The Pride By Alexi Kaye Campbell

Philip - J.J. Feild
Sylvia - Lyndsey Marshal
Oliver - Bertie Carvel
Man, Peter, Doctor - Tim Steed

Directed by Jamie Lloyd
Designer Soutra Gilmour

Celeb in the audience - Kelly Reilly

Rather unfortunate that the actors' entrance is heralded by their back-lit silhouettes in the doorways which in JJ's case, had a pair of rather charming luminous orange handles at the top. Enough of that. This is a remarkable production.

I came to this with much anticipation to see what Alexi could do and that can sometimes be fatal. I don't know what I expected but this was much more than I could have hoped for. If it doesn't transfer to the West End, I would hope that they would at least reprise it downstairs.

This is a beautiful, tightly constructed muse on the changing views and taboos between 1958 and 2008. The set was wonderfully economical but still retained a richness. The performances where fantastic all round as they got their teeth into long speeches and punchy dialogue.

Wig Out! by Tarell Alvin McCraney

Eric - Alex Lanipekun
Wilson/Nina - Nathan Stewart-Jarrett,
Rey-Rey - Kevin Harvey,
Loki - Drew Calden
Fay - Holly Quin-Ankrah
Fate - Kate Gillespie
Faith - Jessika Williams
Lucian - Danny Sapani
Venus- Craig Stein
Deity - Leon Lopez
Serena - Billy Carter

Directed by Dominic Cooke
Set and costume design by Ultz

I probably shouldn't really commit my words here because I was tired from a hectic day at work but I didn't enjoy this as much as I had been expecting. I thought it would be more fun, I suppose. It was a bit of a laboured and somewhat unoriginal plot and whilst some of the set pieces were entertaining enough, I didn't feel it was special.

The temporary configuration of the auditorium worked well but I had thought the stalls might be more fun than they actually were. The circle is your best bet and in a similar way to the current layout at the Old Vic, the seats that are usually cheap at the side of the circle are actually very good.

Gethsemane by David Hare

Lori Drysdale - Nicola Walker
Mike Drysdale - Daniel Ryan
Frank Pegg - Pip Carter
Otto Fallon - Stanley Townsend
Meredith Guest - Tamsin Greig
Suzette Guest - Jessica Raine
Monique Toussant - Gugu Mbatha-Raw
Geoff Benzine - Adam James
Alec Beasley - Anthony Calf

Directed by Howard Davies
Designed by Bob Crowley


This had me from the moment Nicola Walker said she was in the group without a book (referring to all the groups of people who live their lives according to what is written in a book). Echos of Now Or Later in a UK style but with a broader sweep to fill more than two hours.

This has far more to say than The Vertical Hour and it tells it a lightening pace. Wonderful performances from everyone. It seemed ages before Anthony Calf made his entrance (and your bum's getting a bit big now, Anthony - get back on that bike).

Loved the simplicity of the set, loved my seat and just loved the whole thing. Pip Carter was wonderful but it seems crazy to single one person out. I guess I meant that Pip's performance in a fairly small role, was of note. I was sad that Stanley didn't use his native accent but it slipped in a couple of times. He is so charismatic. Tamsin was fabulous and wore some killer wardrobe.

Rain Man adapted by Dan Gordon

Charlie Babbitt - Josh Harnett
Raymond Babbitt - Adam Godley
Susan - Mary Stockley
Dr Bruener - Colin Stinton
Lucy/Waitress/Iris - Tilly Blackwood
Mr Mooney/Cop/Dr Marsden - Charles Dish

Directed by Terry Johnson
Designed by Jonathan Fensom
Brilliant half-price TKTS in the house row aisle!

Interesting adaptation. The opening scenes went on for far too long and I had a dread that the whole thing would follow the same course. However, not to take anything away from the lovely Mr Harnett, the whole thing took a turn for the better and tighter when Adam Godley entered. All the performances were adequate, Colin is always good, Josh was really fine and Adam was exceptional.

The set just scraped into the stylishly practical bracket but no more than that. I'm glad I saw this against my earlier better judgement.

I found it more difficult that usual to find a production photo. Lots of press and party stuff but nothing from the show so I have included my picture of the safety curtain.

The Twenty Four Hour Plays Celebrity Gala

Love Me Till My Heart Stops by Joel Horwood

Tony - Tony Booth
Henry - Henry Goodman
Sally - Sally Phillips
Ralf - Ralf Little

Directed by Clare Lizzimore (AD was Abigail Graham)

We're onto a winner when we start with one of my favourite Talking Heads tracks! Tony is Henry's father. Henry and his wife, Sally are living in his house but they want to move to somewhere smaller and less like a childhood home. Ralf is the estate agent. Lots of silly wordplay here. Sally and Henry's relationship has lost the love and Henry falls easily into the arms of Ralf for a bit of human comfort. It turns out that Ralf was also there for Sally but who was there for Tony?

Fairly amusing but not enough impact to start the evening off at full tilt.

The Border by Stephen Jeffreys

Ferko - Tim PIggot Smith
Gaxsi - Ilan Goodman
Zala - Jenny Seagrove
Anita - Jenny Agutter
Inngard - Michelle Ryan

Directed by Jonathan Munby (AD was Dan Herd)

I was secretly hoping for one of those hard hitting opening monologues from Mr Jeffreys but I would imagine he thought that might be a big ask for the cast. Instead we see two Austro/Hungary border guards watching the minute hand take it's last sweep before Europe unites against ..........erm the non-European oppressors.(?)

Zala & Anita approach the border with their papers, unaware that within the hour the border will be dismantled. For sport, Ferko and Gaxsi go through the motions and while searching the car they discover Inngard. Zala and Anita are sister and they claim that Inngard is their cousin. Inngard looks distressed and is clutching a Russian doll. Ferko asks to see what is in the doll and the final cavity reveals a small piece of paper. After a little more discussion the women are allowed to get back in their car as the border guards choose not have seen them. The border is hacked down and we finally understand that the piece of paper said the word 'help'.


Elephant Hotel by Moira Buffini

Colin - Hamish Clark
Jacqueline - Jessica Hynes
Serena - Marina Laird
Veronica - Lia Williams

Directed by Josie Rourke (ADs were Joe Hancock & Tara Wilkinson

Jacqueline and Veronica are two odd obsessive characters that run this hotel in Wales. They have not had any visitor for a long time. Colin and Serena have been on a romantic hike in the area. Serena is not impressed with the prospect of spending a night in a tent so they look for a hotel. They are told the Elephant Hotel is full except for two single rooms.

My memory is a bit hazy after that but I do know that I was impressed by a very long speech from Jessica Hynes and the fact that they managed to squeeze four acts into 20 minutes.


I N T E R V A L

Ruby by Tanita Gupta

Ruby - Jenny Jules
Arun - Sanjeev Bhaskar
Jack - Josh Hartnett
Sam - Jason Isaacs

Directed by Tamara Harvey (AD was Rachel Briscoe)

I have seen Tanita's work as readings through Tamara's company and this seemed a little familiar. We are in a speed dating venue where Ruby fabricates three very different personalities to accommodate our three very different men. Fairly amusing interjections here.

Two Very Different Ladies by Amelia Bullmore

De - Dervla Kirwan
H - Hugh Bonneville
D - Doreen Mantle

DIrected by Anna Mackmin (AD was Lottie Wakeham)

We were already aware that by total fluke, no less that three members of the cast had brought a fez with them as a prop. All of them were used in this play. We start with D asking to see the 'item in the window' of H's shop and a debate follows. She goes back to the window to see it in the light. De enters the shop and asks to see the 'item in the window'. It turns out there is another fez and whist a fez has a pretty uncomplicated blueprint, it turns out that no two are the same. We see the difference etc. There is an amusing passage whereby, in the absence of a mirror, both women show each other what the fez's look like on and admire them in varying combinations. They are not, however completely satisfied and ask to see more stock. There is more debate about the shop being a front for contraband etc since it only seems to have two fez in stock. Finally, H produces a third one and more debate follows.

A very interesting exercise in the exchange of words and perspectives.

The Elephant in the Room by Laurence Marks and Maurice Gran

Cynthia - Julia Davis
Hamish - Mark Gatiss
Iain - Julian Glover
Patrick - David Harewood
Mother - Doreen Mantle

Directed by Matt Wilde (AD Dan Barnard)

In case you are wondering where Doreen Mantle could get her stamina from to perform in two plays, she spends all of this one lying on the sofa.

Iain is showing Cynthia and Hamish around their home with a view to buying it. There are plenty of humourous and topical exchanges including Iain introducing himself and "Iain with two 'I's" to which Cynthia bristles that is as unnecessary as her saying she is "Cynthia with two legs". It doesn't work so well on the page! It turns out that mother is dead but must stay in the house. The taxidermy/mummification was done on the cheap so there is a smell. The house has been reduced from three quarters of a million pounds to just fifty thousand pounds. What's the catch? A tardy inspection of the upstairs reveals that there is - you guessed it.....(the clue is in the title of the play)

David Harewood brings the house down entering the room as the very camp boyfriend dressed in very little. What he IS wearing is ridiculous and wonderful.

Very entertaining.


Staged at the Old VIc, the evening was introduced by Kevin Spacey and a very flawed attempt at hosting it was made by James Cordon and Johnny Vaughan.

I would like to think that perhaps an anonymous donation was made by somebody if the writers were able to include 'elephant' in their play somewhere. Last year McCain Oven Chips made such a contribution which carried on to the party. I also wondered whether Foxtons had any similar input as well since two of the plays were about buying houses.

It seems daft to mention celebrities on a night like this but extra to the performers and contributors, I saw Iain Softley and Danny Lee Wynter (who was there last year too and who I also saw in the RC bar last week). Sometime after midnight, Sean Lock came to the party with a cigarette in his mouth which I thought was odd.......More on the details of the evening later.....

6 Characters in Search of an Author by Luigi Pirandello

IAN MCDIARMID - The Father
ELEANOR DAVID - The Mother
DYFAN DWYFOR - The Son
DENISE GOUGH - The Step-Daughter
FREYA PARKER - The Girl
NOMA DUMEZWENI - The Producer
JOHN MACKAY - The Executive
ROBIN PEARCE - The Editor
JAMIE BOWER - The Actor
CHRISTINE ENTWISLE - The Actress
JAKE HARDERS - The Cameraman
JEREMY JOYCE - Runner
BAILEY PEPPER - The Boy
ELLIOT HORNE - The Boy

Directed by Rupert Goold and designed by Miriam Beuther at the Gielgud Theatre on a half-price ticket in the third row of the stalls.
I came back to this entry to embed a trailer and was dismayed to find I never got around to making any notes.

Love's Labours Lost by William Shakespeare

DAVID AJALA - Lord
SAM ALEXANDER - Dumaine
EDWARD BENNETT - Navarre
RICKY CHAMP - Costard
EWEN CUMMINS - Dull
ROBERT CURTIS - Forester
TOM DAVEY - Longaville
JOE DIXON - Armado
KATHRYN DRYSDALE - Katherine
SAMUEL DUTTON - Lord
OLIVER FORD DAVIES - Holofernes
RYAN GAGE - Lord
MARIAH GALE - Princess of France
MARK HADFIELD - Boyet
ANDREA HARRIS - Lady
JIM HOOPER - Sir Nathaniel
KEITH OSBORN - Marcade
RODERICK SMITH - [walking understudy]
NINA SOSANYA - Rosaline
RIANN STEELE - Jaquenetta
DAVID TENNANT - Berowne
ZOE THORNE - Moth
NATALIE WALTER - Maria

Director GREGORY DORAN
Set Designer FRANCIS O'CONNOR......... In The Courtyard, Stratford second row, centre stalls with Mr Tennant Snr in the audience.
I had a perilous journey through weekend homebound traffic that left me with 8 minutes to spare and no time to freshen from a day working and a three hour drive. This production evaporates any of those concerns. It is ridiculous fun from start to finish. The stage is wonderfully simple and yet adequate, incredibly pretty and fittingly romantic.
Here is a joyously balanced ensemble with no grandstanding or upstaging.
A silly story coming from nowhere and not really going anywhere too important but the chance for such wit in the words that plot hardly matters. Every character's return to the stage is welcomed with relish and I am convinced that some of our best loved comedy sketch shows may have been inspired by this format. This is an Elizabethan Catherine Tate or Little Britain.

I have seen so many productions from the time Oliver Ford Davis spent at the National with David Hare's sharp political trilogy and many others. In this production he is wonderful and clearly relishes the fun of the role with his downtrodden and serious visage.

We were fortunate enough to attend on of only two nights, so far when Mr Tennant successfully lodged his hat in the branch of the tree. I would recommend the application of magnets for future performances, if his aim is tolerably good.

The conversation from this co-operative of actors in the 'Post Show Talk' spoke of passion, integration, and job satisfaction that many a high powered company could envy.
The evening was rounded off in the pub next door with many of the cast joining the heaving crowds for Halloween fancy dress.
You can't put a price on a time like this.

Faces in the Crowd by Leo Butler

Cast Amanda Drew, Con O'Neill

Director Clare Lizzimore
Designers Rae Smith, William Fricker

At the Jerwood Theatre Upstairs (that's the Royal Court, of course)


After booking for this play I received an email warning of nudity. No matter how engrossing and engaging the play is, you cannot help but think of the actors' feelings when a script calls for this. It would have been wrong and weird to leave it out but the direction and set design made this as close as you could get to a non-issue.

The set is built like a fish tank. The audience all look in from above onto a floorplan layout of an apartment. There are metal strips on the floor for the walls and to help the actors, there are frames with handles to use as doors.

It's an intense few hours in the life of a separated couple who get together after 10 years apart in order to secure a baby before the wife's biological clock takes control. These actors have to go through the full range of emotions and carry it off without fault.
Having watched plays from the slips downstairs, I am used to having my eyeline obscured by the architecture but it's a bold decision to impose that on all of the audience. Mirrors are placed in such a way that you rarely miss any of the action but my pet hate of leaning forward on the rail does improve the experience, however if you do need to look over the edge, you only see a birds-eye view so the mirrors are actually more effective.

Wonderful play, well produced and directed. The actors were sensational and the post show talk was joyous and informatice.

Waste By Harley Granville Barker

Gilbert Wedgecroft - Bruce Alexander
Walter Kent - Max Bennett
Amy O'Connell - Nancy Carroll
Russell Blackborough - Richard Cordery
Justin O'Connell - Patrick Drury
Lord Charles Cantilupe - Peter Eyre
Henry Trebell - Will Keen
Countess Mortimer/Bertha - Helen Lindsay
Frances Trebell - Phoebe Nicholls
Cyril Horsham - Hugh Ross
Lucy Davenport - Jeany Spark
Butler/Vivan Saumarez - Giles Taylor
George Farrant - Michael Thomas
Lady Julia Farrant - Jessica Turner.

Directed by Samuel West
Designed by Peter McKintosh

At the Almeida in row D but next to someone who didn't know how to work their headphones so hissing and whistling throughout.
I think I saw Marie Helvin in the bar but I could have been wrong.

It's easier to talk about the low points of this. The youngsters were very weak in the opening scene but they settled down (esp Ms Spark) as we moved on. I have to say it seemed to me that Phoebe Nicholls took a while to find her place, bellowing as though she was trying to find the back of the Olivier Circle.

Will Keen was as wonderful as ever and made it look so easy.l
...and Peter Eyre's voice is from another world and he had a wonderful role that he could really work with.
Richard is an old Uni friend of a dear chum of mine and I was rather sad to see he didn't mention The Boys Next Door in his cv because I loved that piece all those years ago.

Glorious set and they managed to put a tiny revolve in there to give two setting each to either side of the interval.......unlike Rosmersholm, it all worked beautifully by making something looks so simple and yet sumptuous.

Fabulous piece of writing but sadly prompted the pleased-with-themselves in the audience to laugh a little too loudly when a line clunked with contemporary resonance. It raced along despite it's three hour running time. Sam's made yet another wonderful job.

Merry Wives of Windsor by William Shakespeare

Robin - Otto Farrant or Harry Manton
Peter Simple - Nathan Amzi
Sir Hugh Evans - Gareth Armstrong
Abraham Slender- William Belchambers
Sir John Falstaff - Christopher Benjamin
Doctor Caius - Philip Bird
William Page - Sam Darling
Meg Page - Serena Evans
Robert Shallow - Peter Gale
George Page - Michael Garner
Nym/Robert - Gregory Gudgeon
Frank Ford - Andrew Havill
Fenton - Edward Macliam
Anne Page - Ellie Piercy
John Rugby - Timothy Speyer
Host - Jonty Stephens
Mistrace Quickly - Sue Wallace
Pistol/John- Paul Woodson
Alice Ford - Sarah Woodward

directed by Christopher Luscombe
Designed by Janet Bird

seen at the end of the season at Shakespeare's Globe
It was cold, it was sunny and then not sunny. It was drizzle but I was leaning on a pillar which sheltered me just under the eaves. Great fun and a wonderful levity from the whole cast. So glad I dashed to see one of the last shows because the final one would have been in the pouring rain. Special mention must go to the two wives. It's silly and it's pointless but it's jolly good fun on a dull afternoon.

Paradise Regained by Mark Ravenhill

.........an epilogue to Shoot/Get Treasure/Repeat

Matt - Zubin Varla
Tom - Tom Riley
Adam - Patrick Knowles

DIrected by Mark Ravenhill and using the set designed for Now or Later.

I sat next to Zubin's parents and we were surrounded by a mass of students that were having the MOST vacuous conversations about their gap years and it frightened me that people who were clearly in their later teens and had been in full education, had no comprehension political geography beyond having 'heard that Thailand is really, really, really, really nice'. I despair.

Enough of that. When Mark gets it right, it's wonderful. As an epilogue to a mixed bunch of pieces, this is pitch perfect.
No matter that an old hormonally challenged woman gets to see not one, but two lovely young actors with few clothes on than can be comfortable in the present climate.

Matt has a lovely apartment. He's a made man but then who is this that enters in such a state? He is clearly familiar to Matt but unexpected. Tom is Matt's lover of 15 years ago. He was killed in the first Gulf War and is presented to us covered in muck and blood which I have to say I thought was brown and red paint until the dialogue informed me. He longs form Matt to hold him and to kiss him. Matt has moved on. His moral stance has changed beyond recognition and he has become very successful. Tom leaves the stage to take a shower and Matt's current boyfriend returns from a swim. He is clearly using Matt for everything he can get and Matt needs him because nothing can really replace Tom.........well the success and affluence can but Adam does not fulfill his emotional needs. it's a rather piteous piece but it's brevity gives it such a lasting impact.

Wonderful performances from all involved.

Table Manners by Alan Ayckbourn

For the cast you should see here. and if I'd given an in depth assessment of the production that link would be more helpful.The Reviews Roundup are available now.

Suffice it to say that Kevin was in the house again, we had brilliant seats thanks to What's On Stage and the writing seems to be timeless in the hands of a perfectly cast group of actors.

It's impossible to know how I would have felt if I'd seen this one first but 'Garden' seemed more balanced and felt as though it set up Norman's efforts with Sarah a little better. I shall have to watch ye olde Thames TV tapes again.

I don't even have to mention the wonderful 70's propping to make this sound wonderful but it is certainly worth a mention. I still have a waste paper bin in the range that matches the biscuit tin.......and here is the evidence

Landscape by Harold Pinter

Beth - Clare Higgins
Duff - Simon Russell-Beale

Directed by Iqbal Khan and designed by Ciaran Bagnall

I think Lesley Manville was in the audience........and I saw Poppy Miller sometime in the last couple of weeks. Was it here?

I could enjoy these two reading the phone directory but I have to admit I am not sure what all this was about......the detached nature of a familiar relationship? I'll have to read up on it and come back later. Mesmerizing, whatever it was about !!!!
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A Slight Ache by Harold Pinter

Flora - Clare Higgins
Edward - Simon Russell-Beale
Matchseller - Jamie Beamish

Directed by Iqbal Khan and designed by Ciaran Bagnall

I think Lesley Manville was in the audience........

Very funny and twisted........I seem to be lost in the absurd at the moment.......

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De Profundis by Oscar Wilde & edited by Merlin Holland

Wilde- Corin Redgrave

Directed by Richard Nelson.

Completely heartbreaking.

At the curtain call it felt as though I was watching Corin for the last time. He seemed very emotional.

Now or Later by Christopher Shinn

Marc - Adam James
Matt - Domhnall Gleeson
John - Eddie Redmayne
Jessica - Nancy Crane
Tracy - Pamela Nomveete
John Sr - Matthew Marsh

Directed by Dominic Cooke and designed by Hildegard Bechtler
In it's UK premiere run Downstairs at the Royal Court...though I saw it upstairs in the middle of the circle, if you see what I mean!Lovely in the audience: Dan Stevens.

Despite my efforts to avoid reviews before seeing this, I couldn't help notice that the run had been extended so the ticket buying public must have responded well. It's good to know there are enough people prepared to trundle out of town to the edge of Chelsea and pay the full but ridiculously low price to see 75 minutes of tight drama. They are all justly rewarded.

I think I saw Dying City Upstairs and that production seemed to benefit from a little claustrophobia, though it imposed a design problem that impaired a necessary suspension of belief. Now or Later needs a great big sterile, functional hotel room and the simplicity of the set works perfectly. I think there was one fluff with an entrance from Tracy but I need to check the text to see if that might have been intended.

Enough comment on detail, this was a delicious piece of drama! There is an admirable skill in creating such taught dialogue which covers so many issues almost simultaneously. All the performances were so exquisitely judged that the constant barrage of information and opinion seemed to flow like warm chocolate into the brain.

It is of some mild amusement to me that a tight production like this should have spawned a somewhat shakey little website. Bless !

Round and Round the Garden by Alan Ayckbourn

Ruth - Amelia Bullmore
Annie - Jessica Hynes
Norman - Stephen Mangan
Tom - Ben Miles
Reg - Paul Ritter
Sarah - AmandaRoot

Directed by Matthew Warchus
Designed by Bob Howell

Seen in preview at the Old Vic on a half price ticket but even that was small consolation for the dreadful seat I had in the front row of the temporary balcony. I slipped downstairs at the interval and I was not alone. They really need to sort that out as it was punishing.
Lovely in the audience: Kevin Spacey - does he count at this venue? This might have been where I saw Poppy Miller


Brilliant, hilarious, joyous, silly, farcical. Job done!

Might say some more later.

The Walworth Farce by Enda Walsh

Dinny - Denis Conway
Sean - Tadhg Murphy
Blake - Garrett Lombard
Hayley - Mercy Ojelade

Directed by Mikel Murfi
Designed by Sabine Dargent.

Seen on a lovely standby in my favourite row at the Cottesloe

This was as funny as any afternoon with an Irish play can be. Not as tight as The Seafarer but a really interesting and heartbreaking premise on which to hang a comedy drama. At a time when we may have seen a few too many plays within a play, this worked well. I loved the two singles beds made from a double cut down the middle.

There were wonderful performances from the young cast. I remember Tadhg Murphy in Dublin by Lamplight and it made my sadly think of Tom Jordan Murphy.

I don't think the blacking up at the end worked as well as it was supposed to but in a funny way, it could have been just as effective if we only saw him find the boot polish and rub it in before going out - rather than turning around to us. I'm not sure the matinee audience were as totally with it as they might have been. I could easily imagine what a riot the Press Night must have been.

a number by caryl churchill

Father - Kenneth Cranham
Son - Lee Ross

Directed by Joe Penhall who was in the audience as was Wallace Shawn.

Hmmm - the fourth time I have seen this production and I've heard it on the radio a couple of times. I'm sorry to say that much as I enjoy Ken, I feel that he needed more preparation. This is tricky banter and Lee was completely on top of it but could only shine when he wasn't reliant on Ken's focus.
I'm a big fan of Joe Penhall too but I have to question the need for introductions in each scene. The original production was almost as sparse as a rehearsed reading and there was no confusion then. In fact, I think it benefited from that moment on hesitation from the audience. Lee have very clear and easily identifiable persona so sorry Joe, I know the other readings did it but there are not rules and if if there were, you wouldn't normally stall before breaking them.

Lee was good and it was fun to see it live again. It will always be a superb piece.

far away by caryl churchill

Tod - Benedict Cumberbatch
Harper - Deborah Findlay
Joan - Hattie Morohan

Directed by Martin Crimp downstairs at the Royal Court again.

One of Caryl's wonderfully odd one.......in fact absurd is probably the word but seeing Benedict talk of animals dominating the country I couldn't help make the obvious connection to Rhinoceros. Wonderfully performed and directed by all. Very funny and entertaining. I wonder which demographic groups Caryl would have satirised in this decade?

Ivanov by Chekhov in a translation from Tom Stoppard

Pyotr- John Atterbury
Gavrila - Jonathan Battersby
Natalia - Emma Beattie
Ivanov - Kenneth Branagh
Babakina - Lucy Briers
Avdotya - Linda Broughton
Borkin - Lorcan Cranitch
Anasim - Ian Drysdale
Lipa - Giovanna Falcone
Lvov - Tom Hiddleston
Nikander - James Howard
Zinaida - Sylvestra Le Touzel
Anna Petrovna - Gina Mckee
Lebedev - Kevin R McNally
Yacob - Malcolm Ridley
Sasha - Andrea Riseborough
Shabelsky - Malcolm Sinclair
Kosykh - James Tucker

directed by Michael Grandage
designed by Christopher Oram

At the Wyndham's Theatre during the premiere run of this new translation. H17
There must have been a few actors in the audience but all I noticed was Andrew Marr


This is one of those productions which I think will be best served if I just post links to the reviews that concur with my feelings......and there will be many, I'm sure.

A great deal of the credit for this must go to Tom Stoppard for making such an hilarious and accessible text and Michael Grandage knows how to use this kind of work to it's best advantage. I felt much the same as I did after The Chalk Garden. A perfect combination of every element that makes a production remarkable. We all want to laugh when we are entertained. Even in the piteous moments of a drama, it can be best and most pointedly conveyed by humour and Tom Stoppard knows exactly how and when to use this. The meticulous selection of the cast, the set design and the general pacing of this piece is down to Michael Grandage's care and expertise. This is the kind of production where an A list actor would take a walk-on part. Gina McKee has so little time on stage and so few lines but the two thirds of the plot hangs around her race and health so ever second with her counts.

After the curtain raises to a brooding Ken the pace and mood of the production is instantly set by Lorcan and his antics. He has the audience rolling around within seconds of opening his mouth. Kevin matches this performance with a delicate degree of tenderness added to his energetic humour. Poor Tom Hiddleston is perfect in the role but thereby is excluded from any of the merriment. You have to admire Andrea for her stamina. She had one of the main roles in the reading I saw earlier tonight and then skips around the stage for a couple more hours here. I find her 'posh' southern English accent reminds me too much of her Margaret Thatcher sound and with all the will in the world, I don't find her to be the beauty I imagined in this role but she has the perfect level of vivacity for this character.

I could waffle on for hours but I am going to seek out the reviews and finally read what the clever people had to say....

....I'll add these as I go. The Guardian takes it's time to sum things up quite nicely. A couple of rather pedantry comments but generally makes the points I'd like to remember. They also published a piece on Ken.

Charles Spencer has some worthy things to say but it would seem that this production is so richly complete in all departments that the critics have all been forced to come up with similar copy but finally, I am going to include The Independent review from Paul Taylor.

ice cream by caryl churchill

Hank - Daniel Cerqueira,
Hank's Mum - Nancy Crane
Drunk Woman - Sarah Goldberg,
Shrink - Kate Harper,
South American Woman at airport - Pauline Melville,
Lance's collegue - Nathan Osgood,
Narrator/Man in Devon - George Potts
Fellow Guest - Kyle Soller
Vera - Miranda Richardson,
Jaq - Andrea Riseborough,
Professor - Kerry Shale,
Phil - Ben Whishaw
Lance - Shawn Wallace

Directed by Shawn Wallace for this reading in the Jerwood Downstairs at the Royal Court.

Very popular production that once again warranted opening the circle for this reading.

Alexi Kaye Cambell and once again Eddie Redmayne grabbed a seat. Caryl was up in the circle too.

Brilliant, funny, confrontational and absurd. Ms Churchill in a nutshell. This is a short play but it packs more into just over an hour than some plays achieve in more than two. As we found out seat, the full impact of exactly how many people would be squashed onto the stage hit us simply by looking at the number of chairs provided up there but that was tempered by the sight of a paltry six chairs in the action area! As we reached somewhere near the middle we had been introduced to no more than six of these and I began to feel concern that the others would not get their turn! A silly notion, of course but the main bulk of the cast spent most of the piece quietly reading their script and resisting the urge to collapse into giggles as their fellow actors delivered these wonderfully sharp and often startling lines to a gleeful audience.

Shawn and Miranda worked perfectly together. Ben and Andrea were wonderful siblings and everybody else who wandered into their plot were able to give the perfect supplement to their performance.

I would be happy to witness a Caryl Churchill readings season EVERY year......and I have a couple more to go..... I am sad that I won't be able to attend the Blue Heart because I really enjoyed Daniel Cerqueira's short but impactful performance tonight.

three more sleepless nights by carylchurchill

Pete - Tom Brooke
Frank - Ron Cook
Narrater - Marsha Henry
Dawn - Emma Lowndes
Margaret - Lesley Sharp

Directed by debbie tucker green

This was hilarious and so well performed. I don't know how long they rehearsed this but Ron and Lesley had to be accurate within a nano-second and they were. Tom and Emma had perfect and seemingly effortless command of the still and quiet moments. I think Caryl came to see this one and Danny Lee Wynter seemed to be there again..............

Top Girls by Caryl Churchill

Isabella Bird - Anna Calder-Marshall
Janine - Natalie Cassidy
Louise - Jan Chappell
Marlene - Monica Dolan
Dulle Griet - Noma Dumezweni
Rosanne Kidd - Tricia Kelly
Shoana - Petra Letang
Nell - Natasha Little
Pope Joan - Anna Maxwell Martin
Kit - Azuka Oforka
Lady Nijo - Helene Patarot
Angie - Michelle Terry
Joyce - Nicola Walker
Patient Griselda - Jodie Whittaker
Winn - Susannah Wise

I forgot to put the link in my last 'Readings' post so here it is !

Once again an incredible afternoon. This was so popular that they opened up the circle and even the upper circle. Some tickets had been allocated twice and it was the kind of chaos that made it fun.

Act one had all the historical characters getting pissed with Marlene and acts two and three showed Marlene, her sister and her daughter who was played wonderfully by Michelle Terry.

Monica Dolan's performance was pitch perfect and she was not put off by the weakest member of the cast who shall remain nameless. In fact, there WAS only one weak member but she was very, very weak and it really pulled down an incredibly inventive piece of writing. Noma was so perfectly understated as the erm......two dimensional character at this table of huge personalities. It was hilarious. I loved Nicola Walker's country accent & spotted socks and the fact that she got a bit tangled up when she came on stage - JUST like Ruth. Jodie was angelic Anna Calder Marshall was intoxicating and Anna Maxwell Martin was that wonderful combo of sweet and tough.

I was not expecting much from Natalie Cassidy but she did a brilliant job and was as good a match for the rest of the cast........more than I can say for some of the soapers I saw earlier in the week.

Better keep an eye on the clock - I have to get back to the theatre for 9:30!

The Pretender Agenda by Christopher Manoe

Kate - Emily Aston
Mel - Lucy Benjamin
Gina - Sue Devaney
Robert - Scott Hinds
Piers - Ben Jones
James - Vincenzo Pellegrino
Stuart - Lee Ryan

Directed by the writer, Chrstopher Mano and designed by Tim McQuillen-Wright
seated someone in the middle of row E
The opportunity of a free ticket to this reminded me that I had often meant to check out this venue. For something tucked under the arches, I was surprised that this enormous barn/corridor of an auditorium lacked in atmosphere but we were only about 10 per cent full so it's unfair to judge. The bar was cosy and the staff were really lovely.

I don't think I'd like to meet Mr Manoe. I suspect he is rather pleased with himself and possibly with good reason, but not for his scripting talents. I get the feeling he is an entrepreneur who thought it might be easy to write something. Some of what he does came off but was dreadfully let down by weak cast members. It was a difficult thing to stage because dramatic scenes in kitchens and bedrooms were virtually performed in the wings while the more pedantry stuff was in the middle of the stage. Lee Ryan seemed to think he was on some kind of Jim'll Fix It star turn and his constant staring at the audience and other actors who were supposed to be in different rooms was downright unprofessional and very distracting.
Emily Aston seemed to think she was in a completely different play to everyone else with her pantomime gurning and I couldn't settle with Sue Devaney's performance though I am not sure why. The rest of the cast made a lovely effort to hold the thing together and it did make for an amusing evening.

Given the choice, I would rather have been at the Ivanov press night!

light shining in buckinghamshire by Caryl Churchill

The cast for this reading comprised of Naomi Bentley, Tom Brooke, Monica Dolan, Paul Rhys, Tom Riley, Zubin Varla.

It was directed by Mark Ravenhill and the musical arrangements were by Colin Sell.

Sigh - this was amazing. A fantastic bit of writing performed so brilliantly. Every afternoon should be like this. There were no weak points at all. I would have preferred it if Paul Rhys had not held his script up in a way that obscured his gentle face but other than that, everyone gave a stand out and beautifully original performance.

I started to marry actors with characters but I should know better with Caryl's work! They were changing around and keeping us on our toes. I have seen an excerpt of this piece but never in the whole. I loved it and would jump at the chance to see a full production. There is so much to plunder from this point in history but the talent is to bring it to the viewer in a fresh and original way. This was it. Loved seeing those lovely big blue eyes of Tom Brooke again, adored Naomi Bentley's rapture and giggles. Tom Riley was deliciously relaxed and made the job look so easy. Paul was intense and it was fun to see Zubin stretching his musical muscles again. They all sang together with wonderful harmonies which is another thing I like about Caryl's older work and Colin Sell put that together beautifully. Could this really have just been a reading? Roll on Friday!!

Noteables in the audience: Danny Lee Wynter, Eddie Redmayne, Mel Kenyon

Lipsynch by Robert Lepage

Frederike Bedard - Marie & others
Carlos Belda - Sebastian & others)
Rebecca Blankenship - Ada Webber and others
Lise Castonguary - Michelle & others
John Cobb - Jackson and others
Nuria Garcia - Lupe and others
Sarah Kemp - Sarah and others
Rick Miller - Jeremy and others
Hans Piesbergen - Thomas and others

Directed by Robert Lepage and designed by Jean Hazel seen in the last London performance of it's consecutive format at the Barbican. We had wonderful seats......for the most part.

Oliver Mace (Tim McInerny) was there - amongst others........oow - Oliver Dimsdale......Fiona Shaw........erm gawd brain powering down. I read that Richard Eyre & Simon Callow were there too but that may have been the day before.

I know the first reaction is to groan at the thought of a nine hour production (almost 2 hours of which are intervals) but I know I am not going to be able to find the words to describe what I have experienced today

Without going into production details, just experiential........just imagine you're favourite tv drama series........you've bought the boxed set and it's so amazing that you can't put it down and you have to watch every episode consecutively, just stopping for snacks and the loo........... THEN imagine that all the actors have agreed to perform the whole thing live for you. I can honestly say I didn't want ANY of the intervals. I just wanted it to go on and on. I couldn't wait for the next installment even though I know Mnsr Lepage's work well enough to know how all the loose ends would tie up.

I would say only 5 percent of the audience actually stayed in their seats at the end and they did four curtain calls to a screaming crowd.

I'm torn because I want to read other people's thoughts but I want to find the time to carefully write my own before that. I shall return

Kicking a Dead Horse by Sam Shepard

Hobart Struther - Stephen Rea
Young Woman - Joanne Crawford

Directed by Sam Shepard
Designed by Brian Vahey

in it's English premiere at the Almeida D 25
Actor in the audience escapes me - wonderful, Irish, plenty of white hair.

Like so many women of my age, Sam Shepard is an object of desire. He is rugged, intelligent and intoxicatingly private. What could be more tantalising?

That said, I can't make my mind up about this Beckett style piece. The performance was a real tour-de-force with Hobart's constant battle with his own demon. The restriction of the subject was well investigated. The horse was a fine a prop as one could reasonably hope. So why was I not totally engaged for the entire short duration? I was sitting off to the side as part of an attempted economy drive but the seat was still wonderful. Did I feel detached, I wonder? I kept thinking about how much more engaging the much longer production of Happy Days had been in the Lyttleton with Fiona Shaw. Perhaps it's as simple as that. Winnie was in a dire circumstance but happy with her lot. Hobart's plight is frankly less precarious but he is miserable and defeatist. You can easily love Winnie but you tend to lose lack sympathy with Hobart even though his mid-life dilemma is a very real concern. Perhaps that was Sam's intention. A companion piece to Happy Days. It certainly had a satisfy, albeit predictable resolution. Maybe I should read some reviews and perhaps find some of Sam's thoughts.

Lovely trip to the theatre on a Sunday afternoon though!

Factory Hamlet

Hamlet by Factory and Shakespeare

I WILL write my notes about this. In the meantime you can enjoy the pictures in the above post.

Hedda, adapted by Lucy Kirwood based on the Ibsen

Julia Tesman - Cath Whitefield
George Tesman - Tom Mison
Hedda Gabler - Cara Horgan
Thea Eldridge - Alice Patten
Toby Brack - Christopher Obi
Eli Longford - Adrian Bower

Directed by Carrie Cracknell
Designed by Holly Waddington

Seen at the sweet little Gate Theatre in Notting Hill with as diverse an audience as you could wish to find

If you come to this and banish all expectations of plot paralleling you'll come away from a fairly solid contemporary drama, with a few flaws but fairly well executed. If you have a vague notion of the original structure and salient plot points and interactions you'd have fun comparing. I wonder how Ibsen scholars would feel.

Lines were tripped and there were some minor inconsistencies with the plot but this sweet young cast and director made a very enjoyable evening and had the strength to stay behind and chat to us all afterwards. I might note that I have never seen such a high percentage of audience stay behind for a Q & A before and some of them had clearly not been aware that it was happening until the announcement. It was clear that this was an intense collaboration between Ms Kirkwood and Ms Cracknell so I can only presume the slight plot faults were the result of forgotten or ill-delivered lines.

One of these days I am going to see Mr Bower clean shaven, tidied hair and in a smart suit. I'll probably loathe him in it! He is so wonderfully comfortable with himself that it makes watching him very easy. I was also very impressed with the pitch of Christopher Obi's performance. I don't know why he stood out because I must say that everyone seemed to really understand the small space they were in and played it very well.

Hedda's evening dress was stunning in it's simplicity and I wouldn't normally even bother to comment. It had wonderful lines and looked stunning on Cara.

So far as this contemporary rendition is concerned, I thought it stayed just the right side of smug in it's parallels and apart from a couple of clunks, it worked well. For the sake of the comfort of these old bones, I would like to have seen it 15 minutes shorter and I had a strong sense of several others in the audience reaching breaking point at about the same time as me. I don't mind plays without intervals but 90 minutes is about my limit.

Timon of Athens by William Shakespeare and Thomas Middleton

Timon - Simon Paisley Day
Poet/Caphis - Michael Matus
Printer/Creditors' Servants - Michael Jibson
Merchant/Servilius, Timon's Servant - Christopher Brandon
Jeweller/Flaminius, Timon's Servant - Peter Bankole
Messenger/Sepronius/Bandit - Sam Parks
Old Athenian/First Senator/Creditors' Servant - Robert Goodale
Lucilius, A Servant/Lucius/Bandit - Jonathan Bond
Apermantus - Bo Poraj
Flavius, Timon's Steward - Patrick Godfrey
Alcibiades - Gary Oliver
Alcibiades's Friend/Creditors' Servant/Bandit - Vinicius Salles
Lucullus/Bandit - Adam Burton
Ventioius/Bandit - Oliver Boot
Second Senator/Creditors' Servants - Richard Clews
Third Senator - Frank Scantori
Cupid - Fernanda Prata
Phrynia - Pippa Nixon
Timandra - Laura Rogers
Amazon - Bethan Walker
Amazo - Sian Williams

Directed by - Lucy Bailey
Designed by William Dudley



If I was going to see this anywhere, the best chance I had of getting any form of enjoyment would be by seeing it at The Globe and I was not disappointed. It should have been dull and hard going but largely due to the contributions from Bo Poraj, Simon Paisley Day and Patrick Godfrey it was tragic fun.

Attended the very interesting Talking Theatre Q&A with Bo and Patrick afterwards. More late?

Under The Blue Sky by David Eldridge

Nick - Chris O'Dowd
Helen - Lisa Dillon
Michelle - Catherine Tate
Graham - Dominic Rowan
Anne - Francesca Annis
Robert - Nigel Lindsay

Directed by Anna Mackmin
Designed by Lez Brotherston

We sat in the front of the circle which gave a brilliant view but punishing for comfort. Nicholas Grace made a last minute entrance to sit next to us which for some unaccountable reason made me feel even more self conscious about moving to ease the pain.

I had wanted to see a full production of this because I had really enjoyed the reading held at the Royal Court a couple of years ago. I was disappointed when the cast was announced for a couple of reasons but Mr O'Dowd is reason enough to turn up. However, my response to the suggestion that I went along was luke warm for quite a while. I had tried to avoid reviews as always but couldn't help absorbing a less than glowing vibe from out there in the theatreland ether.

All that said, I was joyfully surprised in the actual event. I had decided that I could not justify full price (when do I EVER do that ?) so I had resigned myself to get a TKTS special. What's On Stage have evenings that often amount to the same cost but often with a programme and Q&A thrown in. This was one of those and it made the evening much more satisfying.

First of all, this felt like a totally different play to the one I saw read a couple of years ago. So much so that I doubted my recall but both productions gave as much satisfaction. Three vignettes of relationships but all complete enough to give satisfaction........and I will say that they were perfectly cast.

The Q & A was very entertaining with Chris's effortless and uncontrollable humorous interjections moving things around to great effect and the best thing was that we were able to move downstairs to seats that had more respect for the 21st century human form. Jolly good fun all round.

Her Naked Skin by Rebecca Lenkiewicz

Celia Cain - Lesley Manville
William Cain - Adrian Rawlins
Eve Douglas - Jemima Rooper
Florence Boorman - Susan Engel
Mrs Schliefke - Pamela Merrick
Emma Wilding Davidson - Zoe Aldrich

House of Commons
Herbert Asquith - David Beames
Miss Brint - Harriet Quarrie
John Seely - Julian Ball
Augustine Birrell - Ken Bones
Edward Grey - Simon Markey
Keir Hardie - Robert Wilcox

Holloway Prison
Potter - Tony Turner
Mrs Briggs - Stephanie Jacob
Doctor Vale - Dermot Kerrigan
Doctor Parker - Nick Malinowski
Nurse - Erica Daly
Young Nurse - Stephanie Thomas
Wardress - Ruth Keeling
Guard - Edward Newborn
Guard - Joe Dunlop

Charlie Power - Gerard Monaco
Hunt - Julien Ball
Brown - Tony Turner
Doctor Klein - Ken Bones
Mrs Collins - Deborah Winckles
Lord Curzon - David Beames
Robert Cecil - Robert Wilcox
Mrs Major - Barbara Kirby
Felicity - Anna Lowe

Directed by Howard Davies
Designer - Rob Howell

Seen on a silly cheapie standby during it's premiere run at the Olivier with Anastasia Hille in the audience

Well, that's a nice bunch of actors in gainful employment for the rest of Summer and beyond!
Lovely, outwardly simple design that perfectly served the action so a big tick in that box. Performances were well measured and it's my own fault for grabbing a cheapie that I did not become fully involved in this tale of suffragette love. The centre section went wild at the curtain call. I had an instructive view of the Elysian Quartet who must be bored stupid with their sporadic insertion of one and two note tones. They sounded beautiful but so sparsely used.

Afterlife by Michael Frayn

Max Reinhardt - Roger Allam
Helene Thimig - Abigail Cruttenden
Gust Adler - Selina Griffiths
Rudolf 'Katie" Komer - Peter Forbes
Franz - Glyn Grain
THe Prince Archbishop of Salzburg - David Burke
Fredrich Mueller - David Schofield
Everyman - Nicholas Lumley
Ensemble - Devid Baron, Colin Haigh, Sarah Head, Elizabeth Marsh, Charlotte Melia, Hugh Osborne, Peter Prentice, Clair Winsper,
Rupert Young.

Directed by Michael Blakemore and designed by Peter Davidson

I saw Anthony Calf in the cafe but not sure if he was there to see a play or even which one.
Great stanby seat E 16


Hmmmm - this is not a new idea, it's just been updated but did we really need it to be? Much was lost in the 'rewrite' and I have a ghastly feeling that after however many weeks the cast have been performing it, they had finally realised that it is impossible to sustain a level of passion for such writing.


I was drawn to this by both Frayn and Allam. I left with quite a large amount of deflation and a sense of let-down. Whilst I was not actually aware of any specifics, I had the impression that the cast were introducing things to amuse themselves in order to get through the night in one piece. I hate to damn these people in all their hard work but it seemed as though little effort was being made here tonight.

Small point - I understand the device of the hair change for Reinhardt but that orange thing Roger sported for most of the show was distractingly annoying and I'm pretty sure that attached picture is from pre-citric rehearsals

Set design was wonderfully simple and had great mechanics.

...some trace of her - inspired by The Idiot by Fyodor Dostoevsky adapted by Katie Mitchell and the company

Parfyon Semyonovich Rogozhin - Jamie Ballard
Anastassya Filippovna Barashkov - Hattie Morahan
Prince Lev Nikolayevich Myshkin - Ben Whishaw
Aglaya Ivanovna Yepanchin - Helena Lymbery
General Ivan Fyodorovitch Yepanchin/Afanassy Ivanovich Totsky - Gawn Grainger
Gavril 'Ganya' Ardalyonovich Ivolgin - Bradley Taylor
Lizaveta Prokofyevna Yepanchin - Pandora Colin
Hippolite Terentyev - Sam Crane
E&OE


Director: Katie Mitchell
Designer: Vicki Mortimer
DoP: Leo Warner and Music by Paul Clark

Also including the poems of Emily Dickinson

I sat in D24 but it was too close (low)

You can see a taster of this piece at the NT website here.

I have to confess a bit of disappointment with this. I kept comparing it to my experience with Waves which was pitch perfect and seamlessly magical. I think I saw Waves much later in the run and I guess they had time to get it into a faultless production. 'trace' seems to still have a lot of technical rehearsing left to do. I am not convinced that so much of the video work was supposed to be so soft and the sound work was an absolute mess. The cast that wasn't being featured clunked around the stage in a distracting way which I don't remember in Waves where they seemed to glide around, props in hand as though they were choreographed. I wonder if Kate has had a frustrating time with these fabulous actors because they are not quite so adept at the tech side. I think I read that Ben Whishaw said it wasn't really like acting, it was more about working with props. Whilst this isn't actually true because Ben gave a very moving performance, it implies that the prop element was bothering him.
There is so much to watch in these productions and I don't know if sitting slap bang in the middle of the seating was such a good idea because my view was often obscured by the centre camera. I can't believe that the intention is to watch the screen all the way through because surely, it would be better to watch a well made film, if that was the case. I thought that Sam Crane voicing Ben's action was a beautifully believable combination. With the exception of a few scenes that worked incredibly well, I felt much of this was a mess and with all the anticipation I had, it makes me very sad. The more I think about it, I am convinced it was just a bad night. I know this has all the ingredients to be as amazing as Waves.

There is a '£10 for best seat' offer knocking around and I am tempted to see it again at the end of the run to check it's progress. I really believe this can be an incredible production but it has a lot to iron out. Perhaps I saw it on a bad night. I'm am not off to discover if anything went better on press night..............
edit: Just caught up on some reviews and it would seem I'm not the only person who thinks D is a tad too near and I also think that the info from the West End Whingers (one of the last paragraphs) about the final quarter not being ready in some of the previews substantiates my feelings about hoping it will go from strength to strength.

UPDATE: Second viewing in the middle of September was magical. All the right adjustments had been made and it was a pure, moving joy.

The Frontline by Ché Walker

Babydoll - Naana Agyei-Ampadu
Jayson - Ben Bishop
Donna - Sally Bretton
Casey - Kellie Bright
Ragdale - Paul Copley
Salim - Kurt Egyiawan
Mordechai Thurrock - Trystan Gravelle
Cockburn - Robert Gwilym
Kurt - Peter Hamilton Dyer
Roderique - Fraser James
Seamus - Paul Lloyd
Mahmoud - Kevork Malikyan
Violet - Jo Martin
Jodie - Jodie McNee
jimmy - Matthew Newtion
Elliot - Ashley Rolfe
Beth - Golda Rosheuvel
Marcus - Mo Sesay
Erkenwald - John Stah
Val - Lorraine Stanley
Miruts - Beru Tessema
Benny - Danny Lee Wynter
Street Fighters - Aaron Gordon, Clifford Lyonette, Matthew Pattimore, Chris Preddie, Luis Valentine, Nicholas Waters, Miles Yekinni

Directed by Matthew Dunster
Designed by Paul Wills

In the audience today we had Dominic Cooke & Alexi Kaye Campbell, Nick Hytner, Zawe Ashton. I also saw that wonderful actor who was in Burn Up......hmm....white hair, practically an institution but escapes my memory!

What's On Stage review roundup.

Great fun and the perfect setting for this kind of energy.

The only downside of this is that the beautiful, funny Sally Bretton is rubbish at doing anything other than posh. She sounded and moved like a female equivalent of Dick Van Dyke's Burt.

Black Watch by Gregory Burke

Macca - David Colvin
Kenzie - Paul James Corrigan
Stewarty - Ali Craig
Fraz - Emun Elliot
Officer - Jack Fortune
Granty - Jonathan Hot
Writer/Sergeant - Michal Nardone
Rossco - Henry Pettigrew
Cammy - Paul Rattray
Nasby - Nabil Stewart
(Understudy - William Barlow)

A National Theatre of Scotland production Directed by John Tiffany and designed by Laura Hopkins. Movement Direction by Steven Hoggett and Musical Direction by Davey Anderson. I wouldn't normally mention those last two but they are listed as Associate Directors and quite rightly so.

See in a completely reconstructed Barbican theatre (similar to Nick Omerod's staging) during it's short run at the Barbican.

In the audience we had Sir Ian McKellan and a swathy Mediterranean looking friend and A A Gill who, on reflection looks a bit like Jack Fortune.


I am going to spam a load of YouTube links because I can hardly put into words, the beauty of this piece. It is loud, brash, challenging and full of expletives but it feels as though you are listening to poetry whilst being gently pulled through a warm, moonlit stream to the sound of angelic sirens singing.

Some of the physical prop devices are straight out of an homage to Robert Lepage, I hope he got to see it somewhere because he'd love it. The music and movement element was so powerful and given that the piece was based on interviews with real soldiers, to take all the words out of the expression was brave but perfectly judged. I didn't bother to stay dry eyed. It would have been futile.

I was really looking forward to seeing Jack Fortune again. It's probably 20 odd years since I last saw him on stage. He's lost a lot of hair (well, for this production, he would have to) but I think the follicles are still intact and he still has powerful eyes and a softness to his chisled contours.








I'm just going to link this rather than embed in case anyone is offended by challenging language.



The Glasgow Herald prefer not to embed so click here.



we even have making of the set





and finally, a link to an old fave of mine, Jack Fortune

The Female of the Species by Joanna Murray-Smith

Margo - Eileen Atkins
Molly - Anna Maxwell Martin
Tess - Sophie Thompson
Bryan - Paul Chahidi
Frank - Con O'Neill
Theo - Sam Kelly

Directed by Roger Michell
Designed by Mark Thompson

Seen at the lovely cuddly Vaudeville Theatre (some of the nicest Box Office staff in the whole of the 'old school' West End) at a ridiculously cheap offer from Ticketmaster in D15.

In the audience Mr & Mrs Trevor Eve, Timothy West, Greta Scacchi (turns out she was hot-foot from RIchard & Judy's

I guess you'd call this a modern farce. Funny, a bit shrieky, very witty. Sophie Thompson managed to remain within a hair's breadth of being annoying with her downtrodden neurosis. In fact, it didn't seem neurotic because her delivery made all of Tess's issues seem utterly plausible and understandable. Eileen camped it up deliciously and had the joy of being the only cast member to dress up, rather than down. it's not something she gets to do very often as she is so good in the more down trodden roles. Anna was good and I have not seen her quite so forceful before.

Con was lovely (but I am biased) and I couldn't find a production photo but I had to include this - from rehearsal video.