Theatre review: Hamnet

After lockdown, the RSC decided to keep the Swan theatre closed for refurbishment, so this is my first trip back there for over three years. As it turns out, "refurbishment" here means more standing room, fewer and less comfortable seats, and somehow the sightlines seem to have got worse as well. Paying for all this probably needed a decent-sized hit, so Erica Whyman directs an adaptation of a recent bestselling novel - and one that keeps the action largely locally in Stratford-upon-Avon, and with its most famous son. Lolita Chakrabarti adapts Maggie O'Farrell's Hamnet, focusing on the women around William Shakespeare and especially his wife Anne Hathaway - here known as Agnes, with a silent G. I haven't read the book but the title, and the trigger warnings about themes of death and grief, gave me a good idea what part of their lives the story would focus on.

Theatre review: Life of Pi

Another show I've had rescheduled a couple of times over the last 18 months, the stage adaptation of Life of Pi that originated in Sheffield finally gets its West End opening. Yann Martel's novel was a huge bestseller twenty years ago and has already had a CGI-heavy film adaptation, and its fantastical story of animals on the high seas lends itself to stage spectacle - if they could figure out how. Lolita Chakrabarti writes the adaptation and Max Webster directs, but it's puppet designers Nick Barnes and Finn Caldwell who ultimately make it possible. Piscine Patel, known as Pi (alternate Nuwan Hugh Perera) is an Indian teenager whose father (Nicholas Khan) runs a zoo. When 1970s politics turns violent and the family get stuck in the middle, they accept an offer from a Canadian zoo to relocate there along with all their animals. But along the way the cargo ship they're on sinks, and Pi is the only survivor.

Stage-to-screen review: Hymn

Another play that had hoped to be part of the first wave of theatres reopening has instead had to be reimagined for live streaming at home: Lolita Chakrabarti's new play sees her once again, nine years after the international success of Red Velvet, team up with her husband Adrian Lester; in Hymn he plays another charismatic character, although perhaps not this time with quite the same depth to back it up. We meet Lester's Gil giving the eulogy at his father's funeral, a family man who built up a small business empire of dry cleaners and stationers. Whether the father Gil describes was quite the open book he thought is put into question immediately after the service though, with the revelation that Benny (Danny Sapani,) only six days younger than Gil, may be his half-brother: It was only when she saw the death notice in the paper that Benny's mother admitted the identity of the married man who got her pregnant then abandoned her.

Theatre review: Fanny and Alexander

The Old Vic's previous artistic regime was, famously, not really that interested in Fanny, but on Matthew Warchus' watch she's been put centre stage alongside her brother. Ivo van Hove's tedious double-bill had me uninterested in seeing another Ingmar Bergman adaptation, but casting Dame Penelope Wilton* was enough to make me change my mind about Stephen Beresford's Fanny and Alexander. It's easy to see why this one suggested itself for the stage, following as it does a theatrical family through the eyes of its youngest members, Alexander (Guillermo Bedward, Kit Connor, Jack Falk or Misha Handley) and his younger sister Fanny (Zaris Angel Hator, Amy Jayne, Molly Shenker or Katie Simons.) Wilton plays their grandmother Helena, matriarch of the Ekdahl family who run a theatre and restaurant in early 20th-century Uppsala, Sweden.

Theatre review: Romeo and Juliet (NYT / Ambassadors)

Alongside the Tory Boyz revival, the National Youth Theatre's West End rep season also features two adaptations of Shakespeare tragedies. First up Romeo and Juliet, for which director Paul Roseby uses the abbreviated version Lolita Chakrabarti created for the TV show When Romeo Met Juliet a few years ago. This resets the action from Verona to 1980s Camden Town, and specifically to a market, where the warring families become rival clothes stall holders. To a background of '80s hits performed by the cast, Romeo's (Niall McNamee) professed love for Rosaline goes out of the window when he spots Juliet (Aruhan Galieva.) But he's a Montague, she's a Capulet, and ancient grudge means the match will never be allowed. Being teenagers, elopement followed by double suicide seems to them a perfectly reasonable way out of this predicament.

Theatre review: Red Velvet

One of the biggest changes to come out of Artistic Director Musical Chairs is at the Tricycle, where Indhu Rubasingham takes over after nearly three decades of Nicolas Kent at the helm. Interestingly, considering Rubasingham was involved in the theatre's recent portmanteau political shows, she has said she's going to move away from the venue's focus on political theatre, as she doesn't want to compete with her predecessor's legacy. Instead she's looking to focus on a multicultural programme, influenced by the need to co-produce shows with other companies following the funding cuts that led to Kent's resignation. First up, Rubasingham herself directs the premiere production of Lolita Chakrabarti's Red Velvet, a project 14 years in the making, about the 19th century American Ira Aldridge, the first black actor to play the role of Othello in a London theatre.