Laurie Sansom's highly acclaimed Young America season is now confirmed to transfer to the National in the Spring. Originally seen at Northampton at the end of last year, the season consisted of two little known plays by Eugene O'Neill and Tennessee Williams and the productions received four and five star reviews. O'Neill's Pulitzer Prize-winning Beyond the Horizon had not been seen here for over seventy years and Williams's Spring Storm was written while he was still at college and had never been seen in this country. Jon Nicholls composed the beautiful and haunting music score and Christopher Shutt created the soundscape. Young America is currently slated to play in the Cottesloe until 13 June (with a shared press on 7 Apr) but we're sure it will play for longer...
""I cannot imagine performances better than those on display here...The acting in this long-forgotten play, found among Williams's papers after his death, is so superb, and the two producitons make such perfect companions that I hope their life can be extended beyond their Northampton showing." *****Jeremy Kingston, The Times, 27 Oct 2009
"...this is a company triumph in a project that offers the excitement of two great American dramatists discovering their voices." ****/***** Michael Billington, The Guardian, 28 Oct 2009
Congratulations to Christopher Shutt and Hannah Waddingham who have both been nominated for Olivier Awards this year. Christopher has been nominated for his amazing sound design on the critically acclaimed production of Stoppard/Previn's Every Good Boy Deserves Favour at the National while Hannah has been nominated for her sensational portrayal of Desiree in Sondheim's A Little Night Music at the Chocolate Factory and Garrick theatres. Christopher is an old hand at Olivier nominations, having been nominated in 2009 for Piaf, 2008 for War Horse and 2006 for Coram Boy and War Horse features again in this year's awards, being nominated in the Audience Award for Most Popular Show category. Hannah also has previous "form" with the awards, having been nominated in the same category (Best Actress in a Musical) in 2007 for her portrayal of The Lady of the Lake in Monty Python's Spamalot. We are enormously pleased for and proud of both of them and wish them both the very best of luck on 21 March.
Richard Frame is delighted to be joining the company of London Assurance for the National Theatre. Directed by Nick Hytner, it will play in the Olivier from 2 March with a press night on 10 March.
Caroline Sheen has flown Stateside for the foreseeable future, preparing to take over the role of Mary Poppins for the tour of America. She is currently in rehearsals in LA before opening in Tempe, Arizona on 11 February and will then take in almost every major (and not-so-major) city in the States, finishing at the beginning of February 2011. She is delighted to be revisiting the role she enjoyed playing so much in the UK and to have the opportunity to see so much more of America. We wish her luck and look forward to catching up with her in Washington or Buffalo!
Laurence Spellman and Neal Barry are about to start rehearsals for Dennis Kelly's new play, The Gods Weep. Influenced by King Lear, the play charts the fragmentation of the world the CEO of a global business (Jeremy Irons)has previously controlled so rigourously once he starts losing his grip on reality. The ensuing power struggle lays bare the corruption of the corporate world and the brutality of national security. Commissioned by the RSC The Gods Weep will be mounted at Hampstead, is directed by Maria Aberg and its initial run will be until 3 Apr with a press night on 17 Mar.
Tunji Lucas continues on his creative and geographic journey as part of the company for Peter Brook's latest project, Eleven and Twelve. Having played throughout December at the Bouffes du Nord, the production then moved to Wroclaw and is now playing at the Barbican, as part of the Bite10 season, before going on tour. Tunji plays the central role in this play about how an argument over whether a prayer should be said eleven or twelve times spirals into hatred, violence and massacres. Tunji, a naturally gifted and untrained actor, says he has had the time of his life working with Peter Brook and that he "now knows what hard work is"! Eleven and Twelve plays at the Barbican until 27 Feb.
"There is a delightful moment of unexpected comedy when Tunji Lucas impersonates [his character] Ba's mother, who is opposed to his leaving their village to study. After listening to Bokar, she sulkily adjusts her head covering and says, "Yes, Tierno, you have convinced me" in a tone that says: There is a pig; I see it fly." Rhoda Koenig, The Independent, 15.02.2010
"The adornments are the actors themselves... led by the radiant Tunji Lucas, wrapped in a length of sky-blue cloth." Kate Kellaway, The Observer, 14.02.2010
Beverley Klein is currently appearing in the revival of Jonathan Dove and Alasdair Middleton's "hot-ticket alternative to sugar-plum fairies and panto" (Hilary Finch, The Times, 14.12.09), The Enchanted Pig. Directed again by John Fulljames, the production will play at the Linbury Studio at the Royal Opera House over Christmas and New Year before heading off to New York and then a tour of the UK. A big hit first time round, The Enchanted Pig is once again garnering great reviews...
"And there's the indefatigable trouperism of Beverley Klein - at one moment the inscrutable Book of Fate, at another the witchy dominant Mother, and at yet another Mrs North Wind, curlers, teapot, tart tongue and all." (Hilary Finch, The Times, 14.12.09)
"Beverley Klein's appearances as a series of striking elderly women are perfectly delivered..." George Hall, The Guardian, 15.12.09
Tom Goodman Hill and Tom Godwin have confirmed they will continue in the company of Lucy Prebble's critically acclaimed Enron when it transfers to the Coward Theatre in the New Year. After a sell out run at Chichester, Enron transferred to the Royal Court where it proceeded to sell out before press night, breaking box office records. Directed by Rupert Goold, the play has received unanimous rave reviews and will be seen on Broadway next spring. New client Tom Godwin is a member of the ensemble, playing a myriad of fantastic parts - for those of you who haven't seen it yet, we don't want to give too much away! All we can say is, look out for the Lehman brothers... Tom Goodman-Hill plays one of the "unholy Trinity", Andy Fastow, and has received some lovely personal notices. Enron will have its press night on 26 January 2010
"Tom Goodman-Hill as the greed-driven Fastow (is) also first rate... Best of all is the scene where Fastow explains his system for funnelling Enron's debts into shadow companies." (Michael Billington, The Guardian 23.09.09)
"Tom Goodman-Hill proves toe-curlingly credible as the nerdy maths whizz Andy Fastow." (Henry Hitchings, The Evening Standard 23.09.09)
"The fine Tom Goodman-Hill is intense as Andy Fastow..." (Susannah Clapp, The Observer 26.07.09)
"Tom Goodman-Hill impresses as the nervy financial whizz-kid who hides the company's vast debts." (Charles Spencer, The Telegraph, 24.07.09)
"There is rich support from Tom Goodman-Hill as an innovative Fastow surrounded by red-eyed raptors devouring Enron's debt..." (Michael Billington, The Guardian, 23.07.09)
Annette Badland recently appeared in the Manchester Royal Exchange's Christmas production of Blithe Spirit directed by Sarah Frankcom. Annette took the role of Madam Arcati and not only thoroughly enjoyed throwing herself into seances and psychic trances at every opportunity, but also garnered some lovely personal mentions in the reviews in the process!
"Stoutly no-nonsense and head-mistressy rather than wafting and ethereal, Annette Badland is absolutely first-rate as Arcati, seizing the stage as if she could swing open the Pearly Gates with her own bare hands. Her eyes roll demonically during her fits of possession. Her nose constantly twitches for traces of "ectoplasmic manifestation". She is a total send-up and yet somehow the most real personality in the room. Her contribution lifts a generally pleasing production into the stratospheric realms of high comic satisfaction." Dominic Cavendish, The Telegraph, 04.01.10
"But the star is flaming redhead Annette Badland's roaring seer Madame Arcati. She's worth the price of admission alone." Chris Riches, Daily Express, 15.12.09
"...Annette Badland as the medium Madame Arcati, achieves the near impossible, dispelling the shadow of Margaret Rutherford (creator of the role on stage and screen) with a captivatingly delightful dottiness." Clare Brennan, The Observer, 20.12.09
"Annette Badland's skipping Madame Arcati hints of a woman so in thrall to her inner child that she's never really grown up." Lyn Gardner, The Guardian, 11.01.10
"The medium, Madame Arcati, is the play's big comic turn. Here Annette Badland gives a detailed and sympathetic performance, overplaying neither the eccentricity nor the sincerity." Dominic Maxwell, The Times, 16.12.09
Tim McMullan is currently appearing in The Misanthrope, which will play at the Comedy Theatre until 13 March 2010. Thea Sharrock, who is using Martin Crimp's contemporary adaptation of the play, directs, with Damien Lewis taking the misanthropic role of Alceste and Keira Knightley the woman in whom he meets his match, Jennifer. Tim plays Covington, a critic who aspires to be a playwright in Martin Crimp's version, and he has received some glowing personal mentions in the reviews...
"Tim McMullan plays a beastly critic called Covington. Critics shouldn't enjoy portrayals of critics on stage too much - it only adds to our self-importance. But McMullan is a treat, a monstrous slimeball of preening vanity in a double-breasted blazer with silk hankie and distinctive tasselled loafers the colour of baby poo." Christopher Hart, The Sunday Times, 20.21.09
"There is also a delicious cameo from Tim McMullan as a drama critic named Covington- can't think where Crimp got the name from - who has aspirations to be a playwright. With a manner that is alternately vain, smarmy and blustering and a Wildean belief that criticism is itself an art, McMullan offers a wickedly funny caricature of us hacks at our worst." Michael Billington, The Guardian, 18.12.09
"In a uniformly excellent cast, Tim McMullan is hilariously funny as a theatre critic who is trying to promote the script of his abject play. This figure's throwback idea of trendiness (jeans and double-breasted blazer) and his woefully misguided celebrity-seeking-missile manner suggest that McMullan has been doing inspired research..." Paul Taylor, The Independent, 18.12.09
"Tim McMullan...is a comic maestro." Quentin Letts, Daily Mail, 18.12.09
"...and there is especially fine support from Tim McMullan as the vain, vile critic..." Charles Spencer, The Telegraph, 18.12.09
"...the critic mischievously called Covington and played with oleaginous pomposity by Tim McMullan..." Benedict Nightingale, The Times, 18.12.09
Alexandra Silber's outstanding performance as Julie Jordan in Carousel has won her a TMA Award in the category of Best Performance in a Musical. Carousel opened at the Churchill Theatre in Bromley before going on tour and then transferring into the Savoy Theatre in the West End. Alexandra received some wonderful reviews and we are thrilled her performance has been acknowledged in this way.
James Fleet and Jo Stone-Fewings are currently appearing in Twelfth Night, which has transferred from Stratford to the Duke of York's. James is playing Sir Andrew Aguecheek and Jo, Orsino, and the production is directed by Gregory Doran. Twelfth Night will press again in London on 22 Dec, playing at the Duke of York's until 28 Feb.
"James Fleet's bumbling Sir Andrew Aguecheek is an eccentric delight." Claire Allfree, Metro, 04.01.2010
"...James Fleet is a delight as Sir Andrew Aguecheek. He has a low-key comedy that is worthy of John Le Mesurier. His Aguecheek is a try-hard loser, in tartan trousers and green velvet tails, but is trying hard to be sincere. He throws away the line "I was loved, once", and it's all the more affecting for it." Dominic Maxwell, The Independent, 23.10.2009
"...James Fleet as a deliciously comic Sir Andrew Aguecheek..." Charles Spencer, The Telegraph, 23.10.2009
"Enter Duke Orsino (Jo Stone-Fewings) full of music and full of himself: a man of passionate immaturity who revels in being a rejected lover, a loveable exhibitionist playing his tragical-comical-pastoral role for himself." John Peter, The Sunday Times, 25.10.2009
"...James Fleet does the business as Sir Andrew Aguecheek... there is something about Mr Fleet - done up here like a daft cavalier - that just makes an audience smile." Quentin Letts, The Daily Mail, 23.10.2009
"...some delightful laughs en route, especially from James Fleet's prancing Andrew Aguecheek" Kate Bassett, The Independent on Sunday, 25.10.2009
Paul Bazely and Marcia Warren are currently appearing in Anna Mackmin's production of Tamsin Oglesby's new play, Really Old, Like Forty-Five for the National. A truly black comedy, Really Old, Like Forty-Five is set in the not too distant future and shows politicians implementing legislation to cope with the rising number of old people and a family of siblings coping with the effects of said legislation, and of old age. Paul plays Mike, a government apparatchik, and Marcia plays Alice, one of the siblings. Christopher Shutt has designed the (fantastic, natch) sound. Really Old has extended its run and will now play until 20 April.
"Marcia Warren at her incomparable best." Georgina Brown, The Mail on Sunday, 14.02.2010
"Marcia Warren's kind granny fades and flashes within the same minute: rarely can an actress have done so by seeming simply to wobble her face." Susannah Clapp, The Observer, 07.02.2010
"Marcia Warren brings a lovely sweetness to her role as the younger sister, who remains almost insanely upbeat in even the direst circumstances..." Charles Spencer, The Daily Telegraph, 05.02.2010
"...Marcia Warren as the resilient Alice...also hit[s] the spot in Anna Mackmin's production." Michael Billington, The Guardian, 05.02.2010
Derek Griffiths and Joseph Mydell are currently appearing in the all black production of Cat on a Hot Tin Roof at the Novello Theatre, which opened recently to unanimously favourable reviews. James Earl Jones and Phylicia Rashad reprise their roles of Big Daddy and Big Mama and the production is once again directed by Debbie Allen. Derek takes the role of Reverend Tooker and Joseph that of Dr Baugh.
"The play's a shocker, still, and this revival... renews its full shock value, with nice cameos from Joseph Mydell as the doctor and Derek Griffiths as a tame, subservient priest whose nerves are shredded at every turn in the bickering." Michael Coveney, whatsonstage, 02.12.09
"Derek Griffiths does a good little turn as an embarrassed vicar who finds himself witnessing the terrible squabbling." Quentin Letts, Daily Mail, 02.12.09
Finn Ross is thorougly enjoying his move into designing for opera and working with director John Fulljames. This started this autumn with Janacek's The Adventures of Mr Broucek, a co-production between Opera North and Scottish Opera, which has received some lovely reviews. He then moves on to Knight Crew, a new opera for Glyndebourne, and is already booked for Das Portrait for the Bregenz Festival next year - both of which will also be directed by John Fulljames.
"...excellent video work by Finn Ross..." Hugh Canning, The Sunday Times 18.10.2009
"With Finn Ross's video projections blending news footage with milky Melies fantasy... this gentle satire is a delight." Anna Picard, The Independent on Sunday 18.10.2009
Sirine Saba currently appearing in Melly Still's production of Nation at the National. Adapted by Mark Ravenhill from a Terry Pratchett novel, Nation is set in a parallel world and revolves around the struggle for survival faced by two teenagers who survive a tsunami. Nation occupies the Christmas slot that War Horse, Coram Boy and His Dark Materials have previously filled, playing in the Olivier from 24 Nov.
Brian Doherty and Gruffudd Glyn continue their work with the RSC Ensemble, this time in Lucy Bailey's production of Julius Caesar, which opened on 26 May and will play in rep in the Courtyard until 2 Oct. They both have bigger parts in the first show of the seaon, The Winter's Tale, playing Autolycus and the Young Shepherd respectively, and both made their mark in the reviews: "Brian Doherty gives a superbly seedy performance as a snaggle-toothed Irish Autolycus..." (Charles Spencer, The Telegraph); "...Gruffudd Glyn (is) delightfully funny and touching as the shepherd..." (Charles Spencer, The Telegraph); "Brian Doherty's winning turn as the roguish Autolycus..." (Philip Holyman, whatsonstage). The Winter's Tale plays in rep until 3 Oct. The ensemble will stay together for at least two and a half years and perform eight Shakespeare plays and several new works; this summer Brian will start rehearsals for The Drunks, playing the Mayor and Gruffudd will be in The Grainstore. Both are new Russian plays commissioned for the ensemble and will be directed by Anthony Neilson and Michael Boyd respectively.
Adrian Schiller is currently playing the role of Alexander in Tom Stoppard's "Every Good Boy Deserves Favour" in the revival of Felix Barrett and Tom Morris's production in the Olivier Theatre. Alexander is a political dissident who finds himself sharing a cell in an asylum with Ivanov, a lunatic who believes he always has an orchestra with him. But is Alexander mad not to pretend he has been "cured" if it means he can be free to be with his son? With the full might of the South Bank Sinfonia playing Andre Previn's music, shockingly violent choreography and haunting lighting and sound, the production is incredibly moving. "Every Good Boy..." plays in rep in the Olivier until 21 Feb.
"The heart of the piece, however, is provided by Adrian Schiller as the hollow-eyed dissident, who finds himself trapped in a hideous state-controlled paradox. The only way this sane, brave man (who has already suffered terrible torture) can escape the hospital is by admitting he is mad" Charles Spencer, The Daily Telegraph, 15.01.10
"Bleach and Schiller are superb... Schiller, obdurate to the last, shrinks before our eyes as mental and physical agony drain his life blood." Sam Marlowe, The Times, 15.01.10
