathan Cake
Dr Finache - Oliver Cotton
Raymonde Chandebise - Lisa Dillon
Camille Chandebise - Freddie Fox
Lucienne Homenides de Histangua - Fiona Glascott
Victor Emmanuel Chandebise/Poche - Tom Hollander
Augustin Feraillon - Lloyd Hutchinson
Etienne Plucheux - Tim McMullan
Carlos Homenides de Histangua - John Marquez
Baptisin - William Maxwell -
Eugenie - Rebecca Night
Antoinette Plucheux - Maggie Service
Herr Schwarz - Walter van Dyk

Guests at the Hotel Coq D'Or - Greg Baldock, Peter Cadden, Emma Campbell-Jones, William Findley, Kirsten Hazel Smith

Directed by Richard Eyre and set designed by Rob Howell.

Seen during it's run at the Old Vic in a wonderful half-price seat

I don't rush to see a farce but I have unfaltering faith in Richard Eyre, adore this theatre and have never been let down by the notable members of this cast.

It hits the ground running with lot of silly exchanges, some a tad too shrill for my liking but the entire piece is deftly set up in a matter of minutes.

A production like this can fall on it's face at the first hurdle but the faith that brought me here was well placed. The timing and sheer joy of the cast make this romp along in an relaxing way.

At first, I was distracted but Mr Hollander's 'enhanced' bottom but it soon became clear that a sweet gluteus maximus can only take so much bashing without padding. Tom's energy was exhausting as he dashed in and out of his various costumes finishing off with a delightfully pratish moment at the curtain call. I am not sure how he manages with two performances and I doubt I would rush to see this in the evening of a matinee day. That said, he is probably flying on adrenaline.
I just enjoyed the freshness of his performance this time.

Ms Dillon was divine once again but the male cast were the most pleasurable to observe. Oliver Cotton maintains his grandeur in the face of ridiculous circumstances and subtly holds the fulcrum of the farce together. Freddie Fox's cleft palette was no doubt a difficult thing to perfect without seeming too ridiculous even for this but in the most part, he was superb albeit annoying. The only actor who I felt was physically miscast gave a faultless performance.

The set for the hotel was gloriously ridiculous and a complete shock after the austere drawing room of the Chandebise's house. That it was swung into place in so few minutes and still settling as the curtain went back up was one of the most joyful moments of the night.

If you know what you're in for, understand the craft of these things and are not looking for deep, intellectual post-show debate, toss your cares aside and laugh your way around this.

The Heretic by Richard Bean

Dr Diane Cassell - Juliet Stephenson
Pheobe - Lydia Wilson
Ben Shooter - Johnny Flynn
Geoff Tordoff - Adrian Hood
Professor Kevin Maloney - James Fleet
Catherine Tickell - Leah Whitaker

Directed by Jeremy Herrin and designed by Peter McKintosh.

Seen on a last minute Monday cheapie at the Royal Court Downstairs.
Celebrity in the audience...that woman with the eyes....don't worry, it'll come to me.

Fabulous characters and a very funny script. There were a couple of problems but they'll sort themselves out by press night.

Gorgeous bit of new writing performed by a very tight cast, the newer members of which are certainly people to keep an eye on in future. Sing to me, Johnny.

Get Santa by Anthony Neilson

Teddy - Bill Buckhurst
Holly - Imogen Doel
Bumblehole - Tom Godwin
Gran - Amanda Hadingue
Barbara - Gabriel Quigley
Santa - David Sterne
Bernard - Robert Stocks
Puppeteer - Chan Martinez


On the big stage at the Royal Court with music by Nick Powell and the designer was Mirium Buether. They were giving seats away for this and probably with good reason. Celebrities in the audience were Stephen Tomkinson and Dawn Steele.

Written for children 7 year-old and older, Get Santa! follows a ten-year old girl, Holly, in her quest to find the perfect family, meeting a host of weird and wonderful characters along the way.

First of all, I should say that I probably chose my seat unwisely. This would have been much better from the front of the dress circle where the Wild At Heart stars were lucky enough to be seated. The design was a joyful thing from the very start as the stage opens like a great bit present. There were some simple special effects that were carried off well and the puppeteer did a good job. I particularly liked his outfit camouflaging all but his face with the frenetic wallpaper. The structure of the story was sweet and simple enough for any seven year old audience to engage with but not be bored by.

For the first time I can ever remember, I was unable to return after the interval. In fact, I raced out of my seat as soon as the curtain went down. I had prepared myself for children chatting and kicking me in the back, making rhythmic noises to sooth themselves through their boredom. I had not prepared myself, given my love for this space, for the almost inaudible screeching from certain areas of the cast. I know I wasn't the target audience and that they were pantomiming it up but it was more than I could tolerate. I am sure many children found it a refreshing change from Cinderella and as far as I could tell, there was no awful audience participation but it grated like a rusty knife through my eardrums.

Theatre Quiz at the National, Lyttelton

Theatre Quiz: Tate, Gatiss, Russell and Chris vs. Puwanarajah, Lanipekun, Timms and Williams
Emma Freud takes charge of two rival National Theatre companies as they do battle over theatrical knowledge in the annual quiz, assisted by scorer Miranda Hart.

The Teams

The Amazing Ayckbourns

Catherine Tate (Team Captain)

Mark Gatiss

Jenna Russell

Oliver Chris

vs

The Stunning Shakespeares

Prasanna Puwanarajah (Team Captain)

Alex Lanipekun

Joseph Timms

Finty Williams

Running time: 45mins

This was, as ever pure, undiluted fun. Despite the scarcity of my theatre visits this year, I was heartened that I'd clearly managed to be more on top of the scene than I'd given myself credit. Ms Hart was delightful and the teams were gorgeous and entertaining.

Design For Living by Noël Coward

Otto - Tom Burke
Grace Torrence - Nancy Crane
Matthew - Edward Dede
Gilda - Lisa Dillon
Photographer - Matthew Gammie
Mr Birkbeck/Henry Carver - John Hollingworth
Miss Hodge - Maggie McCarthy
Leo - Andrew Scott
Helen Carver - Maya Wasowicz
Ernest Friedman - Angus Wright


Director - Anthony Page
Designer - Lez Brotherston

Seen mid-run at the Old Vic.

Bloomin' hilarious & I got in for free!

Once you get past the silly hoity toity stuff, it's so contemporary. The set was incredible and when the drapes revealed the New York skyline the audience gave a round of applause....in a matinee!

In fact, the audience were really good and the cast were sexy.

Tribes by Nina Raine

Billy - Jacob Casselden
Beth - Kika Markham
Sylvia - Michelle Terry
Christopher - Stanley Townsend
Daniel - Harry Treadaway
Ruth -Phoebe Waller-Bridge

Directed By Roger Michell
Designed by Mark Thomson (no doubt while he wasn't busy carving up the BBC)

Seen towards the end of it's premiere run at the Royal Court in a wonderful seat.

This was a hundred different kinds of awesome but for a more articulate appraisal I see nothing more fruitful than pointing in this direction. I don't wish to appear lazy but this says a lot of what I would say and more.
Unless I missed it, they fail to mention that Harry Treadaway seemed to be wearing the same underpants he sported in Over There. They are no more sexy now than they were then.

Krapp's Last Tape by Samuel Beckett

Krapp - Michael Gambon
Directed by Michael Colgan

A production from The Gate Theatre seen during a short run at The Duchess. Seat was a freebie in row K. As I was entering, I saw Stephen Dillane leaving from the earlier performance.

You could hear a pin drop in the auditorium. You could also hear the man next to me breathing heavily, the woman on the other side of me sobbing, a man in the centre stalls snoring, someone back-stage clanging doors and the man who had to take a break for a pee was in danger of upstaging Mr Gambon.

That would, of course have been impossible. He was wonderful. The script isn't as I had remembered it but who knows, my previous experience may have played fast and loose with it. There were more 'spools' as I recall.

It's not for everyone but if there is no phonebook available for Mr Gambon to read, a Beckett monologue is a fair substitute.

Notes Still In Draft Form

Other commitments leave this blog in a bad state.
I still have to post on the following productions:

Earthquakes in London
Danton's Death
Through The Glass Darkly
Hens by Alia Bano
Elektra
Rough Cuts
Ingredient X

Remains of the Day by Kazuo Ishiguro

CHRISTOPHER BARTLETT- Reginald
ADRIAN BEAUMONT - Sir David
HANNAH BINGHAM- Ensemble/Florence (Dance Captian)
LUCY BRADSHAW- Miss Kenton
SOPHIE JUGÉ - Ensemble/Mrs Taylor (Dance Captain)
REUBEN KAYE - Mr Lewis/Mr Farraday
STEPHEN RASHBROOK - Stevens
DUDLEY ROGERS - Stevens Senior/Man on pier
GEMMA SALTER - Ensemble/Sarah
KATIA SARTINI - Ensemble/Ruth
PAUL TATE(Unwell tonight)- Meredith/Mr Spencer
LEEJAY TOWNSEND - Dupont/Policeman
ALAN VICARY - Lord Darlington
REBECCA WHITBREAD - Ensemble/Dorothy

Musicians

ELAINE BOOTH - Reeds
MARY ERSKINE - Cello
LORNA YOUNG - Violin
Music, Book & Lyrics by Alex Loveless
Directed by Chris Loveless
Movement Director Omar F. Okai
Instrumental Arrangements & Ensemble Vocal Arrangements by Rowland Lee
Musical Director/Dance Music & Vocal Arrangements by Richard Bates
DAVID SHIELDS - Set & Costume Design
Seen at the lovely little Union Theatre after a delay due to a cast member being ill.

The idea of setting this piece to music confused me at first but it is of course, the perfect candidate.
It really requires a lavish production which it cannot enjoy in this sweet theatre but all the stops were pulled out and in the end the material sells the whole thing.

Some songs are the kind you might have heard audiences singing as they left the Cambridge Theatre. Others were weaker and just plot serving whilst several were lost in some of the heavy-handed musical accompaniment.

There were some beautiful performances here which could certainly be retained for a bigger production. All in all, this was a wonderfully refreshing surprise.

After The Dance by Terence Rattigan

Joan Scott-Fowler - Nancy Carroll
Helen Banner - Faye Castelow
Julia Browne - Pandora Colin
Dr George Banner - Giles Cooper
David Scott-Fowler - Benedict Cumberbatch
Miss Potter - Jenny Galloway
Partygoer - Daniel Gosling
Peter Scott-Fowler - John Heffernan
Moya Lexington - Juliet Howland
Williams - Nicholas Lumley
Cyril Carter - Lachlan Nieboer
John Reid - Adrian Scarborough
Partygoer - Leo Staar
Partygoer - Hannah Stokely
Lawrence Walters - Giles Taylor
Arthur Power - Richard Teverson
Partygoer - Natalie Thomas
Partygoer - Charlotte Thornton

Director - Thea Sharrock
Designer - Hildegard Bechtler
Music -Adrian Johnston

Glimpsed through the gap between the big headed men in the cheap seats at the Lyttelton, mid-run.
Despite being in considerable pain and having had to hobble from a distant parking space in a potential curtain-up missing panic, I completely adored this wonderful production.

With the exception of Adrian Scarborough's wonderfully considered John Reid, the rest of the characters are either detestable or pathetic but in the hands of this glorious cast, they are entirely engaging throughout the three hours of the performance. Everyone felt as though they'd been wearing their character for months and despite the almost farcical arc of the story-line, I was involved and captured for the duration.

Am I cruel to have gained such enjoyment from an incredibly pretty young blonde in front of me needing almost every scene to be explained to her?

I haven't seen a curtain call with such sustained red eyes (from Mr Cumberbatch) since The Seagull with Carey Mulligan.

Welcome to Thebes by Moira Buffini

Eurydice - Nikki Amuka-Bird
Megeara - Madeline Appiah
Pargeia - Rakie Ayola
Junior Lieutenant Scud - Omar Brown
Ensemble - Jessie Burton
Talthybia - Jacqueline Defferary
Ensemble - Daniel Fine
Ensemble - Karlina Grace
Junior Lieutenant Scud - Rene Gray
Theseus - David Harewood
Ismene - Tracy Ifeachor
Ensemble - Irma Inniss
Prince Tydeus - Chuk Iwuji
Girl - Alexia Khadime
Phaeax - Ferdinand Kingsley
Aglaea - Aicha Kossoko
Ensemble - Cornelius Macarthy
Haemon - Simon Manyonda
Tiresias - Bruce Myers
Euphrosyne - Pamela Nomvete
Ensemble - Clare Perkins
Ensemble - Victor Power
Polykleitos - Daniel Poyser
Thalia - Joy Richardson
Antigone - Vinette Robinson
Ensemble - Zara Tempest Walters
Sergeant Miletus - Michael Wildman

Directed by Richard Eyre & Designed by Tim Hatley

Seen on the night before the press came in the Olivier with Kwame-Kwei Amah was in the audience.

Wonderful seat at the side. Wonderful because I would not have like to have paid a great deal more than we did. It was much too loose and wobbly. The performances were great but it needed a shake-out and a brutal hand. It was self-conscious and a little bit too smug. It couldn't decide if it wanted to be contemporary or a classic. The execution of the helicopter arrival and departure was worth the entry price alone. The sound control was precision perfect and the use of the fans were completely over the top but very gratifying.

The Man by James Graham

Ben - James Graham
Inland Revenue - Michelle Luther

Directed by Kate Wasserberg & designed by Fly Davis.

Seen at the Finborough on the penultimate day of it's run

Incredible performance of a wonderful piece of writing. Subject matter much too close to home.

The Last Stand to Reason by The Pajama Men

Written and performed by Shenoah Allen & Mark Chavez plus their tireless musician, Kevin Hume at the Soho Theatre. I think I saw James Serafinowicz as I was leaving. Does that count as an 'audience notable'?
My first impression was that this show wasn't as tight as Versus Vs Versus but that may have been contingent upon the absence of the impact from seeing them for the first time and the hard-to-warm-up audience.

It's undeniably clever stuff, well crafted and presented. In a piece this long, not all of it's going to work at a consistently good level but I would never hesitate to see them again. Mark looks and performs as though Shenoah just drew him during a long period of procrastination, then got someone to animate him. I meant that as positively. He does things with his voice that most people would need sophisticated equipment to replicate.

A quick scoot around for reviews of the current show has been relatively fruitless. I was in a packed audience on the last night of a very short run. I'd hate to see them in a less intimate venue but surely they can support a longer run?

The Real Thing by Tom Stoppard

Billy - Tom Austen
Debbie- Louise Calf
Max - Barnaby Kay
Annie - Hattie Morahan
Henry - Toby Stephens
Charlotte - Fenella Woolgar
Brodie -Jordan Young

The production is directed by Anna Mackmin, with designs by Lez Brotherston.

Seen during it's revival at The Old Vic.

A timeless piece of acute observation and honesty, beautifully constructed and punctuated with what are now the creme of nostalgic tracks.

The performances are wonderful and the shift in chemistry seamless and almost comforting. It's a terrible shame that the press photos don't include Ms Woolgar. It was such a joy to see her so relaxed in a contemporary role.

Telegraph, Times, Independent and Guardian.

The Roman Bath by Stanislav StratievVersion by Justin Butcher

Ifan Meredith - Ivan Antonov
Bo Poraj - Vasilev MA
Rhona Croker - Martha
Lloyd Woolf - Lifeguard
Christopher Hogben - Deaf Mute/TV Assistant/Committee Member 2
Jonathan Rhodes - Banev/TV Director
David Schaal - Party Rep/Workman 2
Wendy Wason - Miss DiMatteo/TV Presenter
Richard Atwill - Column/Workman 1/Committee Member 1
Directed by Russell Bolam
Designed by Jean Chan

Seen on Press Night at the Arcola Theatre. Alan Corduner popped into the bar at the interval but I don't think he was in the audience.
I enjoy farce and slapstick when it's well written and performed - Boeing, Boeing is a good case in point.

This is a bit of a mess. It gets of to an awfully tortured start with a tv news crew. It has a worthy theme to explore but the characters are two mannered and audience aware. I'm sure the actors where doing the director's bidding but it dimishes the respect all concerned should have for the audience. This could have made as much impact and been far funnier if the everyone had performed with more commitment to being present in it. Bo Poraj seems to keep himself within the piece but even he started to despair towards the end. Lloyd Woolf's lifeguard was both well written and even though it was the most ridiculous character, his performance was the most consistently credible.

My notes on the night read something like: This needs some serious tightening up and then a load of waffle I can't read except a note about someone in the audience that looked like Joe Cornish in profile but was disappointing face to face. Proud to be an air-head.

Independent, Guardian and Time Out.

Hurts, Given and Received by Howard Barker

September - Jane Bertish
Sadavee 1 & 2 - Issy Brazier-Jones
Feltray - Suzy Cooper
Detriment/Stays - Alan Cox
Chorus - Libby Edwards
Bulow/Rib - Nigel Hastings
Chorus - Mark Lewis
Always/Umber - Peter Marinker
Alzarin - Richard Maxted
Glove - Penelope McGhie
Bach - Tom Riley
Chorus - Matt Schmolle

Directed by Gerrard McArthur
Set Designed byTomas Leipzig

A production from The Wrestling School and seen at The Riverside Studios during their Howard Barker Season. Notables in the audience were Tom Mison, Christina Cole and Jemima Rooper.

This play is probably the strongest and best formed of the three but for a tiny little theatre, the staging of the two main productions were fabulous.

Tom Riley's performance was so beautifully paced and energetic. I forgot how much as ease he puts me even when the text is challenging. The play is are like a ballet of words. This guy's prose moves around with a structure Twyla Tharp would have been proud of. Completely enjoyable afternoon/evening.

I forgot to mention the drool. Now, I was used to having this effect on men when I was younger but it seemed to me that Tom spent a full 20 minutes drooling. He also seemed to be pretty much dead on our eye-line and I could hardly look at him. It glistened in the spotlight and he almost gobbed on one of his fellow cast. What IS it with boys and their drooling games?Seriously, Tom is on stage with so much patter all the time, I have no idea how he manages to summon up that much gunk each night with no evidence of a crafty bottle to hydrate him. The things they teach you at drama school, eh?

He's certainly one of those young actors whose professional diary I like to keep in my locker, shall we say but the supporting cast were beautifully complimentary.

For me to justify revisiting a production is a rare treat but I can honestly say, with objectivity and no silly bias, that as I left the auditorium on Sunday, I deeply regretted not having snagged one of those freebie Time-Out tickets. This production invaded my thoughts all week.

4 Star review and analysis plus notes from them wily Whingers.

Slowly by Howard Barker

Bell - Vanessa Ackerman
Calf - Suzy Cooper
Paper - Megan Hall
Sign - Penelope McGhie

Directed by Hanna Berrigan
Set Designed byTomas Leipzig

From The Wrestling School at the Riverside Theatre.

A production from The Wrestling School and seen at The Riverside Studios during their Howard Barker Season.
Weighty performances from this outstanding cast. The stark but powerful design of the set and wardrobe burned into the desperate situation in which these woman found themselves. Not easy or light but admirable, for sure.

Wonder and Worship in the Dying Ward by Howard Barker

Narrator - Alan Cox
Tennants:
Atto - Nigel Hastings
Momper - Mirandar Cook
Windus - Jane Bertish
Slump - Deborah Penny
Portslade - Peter Marinker
Basin - Michael Sheldon
Cling - Richard Maxted
Loos- Stephen Omer
Onsee - Kristin Milward
Childlike - Chris Moran

The Proprieter
Architect - Vanessa-Faye Stanley

The Visitors
Ostend - Carolyn Backhouse
Doobee - Ross Armstrong

This was a rehearsed reading from The Wrestling School to start off a day of Barker productions. It took the form of a very physical reading. It was hard and chilling to watch but beautifully staged and performed.

Posh by Laura Wade

Jeremy - Simon Shepherd
Alistair Ryle - Leo Bill
Rachel - Fiona Button
Toby Maitland - Jolyon Coy
Hugo Fraser-Tyrwhitt - David Dawson
George Balfour - Richard Goulding
Harry Villiers - Harry Hadden-Paton
Ed Montgomery - Kit Harington
Dimitri Mitropoulos - Henry Lloyd-Hughes
Charlie - Charlotte Lucas
Guy Bellingfield - Joshua Mcguire
James Leighton-Masters - Tom Mison
Miles Richards - James Norton
Chris - Daniel Ryan

Directed by Lyndsey Turner & Designed by Anthony Ward.

Seen in the Jerwood Downstairs at the Royal Court Theatre. Anthony Horowitz, Toby Jones, Nick Hytner, Rupert Friend and Keira Knightley in the audience.


I saw this in it's raw state a couple of years ago during the Rough Cuts season. It had a wonderful cast and romped along in a manner that could have caused me to wonder about a full expansion being too loose but the material is rich and rattles along at a wonderful speed. It could have been a smug dig and I have to say I do question some of the character names but a quick glance at the double-barrelled actors names puts paid to any concern I should have there. Mr Shepherd is annoyingly smug and self-important but I guess that's the intention. Daniel Ryan was heartbreaking.

Read the reviews here.

Measure for Measure by William Shakespeare

David Annen - Provost
Daisy Boulton - Juliet
Flaminia Cinque - Mistress Overdone
Trevor Cooper - Pompey
Emun Elliott - Claudio
Andrew French - Friar Peter
Lloyd Hutchinson - Lucio
Sean Kearns - Barnadine
David Killick - Escalus
Rory Kinnear - Angelo
Victoria Lloyd - Marianna
Anna Maxwell Martin - Isabella
Ben Miles - Vincentio
Mark Monero - Abhorson
Nick Richards - Justice
Jessica Tomchak - Francisca
Tony Turner - Elbow

Michael Attenborough - Director
Lez Brotherston - Design
Seen towards the end of it's run at the Almeida in one of the cheaper side seats with no detriment to my pleasure sensors. Audience member of note - Amanda Root.

Grumped up because my original post went missing in the ether. This is a beautiful production with a set design that would put Busby Berkeley to shame. The script was distilled to perfection, making this romp along at a pace that gave the perfect balance between satisfaction and mild hunger pangs.

The post-show talk did not seem to be made public knowledge (other than on the website) so it was poorly attended but gloriously intimate.

Ghost Stories by Jeremy Dyson and Andy Nyman

Mike Priddle - Nicholas Burns
Tony Matthew - David Cardy
Simon Rifkind - Ryan Guage
Professor Philip Goodman - Andy Nyman
plus whoever it was that plays the asthmatic boy that's not listed in the programme.

Directed by Jeremy Dyson, Sean Holmes & Andy Nyman
Designed by Jon Bausor

Seen regrettably too near too the end of it's run at the Lyric, Hammersmith in J5
I didn't spot any celebrities in the audience but was reunited with some long lost friends which felt even better
Just like The Mousetrap, the producers ask that not too much of the plot is revealed so that others may enjoy the full impact.

Sadly, much of the tension for this production is provided by unnecessarily loud noises surprising the audience from what is quite possibly the worst sound system I have ever had to endure in a theatre that charges for entry. I wish I'd seen this earlier in the run before the hype started because I expected too much of it. It had my three most detested ingredients - a noxious (and gimickly unnecessary) smell, bright lights persistently shone in one's face and noise that was intrusively distorted and painful. I ran out of digits to hold my nose, plug my ears and shield my eyes at one point.

That's all the negative stuff dealt with. I'm well aware that most of my gripes are personal to me and should not dissuade anyone else from seeing the show. The script, performances and set design were outstanding. Am I crossing a line if I say that this had me level pegging with the plot in every way that Shutter Island didn't? This is experiential theatre at it's best. The audience are silly, noisy and collaborative.

I wouldn't often bother to mention the programme but it's a treasure trove of dip-into delight, as is the website.

This deserves all the success it has enjoyed. If they can at least install a sound system that can cope with the volumes used, I would happily see it again..........but this time I'd wear a costume. It's a cult night out in the making. Drag your friends along.

I can't wait for the 10 year anniversary production.

The Little Dog Laughed by Douglas Carter Beane

Diane - Tamsin Greig
Mitchell - Rupert Friend
Ellen - Gemma Arterton
Alex - Harry Lloyd
Directed by Jamie Lloyd
Designed by Soutra Gilmour

Seen towards the end of the run at The Garrick in a wonderfully central, half-price ticket...thank you!
A non-stop, laugh-a-minute, exhilarating joy-fest. The script was great, the cast were brilliant and the audience were amazing (except the dork next to me who took 30 second to catch up). The pace was perfectly judged, firing on all cylinders with just the right amount of breathing spaces for the audience to compose themselves. Getting applause from the cast is what makes theatre a totally satisfying entertainment. I was wonderful, dahling!

I have no idea what this little video achieves. I find it irritating until we get to the little bits from the cast.

Ghosts by Henrick Ibsen in a version by Frank McGuinness

Engstrand - Malcolm Storry
Regine Engstrand - Jessica Raine
Pastor Manders - Iain Glenn
Mrs Helena Alving - Lesley Sharpe
Oswald Alving - Harry Treadaway

Director - Iain Glenn
Designer - Stephen Brimson Lewis

Seen at the Duchess during the week before it's premature swan-song in a brilliant half price seat.

This was an evening but it felt like a matinee. It's hard to tell if posting early closing notices would have changed the atmosphere on stage but it certainly seemed to change the mood of the audience. The lack of expectation was palpable. There were a few too many drama students, apparently dragged there against their privileged wills, more concerned with who they were sitting next too and how much noise they could make with their bottles of drink.


The production is sour. It's wrong and I don't know why. I'm sure a quick scout around the reviews will tell me but I make a point of writing this without the benefit of anyone else's opinion. Early closing is an opinion all of it's own and I can't tell how much that influenced my reaction. Lesley and Harry could not have given more of themselves and I was almost ashamed to be part of an audience that laughed at their total commitment.

I'm going to be bold enough to lay some of the blame for this dull and unengaging production in the hands of Mr McGuinness but perhaps it was all too much for Mr Glenn. These are all good people so why didn't it work? It was my no means dreadful but when I think of some of the Ibsen I have seen in recent years, it saddened me.

Six Degrees of Separation by John Guare

Ouisa - Miriam Lucia
Flan - Anthony Head
Geoffrey - Ian Redford
Paul - Obi Abili
Doorman/DrFine - Stephen Greif
Hustler/Policeman - Kevin Kiely
Kitty - Sara Stewart
Larkin - Steven Pacey
Detective - John Moriatis
Tess - Zoe Boyle
Woody - Paul Stocker
Ben - Michael Goldsmith
Doug - Ilan Goodman
Trent - Kevin Trainor
Rick - Luke Neal
Elizabeth - Sarah Goldberg

Directed by David Grindley
Designed by Jonathan Fensom

Seen toward the end of it's run at the Old Vic for zippo - absolutely no money exchanging hands here save the bus fare.
It would be rude of me to be ungrateful for a free ticket and I am certainly not that person but I can see why they wanted to put any old flabby bum on a seat.

This is the kind of production that really benefits from a complete lack of pre-cognition. I enjoyed the film and found myself deconstructing scenes when I should have been letting it just flow around me. The performance were beautifully crafted and the set was sympathetic. For some reason, I gave my mind the luxury of wandering a bit too often but it passed the time and I wasn't itching to leave.

London Assurance by Dion Boucicault

Cool, a valet - Nick Sampson
Martin, a manservant - Richard Frame
Charles Courtly - Paul Ready
Richard Dazzle - Matt Cross
Sir Harcourt Courtly, Bart - SImon Russell Beale
Squire Max Harkaway - Mark Addy
Pert - Maggie Service
James - Simon Markey
Grace Harkaway - Michelle Terry
Mark Meddle - Tony Jayawardena
Lady Gay Spanker - Fiona Shaw
Mr Adolphus Spanker - Richard Briers
Mr Solomon Isaacs - Junix Inocian
Servants - Mark Extance, Prasanna Puwanarajah
Doctor's Daughters - Fiona Drummond, Laura Matthews

Directed by Nicholas Hytner and designed by Mark Thomspon.

Seen on it's first night of preview, I believe in the the glorious chapel of mirth that is called the Olivier Theatre. Mark Lawson was apparently in the audience though I didn't see him.
A quick glance a the character names pretty much gives you the plot but the execution is all in a production like this. Despite seeing this right at the start of the run, it romped onto the stage in a state of perfection that no doubt enabled the team to luxuriate in the pleasure of fiddling with each subsequent show for their own enjoyment.

If you can't get to London, catch it in a cinema somewhere on 28th June 2010 where it will be broadcast live.

Theatre Index for 2009

▼ December (2)
The Priory by Michael Wynne
Cock by Mike Bartlett
▼ November (2)
Enron by Lucy Prebble
The Habit of Art by Alan Bennett
▼ October (4)
Kings of Convenience at the Barbican
Sea Wall by Simon Stephens
Judgement Day by Ödön von Horváth translated by Ch...
The Power of Yes by David Hare
▼ September (7)
The Fastest Clock in the Universe by Philip Ridley...
A Life in Three Acts by Bette Bourne & Mark Ravenh...
The Seagull Project by The Factory
Only four more entries to catch up on....
Mother Courage by Bertolt Brechttranslated by Tony...
The Fugitive Kind by Tennessee Williams - Rehearse...
A House Not Meant to Stand by Tennessee Williams (...
▼ August (4)
A Streetcar Named DesireBy Tennessee Williams
Hamlet by William Shakespeare
Three More Sleepless Nights by Caryl Churchill
Helen by Euripides in a new version by Frank McGui...
▼ July (3)
The Observer by Matt Charman
Jerusalem by Jez Butterworth
A Doll's House by Ibsen in a new version by Zinnie...
▼ June (8)
When the Rain Stops Falling by Andrew Bovell
a thought in three parts by Wallace Shawn
Apologia by Alexi Kaye Campbell
A Winter's Tale by William Shakespeare
Our Late Night by Wallace Shawn
Aunt Dan & Lemon by Wallace Shawn
Harold Pinter Tribute at the National Theatre, Oli...
the rape of europe by Gregory Motton
▼ May (11)
the hotel by wallace shawn (rehearsed reading)
Dido, Queen of Carthage by Christopher Marlowe
Collaboration by Ronald Harwood
Taking Sides by Ronald Harwood
Grasses of a Thousand Colours by Wallace Shawn
All's Well that Ends Well by William Shakespeare
Tunnel 228, A Punchdrunk production
Time and the Conways by J B Priestley
Dimetos by Athol Fugard
Nocturnal by Juan Mayorgatranslated by David Johns...
Andromaque - par Jean Racine
▼ April (13)
BAFTA ROCLIFFE New Writing Forum Chaired By Mike N...
Parlour Song by Jez Butterworth
The Great Game - Part Three
The Great Game - Part Two
The Great Game - Part One (& general overview)
England People Very Nice by Richard Bean
You Can See The Hills by Matthew Dunster
Paris Calling: Readings at the National Theatredir...
Jacques and his Master by Milan KunderaTranslated ...
Madame de Sade by Yukio Mishima (translated by Don...
The Fever by Wallace Shawn
Tusk Tusk by Polly Stenham
Rory Kinnear in Conversation @ the NT
▼ March (15)
Three Days of Rain by Richard Greenberg
A View From the Bridge by Arthur Miller
the pigeons by David Gieselmanntranslated by Maja ...
Owen Teale Masterclass
Wall by David Hare
The Uncertainty Of The Situation (Die Unsicherheit...
A Miracle by Molly Davies
The Olivier Winners.................
Wrecks by Neil LaBute
Stovepipe by Adam Brace
The Bankrupt Man by David LescotTranslated by Chri...
Over There by Mark Ravenhill
Mrs Affleck by Samuel Adamsonfrom Henrick Ibsen's ...
to the south seas by gherkin plane by Christophe N...
Twelfth Night by William Shakespeare
▼ February (9)
Burnt By The Sun by Peter Flannery(based on Mikhal...
Black Beast Sadness by Anja Hilling & Translated b...
Skin Deep by Armando Iannucci & David Sawer
Seven Jewish Children, a play for Gaza by Caryl Ch...
The Stone by Marius Von Mayenburg (translated by M...
What's On Stage Theatregoers Choice Awards Winners...
Every Good Boy Deserves Favour by Tom Stoppard and...
Berlin by David Hare
Extraordinary Entry
▼ January (4)
August: Osage County by Tracy Letts
La Cage Aux Folles by Jerry Herman and Harvey Fier...
Hamlet by William Shakespeare
In a Dark, Dark House by Neil LaBute

The Priory by Michael Wynne

Adam - Nick Blood
Kate - Jessica Hynes
Ben - Alastair Mackenzie,
Daniel - Joseph Millson
Carl- Rupert Penry-Jones
Laura - Charlotte Riley
Rachael Stirling - Rebecca

Directed by Jeremy Herrin
Designed by Robert Innes Hopkins

Seen downstairs at the Royal Court in what seemed like the pantomime-like run up to Christmas Day.

I don't think I've ever seen anything quite so frivolous at the Royal Court but it really worked with the season's sentiment and as I had something of a theatre novice with me, I was able to relax and let all the silliness wash over me. The dialogue was ping-ponging backwards and forwards like a treat and the performances were enviably joyous.

Cock by Mike Bartlett

F- Paul Jesson
W - Katherine Parkinson
M - Andrew Scott
John - Ben Whishaw
Directed by James Macdonald
Designed by Miriam Buether

Seen upstairs at the Royal Court on the night of the Post Show Talk. Daisy Haggard and Rufus Wainwright were in this tiny, 80 seats-in-the-round production.

I like everything I see from Mike Bartlett. It's uncompromising and visceral whilst still retaining a breath-taking degree of delicacy. The performances were wonderful and confident.

These are two of my favourite young actors on the stage at the moment.

Enron by Lucy Prebble

News Reporter - Gillian Budd
Lehman Brother, Trader - Peter Caulfield
Security Office.Trader - Howard Charles
Claudia Roe - Amanda Drew
Congresswoman, Business Analyst, Irene Grant - Susannah Fellows
Arthur Anderson, Trader - Stephen Fewell
Lehman Brother, Trader - Tom Godwin
Andy Fastow - Tom Goodman-Hill
Trader- Andrew Corbett
Lou Pai, Senator - Orion Lee
Hewitt, News Reporter, Prostitute - Eleanor Matsuura
Ken Lay - Tim Pigott-Smith
Ramsay, Trader - Ashley Rolfe
Jeffrey Skilling - Samuel West
Lawyer, Trader - Trevor White
Daughter - Gabby Willcocks

Director Rupert Goold
Designer Anthony Ward

Seen at the Royal Court downstairs.

Powerful stuff, beautifully presented. Read the reviews as I have nothing to add.

The Habit of Art by Alan Bennett

Matt (Sound)- Danny Burns
Ralph (Dresser) - Martin Chamberlain
Brian (Originally Boyle) - Philip Childs
Kay (Stage Manager) - Frances de la Tour
Fitz (W H Auden) - Richard Griffiths
George (Assistant Stage Manager) - John Heffernan
Henry (Benjamin Britten) - Alex Jennings
Joan (Chaperone) - Barbara Kirby
Neil (Author) - Elliot Levey
Donald (Humphrey Carpenter) - Adrian Scarborough
Tim (Stuart) - Stephen Wight
Charlie (Singer) - Laurence Belcher/Otto Farrant/Toby Graham
Tom (Rehearsal Pianist) - Tom Attwood

Director - Nicholas Hytner
Designer - Bob Crowley

Seen on the last night of preview in a brilliant seat (by Lyttelton Standards). Jean Marsh was in the audience. Georgia Moffat and her boyfriend were wandering in the vicinity.

I am confident that all the reviews will set out the perverted joy of this piece. Mr Bennett presents us with theatrical faux-pas that no other playwright could possibly get away with and we delight in them like the supplicants we all are.

More deliciously adroit lines per minute than should be allowed in the current economic climate and all performed with the relish that any actor given this opportunity should convey. Have a little poke around the site.



All the action takes place in an imagined rehearsal room a this National Theatre.
A rogue mobile was swiftly retired and a couple of dissatisfied customers removed themselves with the minimum of fuss. One latercomer was allowed to make a leisurely fumble into the second row during one of Adrian Scarborough's speeches but there is always a cavalier approach to a preview. I daresay the press were no better behaved on the following evening.

This play is part of the Theatre Live programme and can be seen on 22nd April 2010

Kings of Convenience at the Barbican

What a beautiful evening. Crying with joy is OK at a music gig, isn't it?

Taxi Taxi were so sweet and wonderful too. They made a load of t-shirt to sell. I resisted. How many headliners come on stage to introduce their support, anyway?

Spent time with a dear friend instead of going to the after party.