Following last Thursday’s performance of Hamlet, the majority of the cast and the Associate Director Daniel Raggett joined the audience for an engaging and insightful Q&A. I had specifically booked to see this performance in order to be there for the talkback session and as this production has left me wanting to ask so many questions, I was thrilled that at least some were answered during the evening. It was also hugely impressive to see so many of the cast attend the Q&A after a four hour performance (I’ve included a full list of attendees at the bottom).
This post sets out the questions asked and the responses as fully as I can.
Who do they (the cast) think should have ruled Elsinore in the end?
The cast all agreed that this was a great question and that it was hard to choose, but that the key was that these are exactly the types of questions Shakespeare is asking and for us to think about.
The cast was asked about the choice of music within the production.
The assistant director said that he couldn’t speak for the director Robert Icke, but commented on how he works instinctively and so he imagines it started with one Bob Dylan song and progressed from there. He also referred to Icke working alongside Laura Marling in considering the music to be used in the production.
What were their thoughts about the perception of time and reality in the production?
Angus Wright (Claudius) discussed this from Claudius’s point of view, saying that in his mind it’s all about Hamlet taking a different time to him, particularly with his grief for his father. Claudius just wants him to hurry up and get over it!
Luke Thompson (Laertes) spoke of how for his character it’s all about it being the time to leave at the beginning. He is keen to return to France. He also agreed that Robert Icke had taken a specific attitude to time and raised how purpose is a slave to memory, in that the more you let thought in to something and spend time thinking about it, the harder it is to act. I certainly agree with him that this is something that affects a number of characters in the play.
Barry Aird (Gravedigger / Francisco) spoke about the sense that the Gravedigger is almost dreamlike; there is a sense that he is almost out of a different time to the other characters and he referred to it reminding him of the barman in the film The Shining.
The cast were also asked about their thoughts on the striking image used for the poster and why it was chosen.
Andrew Scott agreed with the audience member that there were links to Ophelia in the image (through the use of flowers strewn across Hamlet on the T-shirt) and he said that, in his opinion, there are a lot of similarities between Hamlet and Ophelia. He certainly believes that they really do feel love for each other and yet are forced to work out their parents’ problems, not theirs. He spoke about how cruel this is. He also made the important point that there can be no tragedy if there is no love (something in my mind that many productions of the play get wrong). Lastly, Andrew also made the point that the image could also signify either Hamlet (that is, the young man or his father) and the sense of stepping in to someone else’s shoes.
A question was also asked about whether the cast think that theatre is still allowing people to come and be transformed by what they see, which in turn may enable them to use that energy to create real change in the world?
Andrew Scott spoke about how it is important to Robert Icke that his plays are for now and mentioned the line from Hamlet which speaks of “the age and body of the time.” He also said how the play itself is full of love and compassion and how all of the cast is trying to understand each other and serve those emotions.
Jessica Brown Findlay (Ophelia) commented on this issue too, making the important statement that if art stops being brave and starts apologising then we’re in trouble (well, she used a stronger term than that!) and that art can stretch over everything and unify us, which received a round of applause from the audience.
Jessica Brown Findlay was then asked about why we don’t see Ophelia’s face as she speaks her last line (the person asking the question really wanted to see it).
Jessica discussed how they had played around with the scene and that Ophelia looks around at all the people there. Ophelia has wanted to be heard her whole life and so this is her moment to be heard and look at all of those in her life. She hadn’t really thought about the fact the audience couldn’t see her at the moment, although Angus Wright (Claudius) said how it’s great for the other actors, as they can see her in that powerful moment.
It was also raised that the production seems to have used scenes / lines from different versions of Hamlet, with specific reference made to the scene between Horatio and Gertrude (a scene which is only included in Quarto 1 (the “bad quarto”).
Elliot Barnes-Worrell (Horatio) spoke about this scene coming from the “bad quarto” which is allegedly written by the actor who originally played one of the other smaller characters in the play. He commented that without this scene, you are left with the scene in which Hamlet recites a letter from Hamlet (one which Barry Aird (Gravedigger) said is quite dull) and so when Robert Icke found this scene in quarto one, Elliot was pleased that they could instead have a scene which puts Gertrude on team Hamlet and gives Horatio an ally at that point in the play.
Joshua Higgott (Marcellus) also spoke about the importance of creating a world that fits the production and in this one, a scene about pirates wouldn’t have made much sense. Barry Aird (Gravedigger) also made the important point that Shakespeare should be treated as if a new playwright and I agree with him. The key to keeping Shakespeare’s work alive and relevant is to make it fresh for its audience and this production certainly does that.
Reference was also made to the production’s modern parallels, such as the images of war and the cast were asked whether anything had any particular resonances for them.
Associate Director Daniel Raggett said that it is their job to ask the questions for the audience to think about, while Amaka Okafor (Guildenstern) spoke about how she finds the setting of the production very domestic, which is important as it is about heart. She also commented that stories have the ability to span all political stories and events.
David Rintoul (Ghost/Player King) referred to the scene in which Hamlet sees the Poles defending the small patch of land and how those lines about war could apply to so many places in the world today.
Andrew Scott also talked about how wide-ranging a play Hamlet is, as it covers so much ground, from war, to grief, to love and so to drown it in one theme would be a tragedy. He also referred to people’s comments that the production was so long, saying that if it isn’t long, then you aren’t doing the play, as there is so much in it!
Sadly, we then had to let the cast escape, despite the fact we could all have spent so much longer asking questions about the production! The full list of cast members attending the Q&A alongside Associate Director Daniel Raggett was as follows: Andrew Scott (Hamlet); Amaka Okafor (Guildenstern); Calum Finlay (Rosencrantz); Luke Thompson (Laertes); Jessica Brown Findlay (Ophelia); Joshua Higgott (Marcellus); Marty Cruickshank (Player Queen); Peter Wight (Polonius); David Rintoul (Ghost/Player King); Barry Aird (Francisco/Gravedigger); Elliot Barnes-Worrell (Horatio); Angus Wright (Claudius) and Juliet Stevenson (Gertrude).
Thanks very much to the cast and creative team of Hamlet for a brilliant evening. All productions photos used in this post are by Manuel Harlan.
Hamlet continues its run at the Almeida Theatre until 15th April. Although advance tickets are sold out, seats occasionally pop up online and day seats are released each morning at 11 a.m, with returns also being a possibility closer to the show each day. The production is also transferring to the Harold Pinter Theatre from 9th June – 2nd September (albeit with some cast changes). For more information on the West End transfer, see the Almeida’s website here and the ATG website here.
Theatre Review – Hamlet starring Andrew Scott (Almeida Theatre): devastatingly emotional, thrillingly original & impressive on every level
Hamlet is my favourite Shakespeare play and I’m always keen to see a new interpretation of this rich and powerful story. Over the years, I’ve never been quite as eager in advance of seeing it, as I was before my very first experience back in 2008 at the RSC. That was until the Almeida Theatre announced Andrew Scott would be taking on Shakespeare’s famous character in a production by one of theatre’s most exciting directors, Robert Icke. I knew this had the potential to be truly special and on Monday night, I was thrilled to discover that all my expectations had been met and surpassed!
The key for me has always been that a great production of Hamlet must have more than a talented lead actor. The whole cast and the vision of its director need to be strong enough to bring Shakespeare’s story to life anew for the audience and this production succeeds in bringing together brilliant actors throughout the cast and a talented creative team, who together deliver a truly devastatingly emotional and thrillingly original experience.
Before we talk about Andrew Scott (and there is much to say!), I therefore have to talk about some of the many other performances in the ensemble worthy of praise. Juliet Stevenson follows Mary Stuart (also at the Almeida) with a fantastic Gertrude. Too often Gertrude is left on the sidelines of the play, but not here. She is a fully realised, flawed woman. Thrilled with the idea that Claudius is attracted to her, she has been carried along by the passion of it and yet is still conscious of how Hamlet is suffering, in no small part because of her actions. The closet scene has always been a favourite of mine and in productions such a this, where Gertrude has a believable bond with her son, it is a joy to watch. Stevenson and Scott wring every ounce of emotion out of it and in a production where Hamlet feels truly capable of anything (frighteningly so in fact), the danger feels very real and Stevenson captures Gertrude’s fear for herself, as well as her heartbreak at her son’s mental state.
Interestingly, this production also places her firmly against Claudius before Hamlet’s return to Elsinore, as we see her realise and accept the King’s villainy when Horatio puts it in front of her. I have never seen such a scene included in Hamlet before and found that it made her choice to drink from the cup instead of Hamlet, a cup she knows with certainty to be poisoned, all the more tragic. Her last act is to show her loyalty to her son over Claudius.
The relationship between Hamlet and Ophelia is also given much more stage time than other productions I’ve seen, which gives far greater life and depth to their connection. Seeing her comfort a devastated Hamlet, who breaks down in her arms once they are alone after the wedding party scene was agonising, yet beautiful. It grounded their relationship in reality and was one of my favourite moments in the production, ensuring a greater emotional resonance to the tragedy of what’s to come. Jessica Brown-Findlay is a strong Ophelia, who has a truly loving relationship with her father, ensuring her spiral in to depression following his death is all the more poignant and heartbreaking. Her descent in to such despair is also handled sensitively. She isn’t a wild, whirling woman in these moments, but a young girl who has lost a father she adored and respected and at the hand of the man she loved.
Also and more so than in any other Hamlet I have seen, I found Rosencrantz and Guildenstern fascinating. For a start, they arrive much earlier than I am used to, which captured my attention! Hamlet has yet to “put on an antic disposition” when we first see them, suggesting that even before his father’s ghost appears to him, his behaviour is already causing concern. Not only that, but from the moment they arrive, there seems to be a tension between them and Hamlet, due to a potential love triangle.
Amaka Okafor plays the female Guildenstern as a woman who clearly loves Hamlet and you have a sense that perhaps the two of them have a romantic history. Yet now it seems she is with Rosencrantz (played by Calum Finlay), which made for an interesting dynamic between the three. It also meant that certain lines carried much greater meaning, such as when Hamlet asks them to admit they were sent for if they love him, to which Guildenstern responds and also by giving Rosencrantz’s line “My Lord, you once did love me” to Guildenstern. Having two characters who are too often one-dimensional and marginalised actually catch my attention, is just one example of how Robert Icke’s production adds a fresh perspective to this well known story.
Angus Wright’s Claudius is a modern political manipulator. He is calm and collected and carries an air of suaveness that you can see would have turned Gertrude’s eye. I also didn’t believe for a moment that he felt any remorse for killing his brother, which became so evident in his “prayer” scene. He may not have the same commanding presence as actors such as Patrick Stewart had in the role, but Wright’s portrayal makes clear that the King is a threat to Hamlet, which is essential to maintain the underlying tension as the play progresses (and which I felt was lacking in Ciaran Hinds’s version).
Elliot Barnes-Worrell is a wonderful Horatio, who has a believable friendship and loyalty to Hamlet. Often their bond is lacking, resulting in a less satisfying, emotional ending, but not here. Luke Thompson’s portrayal of Laertes is also enjoyable. Laertes is often a weak link, yet Thompson ensures he is a character you sympathise with. David Rintoul’s Ghost was another performance I enjoyed. Although his initial appearance in front of Hamlet is quite eerie, he isn’t a frightening figure. In fact his interactions with Hamlet are much more affectionate than every other production I’ve seen and it only emphasises just what Hamlet has lost. In light of Rintoul’s portrayal, the choice to miss out the Ghost’s bellowing commands from below the earth (a moment I always find rather silly and certainly didn’t miss) was a wise one!
As you can see, I could say positives about this whole company (heck it even has the glorious Marty Cruickshank as the Player Queen!), which is one of its biggest strengths. It does not have weak links, allowing the play to sing and for Icke and his cast to try new and imaginative ideas with the material.
So, we come to Andrew Scott. I have been waiting for him to tackle Hamlet for years and he is superb. He is such a versatile actor and this is a performance that covers the entire spectrum of human emotion; one moment his Hamlet is filled with [frenetic energy], exploding with anger, frustration and grief, the next fragile and broken, seemingly utterly adrift in the world. He is also both hugely vulnerable and frighteningly dangerous, which was thrilling to watch. You believe Hamlet to be capable of anything, which provides the production of this 400 year-old play with a fresh tension and energy.
Scott’s ability with the text is also fantastic. He may occasionally be a little too loud, but he found emphasis and humour in lines that I’ve never seen before (and in one particular case regarding Hamlet’s continual fencing practice, addressed a line that has always annoyed me, with perfect comedy). I have always found him to be a truly soulful actor in every role (especially on stage) and every soliloquy was so full of raw emotion that he held the whole audience under his spell. I found his delivery of the “readiness is all” lines particularly heartbreaking. His is absolutely a Hamlet you will never forget.
Indeed, on leaving the Almeida, I was most struck by how original an interpretation Robert Icke has created. Having seen most of his previous work, it is always thrilling and thought-provoking and yet I was still surprised by how his version of Hamlet had me seeing scenes I know so well in a different light, which is a rare treat. Hamlet is such a rich story, that directors and actors always have the scope to play with it if they dare and it was exciting to see that Icke and his cast have done just that.
I don’t want to spoil the cleverness of this production, but I will say that there are moments where a simple change leads to a whole new context for events that follow. The scene in which Hamlet considers killing his uncle as he is praying is one such example. The choices made on the Almeida stage in this scene were totally new to me and resulted in Hamlet’s crazed, frustrated, wild behaviour in his mother’s room making even more sense than usual, while proving that this Claudius is worlds away from the weaker portrayals of the character I’ve seen in other productions.
Hamlet’s sense of loss is always evident from the outset and yet here it is added to further through his immediate awareness of the fact he is potentially losing Ophelia too, following her father’s command that she stay away from him. In a production where we have already seen him break down in her arms, this is another blow to him and you feel the weight of loss on Andrew Scott’s shoulders. It’s another example of where just a couple of small changes impact on the emotional heart of the characters in new and interesting ways.
As for Polonius (played by Peter Wight), he is usually portrayed as either a comical old fool, or for actors unable to capture the comedy, a rather dry and dull character. He may not be my favourite Polonius, but I thoroughly enjoyed the fact that Wight’s version fits neither of these images. He is a loving father and indeed a useful adviser to the king and in the scene in which he is usually most comical – his conversation with Hamlet in which he is called a fishmonger, the production does not take the obvious and well trodden route of Polonius talking to himself or the audience. Instead, here he becomes a shrewd player in the surveillance world of Elsinore and it’s a wonderfully clever way to make the scene and the character feel fresh. The fact that Hamlet makes clear that he knows precisely what is going on too is also very well executed.
The use of newsfeed-style footage for the scenes involving the Polish army and Fortinbras is also a wise choice, as these moments, although necessary for the wider plot, can drag the pace down. By including them in such a modern way, enables them to serve the plot, without losing the audience’s engagement. For example, we need Hamlet to see the Polish army in order for him to deliver the soliloquy it inspires, but here the focus is able to stay on Hamlet.
Hildegard Bechtler’s set is ideal for this production. There are no huge, ornate sets, filled with lots of furniture, which needs moving on and off stage during key moments (yes, I’m looking at you Barbican Hamlet). Instead, it is a very stripped back stage space that reminded me very much of Icke’s Oresteia. Divided in to two sections, the front half is kept quite bare, with minimal seating, while a sliding door separates it from the back half, where events such as the wedding party can continue in the background, without distracting from the play’s biggest moments. This split stage is also used to beautiful effect during the play’s final moments, where the sense of death and its stopping of our time on the earth are so poignantly conveyed.
I also loved the music choices made by the creative team. More dramatic moments were accompanied by a throbbing beat, which added to the sense of time running out for these individuals, while other scenes were accompanied by songs which captured the emotional heart of the moment. I especially liked the musical choice taken during the fencing scene, which again was something I’d never seen before in this play. As for the running time? Don’t be put off by it. Yes, it’s long, but as with some of his other plays, Icke’s three part, two interval structure and pacing ensures that you are swept along until the final scene.
Simply put, this is how Hamlet should be – thrilling, dramatic, poignant, funny, heartbreaking and thought-provoking. With such a strong, visionary director and talented cast, it made me see the play with fresh eyes and engage with Shakespeare’s tremendous work in new and exciting ways. I am sure it will be one that is discussed and remembered long in to the future and although the 2008 RSC production will always hold a special place in my heart, this production is the only one I have seen since that could go on to become my favourite. I am already excited to see it again, which is exactly how a production of Hamlet should make you feel.
If you already have tickets, you are in for a treat. If you haven’t, make the effort to get your hands on one. I promise you, you will not regret it.
Hamlet at the Almeida Theatre runs until 15th April 2016. Although tickets have sold out, there will be day seats on sale each morning at the box office and it is also worth trying for returns a few hours before each performance. Running time is 3 hours 45 minutes (including two 15 minute intervals). For more information, visit the theatre’s website here.
Happy New Year!
I’ve looked back on my year of theatre in 2016, which means it’s now time to focus on what lies in store over the next twelve months. The good news is that there is already quite a lot to be excited about and below are 17 shows I’d put on your list for the new year!
1. Hamlet (Almeida Theatre, 17th February – 8th April)
There is so much I’m excited about regarding the forthcoming Almeida production of Hamlet. It’s my favourite Shakespeare play, directed by probably my favourite director at the moment, Robert Icke, whose Oresteia and current Mary Stuart productions are some of the finest plays I’ve seen and it will see Andrew Scott take the title role. He may be best known for playing Moriarty in Sherlock, but he is also a superbly versatile stage actor and I cannot wait to see what he and Icke come up with for this production. All it needs is a strong ensemble cast, which it is well on the way to having wth Juliet Stevenson and Jessica Brown Findlay and this has the potential to challenge the RSC’s 2008 production as my favourite. Can you tell I’m excited?!
2. Angels In America (National Theatre, from 11th April)
Ever since the National’s 50th anniversary celebration featured a scene from this play, I’ve been hoping it would return to the London stage and 2017 sees that happen. It’s such an iconic award-winning play, which made such an impact originally in the 90s and this revival promises to be very special with actors including Denise Gough, Andrew Garfield, James McArdle, Nathan Lane and Russell Tovey announced and directed by Marianne Elliot. Tickets will go quickly for this. You have been warned!
3. Don Juan In Soho (Wyndham’s Theatre, 17th March – 10th June)
2017 also sees David Tennant return to the stage and this time it’s not Shakespeare. For me, he is one of the finest stage actors we have in the UK and I’m very excited to finally see him live on stage performing a non-Shakespeare role. Patrick Marber’s play is described as a savagely funny and filthy play, which has me intrigued to say the least! Directed by Marber and also starring the brilliant Adrian Scarborough, the only question for me is just how many times I’ll see this show over its run!
4. Hamilton (Victoria Palace Theatre, from November)
The juggernaut that is Hamilton finally arrives in London late this year at the Victoria Palace (which is undergoing refurbishment in advance of becoming the hottest theatre spot in town). I have heard so much about this show, but have resisted the urge to listen to any music from it before I see it. With crazily expensive tickets for the New York run, hopefully the London production will be a little easier to get in to!
5. Who’s Afraid of Virginia Woolf? (Harold Pinter Theatre, 22nd February – 27th May)
After her performances in Sweeney Todd in 2012 and Gypsy in 2015, I’d go and see the incredible Imelda Staunton in anything! Next on her list before Gypsy heads to Broadway is this production of Edward Albee’s play. Also starring Conleth Hill (now better known as Varys in Game of Thrones), this promises to be another gem in the 2017 calendar.
6. the ferryman (Royal Court Theatre, 24th April – 20th May)
The Ferryman makes the list even though it is technically already sold out. This does not mean it should be ruled out however (I for one will be queuing as long as it takes for returns after failing to book this fast enough)! Jez Butterworth’s reputation for brilliant and exciting theatre was established with Jerusalem, but I also loved The River and I’m intrigued to see what is next. The production will also mark the Royal Court directorial debut of Sam Mendes.
7. Obsession (Barbican Theatre, 19th April – 20th May)
This year also sees Ivo Van Hove, whose recent productions of A View From A Bridge and The Crucible both made quite an impression on anyone who saw them (including me) directing one of three Toneelgroep Amsterdam productions at the Barbican. Jude Law leads a cast of Dutch and British actors in Visconti’s drama where two people’s attraction to each other leads them to plot murder. This season as a whole is on my must-see list, but I’m rather intrigued by this one in particular.
8. The Goat, or Who Is Sylvia? (Theatre Royal Haymarket, 24th March – 24th June)
Spring also sees two of Britain’s finest actors, Damian Lewis and Sophie Okonedo together on stage in Edward Albee’s The Goat, or Who is Sylvia? Described as a dark comedy, I am rather excited about seeing these two together and directed by Ian Rickson too!
9. Woyzeck (Old Vic, 6th May – 24th June)
Woyzeck isn’t a play I’ve seen before and therefore I’m thrilled to be able to have a chance to tick this highly regarded piece of literature off my list. Set in 1980s Berlin, John Boyega (now of Star Wars fame) tackles the story of a young soldier on the border of East and West trying to build a better life for his family. This new version of Georg Buchner’s classic has been written by Jack Thorne, whose recent hits include This Is England for the screen and the Harry Potter play.
10. Speech & Debate (Trafalgar Studios, 22nd February – 1st April)
Stephen Karam’s play The Humans was one I’d hoped to see next time I was in NYC (sadly I’ll miss it), but I will at least be able to see Speech & Debate when it arrives in London in February. Billed as the story of three misfits, brought together at school by a sex scandal, with hilarious consequences, I’m looking forward to seeing Douglas Booth and Tony Revolori (Zero in The Grand Budapest Hotel) tackle this play.
11. 42nd Street (Theatre Royal Drury Lane, 20th March – 22nd July)
I can tick another classic musical off my list this year with the arrival of 42nd Street, the story of a young woman who, after joining the chorus line of a musical, may get her chance of stardom when the leading lady lady suffers an injury. Starring Sheena Easton as Dorothy Brock, this production will also be directed by Mark Bramble, the co-author of the original book of the production. I’ll be curious to see where this ranks in my list of musicals.
12. The Glass Menagerie (Duke of York’s Theatre, 26th January – 29th April)
I’ve still yet to see The Glass Menagerie on stage and so I’m pleased this version of Tennessee Williams’s play is transferring from Broadway at the end of this month. Director John Tiffany’s (also director of Harry Potter & The Cursed Child) production was highly regarded in New York and will again star Cherry Jones as the matriarch Belle Amanda Wingfield.
13. Paul Auster’s City of Glass (Lyric Hammersmith, 20th April – 13th May)
Regarded as a seminal American novel, I’m looking forward to a trip to the Lyric to see this new adaptation, which is billed as using ground-breaking stagecraft, projection, magic and illusion to tell the story of a reclusive crime writer who becomes drawn in to a thriller after receiving a call in the middle of the night from someone in need of a private detective.
14. Touch (Soho Theatre, 6th July – 26th August)
I didn’t get to see Fleabag last year, but after the acclaim it received, as well as for the BBC series based on the play, I’m certainly adding Touch to my 2017 list, as it is by the same creative team. Starring Amy Morgan, it’s the story of a 33 year old woman trying to find her way in London.
15. Tribes (Crucible Studio, Sheffield, 30th June – 22nd July)
I thoroughly enjoyed the original run of Nina Raines’s play at the Royal Court in 2010 and so I am looking forward to seeing this new regional premiere in Sheffield over the summer. The story of family life, where the son is deaf is very funny, but also incredibly moving and explores perfectly the desire we all have to be heard and understood.
16. Antony & Cleopatra (RSC, Royal Shakespeare Theatre, Stratford-Upon-Avon, 11th March – 7th September)
I’ve always struggled a bit with this play, but I’ll certainly be heading to Stratford-Upon-Avon for this production, which will see one of my favourite RSC actors, Antony Byrne take on Marc Antony. Byrne was wonderful in the original Richard II in 2013 (and very much missed by me in its revival this year) and also in Henry IV and V and it’ll be fantastic to see him again performing Shakespeare.
17. Sex With Strangers (Hampstead Theatre, 27th January – 4th March)
The Hampstead Theatre has certainly come a long way since Edward Hall took the helm in 2010 and I’m very much looking forward to seeing its first production of the new year. Laura Eason’s comedy sees two people, very much opposites of each other, stuck together in a B&B in the snow, who find themselves undeniably drawn to each other. I enjoyed Emilia Fox’s performance in Rapture, Blister, Burn at this theatre in 2015 and so it’ll be lovely to see her back, in a production that also stars Theo James.
So, those are some of my suggestions for this year on stage. I could have picked so much more, with theatres including the Bush Theatre and the Young Vic already setting out exciting seasons. Then of course there are all the shows yet to be announced! Finally, there are some shows that opened last year, but which are well worth a trip if you can see them before they close. A few examples are:
- Love’s Labour’s Lost & Much Ado About Nothing (Theatre Royal Haymarket) until 18th March – the London transfer of the RSC’s gorgeous double-bill is not to be missed. With a lot of the cast returning, including Edward Bennett and Sam Alexander, they are perfect at this time of year. Go, go, go!
- This House (Garrick Theatre) until 25th February – This superb National Theatre production sees a new run in the West End. Set in the 70s as Labour cling on to power before Thatcher, it’s a brilliantly sharp and funny glimpse in to Westminster. Having seen the current cast in Chichester over the autumn, I can say it’s just as strong as it was originally. Review here.
- Hedda Gabler (National Theatre) until 21st March – My review will be up laster this month for this exciting modernisation of Ibsen’s play. Ruth Wilson is yet again superb and there are also wonderful performances from Rafe Spall and Kyle Soller. This was so close to being in my top 10 of 2016, so I urge you to go. Yes, it’s sold out, but there is the option of Rush tickets on sale on Fridays for the following week’s shows and returns will pop up, so keep checking.
- Mary Stuart (Almeida Theatre) until 21st January – One of my highlights of last year was this play which sees Lia Williams and Juliet Stevenson swap roles as Mary Stuart and Elizabeth I. It’s an exciting production from director Robert Icke and is another must-see. Again, it’s sold out, but there are day seats of every performance and I’ve usually been successful in the returns queue at this theatre in the past.
Hopefully there is something on the list that you are interested in. As always, I’ll be adding reviews of shows as I see them and so please do pop back any time!
Although there are a few days of 2016 left, I’ve very likely been to the theatre for the last time this year and so it’s time for one of my favourite posts – my theatre review. It’s always lovely to reflect on another year of theatregoing and all the wonderful productions I’ve been lucky enough to see over the previous 12 months.
Due to a few weeks with a bad cough during which I didn’t go to the theatre (I refuse to be that person coughing through a show!), 2016’s final tally was just 70 different productions; 12 of which were musicals (a record I think for me), with the rest being plays. As with any year there are always some repeat visits and in 2016 I saw 11 shows more than once. Although this year saw me take a long overdue trips to New York for 11 days of theatre (that seems to be the magic number for me this year doesn’t it?), I’ve actually been to very little regional theatre in 2016 and I’m determined to improve this over the next twelve months.
2016 has been a very strong year of theatre for me, with those containing a strong female performance particularly standing out. I’ve seen very little that has truly disappointed and nothing that will be added to my all-time worst production list. So, below is my top ten productions of the year. Before the year is out, I’ll also be posting my list of 17 shows to see in 2017 so please do pop back to have a look and let me know what your theatre highlights have been this year!
Productions of the Year – My Top 10!
1. Groundhog Day (Old Vic)
There could only be one show at the top of my 2016 list and that’s Groundhog Day, the new musical based on the film, which premiered this year in London, before departing after only its ten week run to prepare for Broadway (previews start in March). I had been sceptical about a musical of this 1993 film (one that I’d not been a huge fan of to begin with). On seeing it for the first time however, I knew this was something very special indeed and I loved it every time I went (well if any show warrants repeat trips it’s this one). The colourful sets helped bring the community of Punxsutawney to life, and the book by Danny Rubin with Tim Minchin’s music and lyrics were a joy. It managed to be both very very funny and deeply moving over the course of the show, as Phil Connors gradually becomes a better man. Of course, the show needed a strong lead to anchor it and Andy Karl was utterly superb as Connors. He was able to portray a man who was both irritating, but still likeable and someone you were rooting for by the end. Yes, I intend to go to NYC to see it, but in the meantime, Mr. Minchin, please release a cast recording! You can read my full reviews here and here.
2. People, Places & Things (Wyndham’s)
I missed this play during its original run at the National Theatre, but was able to see it when it reached the West End earlier this year. It certainly lived up to the hype, with Denise Gough giving one of the finest stage performances I’ve ever witnessed. As Emma, the young woman dealing with a drug and alcohol addiction, Gough pulled you in to her world and didn’t let go until the end. Very few theatre performances have as strong an emotional impact as this one and her Olivier win in April was truly deserved. I know this will be a performance I talk about for years to come. Full review here.
3. Sunset Boulevard (London Coliseum)
This time last year, one of the most anticipated events of the 2016 theatre calendar was Glenn Close’s return to the role of Norma Desmond, one she performed on Broadway over 20 years ago (and one she will take back to NYC in 2017). I’d never been to the Coliseum, but it was the ideal venue for this unique staging of Andrew Lloyd Webber’s musical. “Semi-staged”, there was very little set; instead the focus was on the performances and the full ENO orchestra on stage. Fred Johanson was excellent as Norma’s loyal butler, as was Michael Xavier as Joe Gillis. However, this was always going to be Close’s show and she was superb. In fact I loved it so much I had to go again and being on the front row that second time is an experience I will never forget. Full review here.
4. Eclipsed (John Golden, NYC)
My trip to NYC this year was designed to be a theatre-fuelled holiday and it certainly was! I saw some excellent productions during my time there, but the one that stands out and makes this top ten is Danai Gurira’s play Eclipsed, which centres on the lives on five women during the Second Liberian Civil War. The play was able to capture the perfect balance of serious hard-hitting material and humour. For a play that has some moments that are quite difficult to watch, it was also remarkably funny too. On top of that, all five women in this play were superb (made clear by the raft of nominations it received). Lupita Nyong’a seemed so much younger in her role, which commanded your attention until the final moments, while Pascale Armand made me laugh with her witty remarks. I’m so pleased I was able to see this. Full review here.
5. Mary Stuart (Almeida)
Last weekend I was at the Almeida for a double day of Mary Stuart. Seeing this new show twice in one day was the only way to guarantee I’d see both actresses in each of the lead roles of Elizabeth I and Mary Stuart. I’m still writing up my review (watch this space), but needless to say that it’s inclusion on this list tells you exactly what I thought of it! The Almeida has such a unique atmosphere and you can feel the energy in the room as the coin spin takes place to determine who will play each part. On seeing both versions, I was thoroughly impressed by both actresses, although Lia Williams brought something extra to the stage whether as Mary or Elizabeth. It’s an exciting, powerful and absorbing production that you should see if you can.
6. Unreachable (Royal Court)
After having to return a ticket for earlier in the run, I’m so pleased I managed to see the final performance of this brilliant new play by writer and director Anthony Neilson, although due to the unique structure of the creative process, it would have been great to have seen it more than once, as Neilson uses the rehearsal process to mould the story and relies on improv from the cast. Story-wise, it’s about a group of creative people coming together to make a film, with the director intent on capturing the right light (played by Matt Smith) and one of the actors, Ivan the Brute, an unpredictable lunatic (Jonjo O’Neil)! All the actors were excellent, but special credit must go to these two, who had me in stitches throughout, particularly Jonjo. It’s a character and performance I won’t forget in a hurry!
7. Harry Potter & The Cursed Child (Palace)
2016 also saw the arrival of the juggernaut that is the new Harry Potter play and I feel very lucky to have already been able to see it, knowing that some people have tickets for 2018! Set 18 years after the end of the seventh book in the series, we get to see Harry, Hermione and Ron as adults with children of their own off to Hogwart’s and the story focuses on the friendship of Albus Potter and Scorpius Malfoy. It’s a superb show, with magical trickery, lovely sets, a story with a positive message for us all and some brilliant actors. Special mention to Jamie Parker (one of my favourites on stage who really does bring something new to Harry) and Anthony Boyle who deserves as much recognition as possible for stealing the show as Scorpius. Review here.
8. Yerma (Young Vic)
Billie Piper has established herself in recent years as a fine stage actress and her lead role in the Young Vic’s modern interpretation of Lorca’s Yerma is the best I’ve ever seen her. In a one act play, she simply left me speechless and a bit of a wreck through her portrayal of a young woman driven to despair by her inability to conceive a child. In this modern world where people like to think we can have it all and where woman are putting off having children until later, this play has an added emotional resonance. Brendan Cowell was also fantastic as her husband, struggling to keep their marriage together as his wife slowly breaks down. It was an emotionally draining experience, but a theatrical tour de force that I wouldn’t have missed for anything. Full review here.
9. Richard II (RSC, Barbican, London & BAM, NYC)
Okay, okay, anyone who reads this blog may notice that this production has been on this list before, but technically the 2016 version did have a largely different cast and therefore I think I cab get away with it! David Tennant remains one of my favourite actors and a brilliant Shakespearean actor. Returning to Richard after a break of almost two years meant he was able to bring much more weight to it than he did originally. This was a stronger, more confident performance. Add to that the inspired addition of Jasper Britton as Bolingbroke, a role he made his own and a performance I preferred to Nigel Lindsay. Top marks also need to go to Sam Marks, who stepped in to Oliver Rix’s shoes as Aumerle and brought even more emotional depth than I could have hoped for. I was also lucky enough to travel to NYC to see the final two performances of Richard, meaning that I was able to see not only the first preview, but the very last show. Full review here and reflection on the full King and Country cycle here.
10. The Dazzle (FOUND111)
Picking a tenth production for this list has been quite difficult and has left me torn, but in the end I had to choose a production I first saw last December and returned to in January of this year and that’s The Dazzle. With only a cast of three and staged in the intimate setting of FOUND111 (one of the venues of the year in my view), this was a show that was both humorous and deeply moving, as we see the bond between the Collyer brothers. Andrew Scott is mesmerising as Langley, whose strange ways are an increasing strain on his brother. However, it was David Dawson’s performance as Homer that floored me and by the final scene I was a wreck. Full review here.
So, that’s my top 10 from another year of theatre. That was quite tough! Had I had more space, other productions I loved this year included Les Liaisons Dangereuses (Donmar), The Encounter (Barbican) and the returns of the RSC’s Love’s Labour’s Lost and Much About About Nothing (at Chichester, but which are now currently finally in London) and This House (also now in London).
It always frustrates me that there are things I miss, but ultimately you can’t see everything. That being said, I’m determined to go to more regional theatre, but also more new venues next year. It’s a little exciting to wonder what memories I’ll be looking back on this time next year! After a suggestion from a friend, my picks for top performances of the theatre year are in a separate post here, as are my most memorable moments of the year in theatre here.
Thanks for reading!
This review is long overdue, but as this production has the rest of January to run, I thought it still deserved to be written. On hearing that two of my favourite theatre actors were to be in a play together, in such a small venue, I was very excited to see this new play towards the end of last month.
Richard Greenberg’s play introduces us to the Collyer Brothers, who lived in Harlem for decades in the early 20th century and by the end of their lives in seclusion. Little is known about their day to day lives for that reason, but Greenberg takes what is known about them (that they became hoarders and died within the apartment, found buried under 140 tonnes of junk) and uses this as a basis for imagining what lives they may have led. It’s certainly a fascinating insight in to the bond between two very quirky and ultimately tragic characters.
Langley (played by Andrew Scott) is an accomplished pianist, who at the start of the play is growing ever more frustrated with and distant from the world. The world for him moves at a much slower pace; a very different rhythm to society around him and you soon sense that the less he has to do with it, the better. It is left to his brother, Homer (played by David Dawson), a lawyer by trade, who has taken it upon himself to act as his brother’s financial adviser, but as time goes on he effectively becomes his carer, doing almost everything for Langley. Their relationship is a complex one; they clearly care a great deal for one another, but also grow ever more frustrated with each other.
In to this dynamic enters a young, attractive New York heiress Milly (played by Joanna Vanderham). She is infatuated with and fascinated by Langley, much to Homer’s annoyance, although as the play goes on, you begin to suspect his hostility towards Milly masks other feelings he may have for her. Hers is a difficult role, as Milly is not as developed as the brothers and is used as a way of provoking reactions and situations between Langley and Homer, as without her, you could imagine them sitting in silence, saying and doing very little indeed. Vanderham is very good in her role, bringing a youthful innocence and hopeful optimism in to the play, which is a nice contrast to the characters of both Langley and Homer.
However, the play’s success depends on the strength of the two male leads and both Andrew Scott and David Dawson are very good indeed. More importantly, they have a convincing chemistry on stage, bringing the eccentricities of the brothers to life as well as their bond to each other. It’s not difficult to imagine them as brothers, which is pivotal for this story and its emotional depth.
Andrew Scott is in familiar territory here, playing another quirky character. Through his performance we see Langley’s withdrawal from society, as he becomes more and more reclusive and it’s certainly sad to watch. Scott knows exactly how to turn a line to bring out the humour, frustration or sadness that Langley is feeling, as well as adding little nuances, expressions and mannerisms to his performance to imbed the sense of someone whose mind works on a different plain to everyone else.
However it was David Dawson who moved me when watching The Dazzle. One can imagine Homer may have had a much more sociable and happy life were it not for his brother and there are moments, as the junk accumulates around him, that you truly feel his sense of being trapped in his life. However, there is never any doubt that he’ll leave Langley and his tenderness towards him despite his frustrations is lovely to watch. It is through this impressive performance that he carries the emotional weight of the play’s conclusion, something he achieves superbly. From first seeing him on stage at the RSC as Romeo in 2009, he has never disappointed me and certainly didn’t in The Dazzle.
The claustrophobic mood of the play is perfectly captured and enhanced by Ben Stiles’s set design. Located at FOUND111 on Charing Cross Road in the old Central St Martins School of Art, the theatre is located at the top of this warehouse-style building, in an incredibly intimate space. The set is simple to begin with – chair, chaise longue, piano and some lamps, papers and clutter. In such a small space, as an audience member you feel part of the Collyer’s apartment, sitting on wooden chairs on three sides of the space, observing their existence. As the amount of junk accumulates for the second half, so does the sense of claustrophobia and isolation that came to signify their lives.
The play certainly wasn’t what I had expected. I think the title had made me think it would be a light-hearted, humourous play. There are moments of humour (mainly coming from Scott) which help alleviate the tragic inevitability of their lives, but I cannot tell you this is an easy play to watch. It’s challenging, but also fascinating and with two such strong actors within a few feet of you, conveying such emotion, it felt like a privilege to watch them. Plus with day seats at only £10, it really is a bargain to see such talent. I’m looking forward to seeing it again towards the end of the run to see how it has developed.
The Dazzle continues its run at FOUND111 on Charing Cross Road until 30th January. Running time: 2 hours 20 minutes (including a 15 minute interval). Although advance tickets have sold out, days seats are available at 6 p.m. before each performance, along with any returns. Visit the website for more information.
As 2014 is almost over, it’s time for my look back at my theatregoing year. I’ll start by saying it’s been far shorter than I’d have liked, as due to breaking my ankle, I’ve not been able to get to a theatre since August. As I try not to think about the productions I had to miss, I can at least look back at a nine months filled with some truly superb shows. In 2014, I managed to make it to 38 live productions, of which I returned to see 7 productions more than once, giving a total of 58 theatre trips. I also managed to tick another two productions off my archive list, by visiting the V&A archive to see the RSC’s 2011 production of Cardenio and the Royal Court’s 2007 production of Rhinoceros.
After much thought and in no particular order (apart from my number one, as ranking them further would be too big a challenge!), my top ten is below.
Top 10 Favourites
1. King Charles III (Almeida Theatre)
Top of my list this year is the superb King Charles III, which I saw during its original run at the Almeida. I’m a big fan of both Mike Bartlett’s work (his recent play Bull made it on to last year’s list!) and Rupert Goold and found this to be a refreshingly new and exciting play (see my full review here). A bit of a slow burner, but as the story progressed I became absorbed by it, wondering what direction Bartlett had chosen to take in this alternate United Kingdom. The brilliance here is also structuring it in the style of a Shakespearian History play! Filled with fantastic performances, particularly Tim Pigott-Smith, Oliver Chris, Adam James and Lydia Wilson, I loved that it dared to do something different and the ending was incredibly powerful. I must try and see the current cast at the Wyndams Theatre before it ends in January if I can.
2. The Pass (Royal Court Theatre)
I wasn’t sure what to expect when I headed to the Royal Court Upstairs in February for The Pass. However, it didn’t take long for me to know that this was something very special indeed. The Pass centres on two friends at the early start of their professional football careers and follows their different paths, while also superbly raising the issue of what it would be like to be in such a world and perhaps by unsure as to what you really wanted in life and what really will make you happy, sexually or otherwise. Russell Tovey was truly incredible as Jason and commanded the stage throughout.
3. Birdland (Royal Court Theatre)
More from the Royal Court, this time downstairs for Simon Stephens’s (whose Seawall topped last year’s list) new play Birdland. We are drawn in to the world of Paul, an international rock star whose 15 month world tour is reaching its conclusion. He can have anything or anyone he desires, but is that really enough anymore? Andrew Scott is always mesmerising on stage and he gave an absolutely phenomenal performance as Paul, tackling every imaginable emotion over the course of the play. He effortlessly moved from lighter moments to those which suggest a dangerous, darker side to Paul lurks just below the surface. It takes great skill to be able to be both emotional and emotionless in so short a time and Andrew Scott was more than up to the task. The set was also very clever and I left the theatre feeling very excited at seeing something new and powerful (feel free to read my full review here).
4. Once (Phoenix Theatre)
I’d always quite liked the sweet indie film Once and had been meaning to go and see the stage version. Unbelievably it took me over a year but I’m so pleased I made it this year, especially during the time of Zrinka Vitesic and Arthur Darvill. They were both utterly superb. Zrinka had been in Once in London since it opened and this year justifiably won the Olivier award for her portrayal of this heart-warming character. She brought a perfect blend of playful humour, bossiness and tender emotion to the role and you instantly connect with her as soon as she steps foot on the stage. Arthur was also excellent as the Guy, who is at first bewildered by this whirlwind of a woman who has entered his life. After playing the same role on Broadway for a number of months he clearly understood the soul of the character and his chemistry with Zrinka was beautifully tender and romantic. Its warmth and magical spirit will make you laugh, smile and cry and will leave you feeling deeply moved. Try and see it if you can (my full review is here).
5. A Streetcar Named Desire (Young Vic)
It’s been a fantastic year at the Young Vic and the two standout productions for me both make my top ten. First is Tennessee Williams’s classic production starring Gillian Anderson and Vanessa Kirby. I’d never seen Streetcar before and this was certainly a superb production to start with. I loved the staging. As an audience member you can’t help but feel as if you are intruding on the innermost lives of the characters and there is a wonderfully effective, voyeuristic quality too, due to the rotating stage. I’ve admired Gillian Anderson for years and she was absolutely incredible. She drew the audience in so much to Blanche’s disintegration that by the end of the production I certainly felt exhausted and incredibly moved after having watched such a powerful and emotional performance (my full review is here).
6. A View From A Bridge (Young Vic)
Another incredibly powerful night at the Young Vic this year was for the stunning production of Arthur Miller’s A View From A Bridge. Everything about this production was superb – the claustrophobic box set, the lighting, but above all the performances of the cast. Nicola Walker does a fantastic job as Eddie’s wife, who is growing ever more concerned about his attachment to their niece (also wonderfully played by Phoebe Fox). However, the standout performance is by Mark Strong, who is breathtakingly intense as Eddie. It is such a nuanced performance, through which we really see the depths of his character and he is certainly one of the finest actors I have seen on stage. This production is transferring in to the West End next year, so make sure to grab a ticket fast.
7. The Crucible (Old Vic)
From the Young Vic, to the Old Vic up the road for another Arthur Miller classic (and another first for me – my full review is here). This superb production also stands out for me as it was the last production I was able to see before breaking my ankle! South African Director Yael Farber’s powerful production particularly benefited from the current configuration of the Old Vic stage. Playing such an intense story on a smaller stage, surrounded by the audience was an inspired decision. Its deeply atmospheric, sparse staging by Soutra Gilmour, the effective use of light and shadow by Tim Lutkin, mist-covered entrances and terrifyingly eerie music score by Richard Hammarton, are all enhanced greatly by the almost claustrophobic atmosphere created by having faces gathered all around the stage. Richard Armitage has an incredibly powerful presence on stage and you could not fail to be moved by his portrayal of Proctor, as he moves from moments of sorrow, to weakness, intense anger, rage and delicate emotional vulnerability.
8. Rapture, Blister, Burn (Hampstead Theatre)
I thoroughly enjoyed Gina Giofriddo’s latest play, focusing on the choices available to women today – career or family? marry or remain single? – and whether any of these possible choices will make you feel fulfilled or whether the grass is always greener. I found the scenes in which the history of feminism, the role of women and their relationships with men are debated incredibly absorbing and thought provoking and the performances of all five actors were excellent. However it was Shannon Tarbet as Avery who stole the show with some truly sharp and witty one-liners and who you couldn’t fail to like. A highlight I wasn’t expecting too much from before I went (my review is here).
9. Wolf Hall (RSC, Swan Theatre)
I have owned Hilary Mantel’s Booker Prize-winning novels for a few years now and have never had time to read them. However I was thrilled to hear that Mantel herself was to adapt them, together with Mike Poulton for the RSC and what a brilliant production it was. I preferred Wolf Hall out of the two, but both this and Bring Up The Bodies were excellently acted, directed and conceived for the stage. On the smaller stage of the Swan, the plays seemed even grander, almost too big for the space, while keeping a wonderfully intimate feel. Ben Miles was utterly superb as Cromwell, who for each 3 hour production barely leaves the stage. I hope this finds just as much success on Broadway next year.
10. Analog.ue (National Theatre, Lyttelton)
Choosing a final production has proved quite difficult, with so much I’d enjoyed this year. In the end the top ten had to include Daniel Kitson’s latest part theatrical, part art installation show at the National Theatre as it was certainly a highlight for me and one which has stayed with me ever since. It was a unique story, which weaved together memories from the past with the present. It was incredibly moving and beautifully reminded me of the power of memory and how important memories of our past will be to us as we grow older or to those who come after us, offering them a glimpse in to a time long past. I even dug out an old recording of my grandparents, which I hadn’t listened to for years after seeing this. My full review is here.
Narrowly missing out on the Top 10
These are the productions that almost made it in to the top ten.
- The Knight of the Burning Pestle (The Sam Wanamaker Playhouse) – A quirky, comic and fun production from the new Sam Wanamaker Playhouse. Having the grocer and his wife within the audience throughout is such a brilliant device, especially in such an intimate setting and truly engages the audience in a whole new way. You can read my full review here.
- Richard III (Trafalgar Studios) – Martin Freeman’s intelligent Richard simmered with menace in another great Shakespeare adaptation from Jamie Lloyd.
- Clarence Darrow (Old Vic) – Kevin Spacey was superb yet again as human rights lawyer Darrow in this impressive one-man show (see my review here)
- 1984 (Almeida Theatre) – Another brilliant production for Rupert Goold’s theatre, as Headlong perfectly brought such an atmospheric and iconic book to the stage.
- Coriolanus (Donmar Warehouse) – Another of the Bard’s plays ticked off my list in an engaging production with a strong cast led confidently by Tom Hiddleston.
- Red Velvet (Tricycle Theatre) – After missing it the first time around, I loved Adrian Lester’s passionate performance as Ira Aldridge (see my review here).
Wonderful repeats from previous years
There are always productions I can’t help but see again another year, although this year there were only two, both of which were on last year’s top ten:
- American Psycho (Almeida Theatre) – Rupert Goold’s first production in charge of the Almeida was a gloriously refreshing and exciting production, brilliantly led by Matt Smith. I still wish there had been a cast recording!
- Richard II (RSC at Barbican Theatre) – This was certainly a production that grew over its run and by the time it reached London the cast were on fine form. David Tennant may not have been as strong as he was in Hamlet, but his Richard II was still wonderful to watch. Although for me, the stand out performance remains that of Oliver Rix as Aumerle.
Disappointments of the Year
- A Small Family Business (Olivier, National Theatre) – Although there were some good performances, this play was too dated and dull for me and far too long.
- Mr Burns (Almeida Theatre) – Although I enjoy seeing something that dares to be different, the third Act of Mr Burns was just too weird for me, making me wish I’d left after Act 2.
- Slava’s Snowshow (Royal Festival Hall) – I was simply bored by this. Perhaps it’s more for kids.
- The Mistress Contract (Royal Court Theatre) – Another production that was just a bit dull for me, despite two good performances.
Memorable moments in Theatre
There have been some wonderful moments that I’ve witnessed or experienced at the theatre during 2014, which included:
– A West End return – Seeing Angela Lansbury’s return to the West End stage at the age of 88 in Blithe Spirit and from the front row for only a tenner too!
– Martin Freeman commits brutal murder – Just when Martin Freeman’s Richard III didn’t seem that frightening, he kills his wife by strangling her over a desk with a telephone cord! After watching him cruelly stalk her around the room, watching him finally kill her was very chilling (especially from my stage seat).
– Kevin Spacey captivating an audience – Watching how at home Kevin Spacey looked, sitting in an armchair, at the centre of the Old Vic, surrounded by a rapt audience.
– The thrill of a first preview – Attending the first performance of Birdland and being reminded yet again how incredible Andrew Scott is on stage.
– Discovering a new young talent – Discovering Shannon Tarbet in Rapture, Blister, Burn, who I’m excited to watch in lots more to come.
– Site specific theatre in gorgeous surroundings – Experiencing voyeuristic theatre at the Langham Hotel for The Hotel Plays.
– The thrill of knowing you’ve seen something new and utterly brilliant – By the end of my first trip to King Charles III (on the second preview), it was thrilling to feel the excitement of seeing a superb new play, especially by the time it reached the glorious last scene.
– Visiting a new, fantastic theatre – My first trip to the Park Theatre, a theatre I’m sure I’ll be visiting a great deal in the years to come.
– Saying an emotional farewell – Joining in the emotional applause at the final performance of Once for Arthur Darvill and Zrinka Vitesic from the front row.
– Enjoying phones being used in a theatre – Enjoying the quirk of actually using your mobile phone during a production at the Donmar for Privacy. I doubt I’ll ever think that again!
All in all it’s been a fantastic, if somewhat curtailed year of theatre for me, in which I’ve seen some wonderful moments on stage by some of the finest actors working today. I am thoroughly looking forward to what surprises 2015 will bring (and I’ll post my top choices for 2015 soon)!
If we used the Doctor’s TARDIS and travelled back in time four years to 25 July 2010, we would find ourselves in a world in which the recognisable image of Sherlock Holmes was one of an older gentleman in Victorian London, driving through London in a Hackney cab through foggy streets. We would also be in a world in which only theatre enthusiasts and watchers of the odd BBC drama would have heard of a young actor with an unusual name.
What a difference a night makes! After 90 minutes of BBC1 drama on a summer’s evening (never an ideal time for a new series to start), the UK had a new obsession and the BBC had an instant hit on its hands. It has been referenced in numerous interviews how that night changed the lives and careers of those involved – none more so than its lead actors Martin Freeman and Benedict Cumberbatch and Benedict in particular.
In the four years since it began Sherlock has gone on to success few could have imagined. After 7.5 million watched A Study in Pink in 2010, its UK audience has grown impressively, with the series 3 opener drawing 12.7 million viewers and the third series overall becoming the UK’s most watched drama series since 2001 and the most requested drama on BBC iPlayer to date. This would all be incredible on its own, but Sherlock has also achieved international success (being sold to 224 countries in the last year) and critical respect, with a raft of award nominations and wins from BAFTAs to Emmys. It has one of the strongest and most loyal group of fans of any show, who have taken the series, its cast and crew to their hearts (mine included). It’s almost unbelievable to think all it has achieved in so short a time, raising the profiles of not just Martin and Benedict, but others from Andrew Scott and Louise Brealey to the team at Hartswood Films.
If any television series deserved to reach such heady heights its this one. The writing is superb, with each script zipping along with pace, intelligence, humour, heartfelt emotion, fun and action. The direction is inventive and exciting to watch. There are fews shows where the choices made by a director seem to jump off the screen. It’s beautifully lit by the director of photography, not to mention the costume departments success in creating one of the most iconic outfits on television (why on earth Balstaff discontinued that coat is beyond me!). Then of course there is the acting. It’s not just the leads that make Sherlock what it is, it’s everyone. The core supporting cast are wonderful, from Rupert Graves’s Lestrade, the lovely Louise Brealey as Molly and Una Stubbs as Mrs Hudson, to Amanda Abbington’s Mary Morstan, Andrew Scott and Mark Gatiss, not to mention all the guest stars that have added to the quality of each episode.
All these components work together seamlessly to make Sherlock a programme of the upmost quality in every respect. If only all dramas could be this good. Then again, if they were, it would lessen the joy and excitement at finding a new gem.
I now just need to decide on my order of these nine super episodes. That will be tough and deserves a separate post of its own! So as I watch A Study In Pink tonight, four years on from the first time, this post is a thank you to all those who have worked so hard to bring Sherlock to our screens. Long may it continue to shine!