Radio review: Othello

Nowadays the title character of Othello is pretty much universally seen as being a black man (and given some of the specific racist language in the play, I tend to agree that's probably what Shakespeare had in mind,) but the word "Moor" was pretty loosely defined at the time, and as well as Africans could encompass anyone Middle-Eastern or Muslim. This is the angle Emma Harding takes for another of her very specific, modern day Shakespeare adaptations, which first aired on Radio 3 in 2020: Othello (Khalid Abdalla) is a Muslim who converted to Christianity, his military skill seeing him quickly rise to the position of General in the Venetian army. Not previously romantically inclined, he's just eloped with the young noblewoman Desdemona (Cassie Layton) when he's given an urgent command: Turkey has sent forces in to recapture Cyprus, and Othello must lead the counterattack.

Theatre review: Frozen

In what will with any luck be the start of me regularly going to the theatre with actual, human friends again, it's a twice-postponed trip with my resident Disney© queens Phill and Alex, and third time lucky takes us to the refurbished* Theatre Royal Drury Lane for Frozen. The wildly popular, very loose adaptation of The Snow Queen comes to the stage in a production directed by Michael Grandage and designed by Christopher Oram, but the look and feel of Jennifer Lee (book,) Kristen Anderson-Lopez and Robert Lopez' (music and lyrics) show never strays too far from the original movie. Understandably so - the film and its signature song are notoriously like catnip to little girls, so this probably isn't the show to get all experimental with†". Elsa (Samantha Barks) is heir to the throne of the Scandinavian-inspired kingdom of Arendelle, but since her parents' death she's been a recluse, even from her beloved younger sister Anna (Stephanie McKeon.)

Theatre review: Rockets and Blue Lights

Winsome Pinnock's Rockets and Blue Lights takes its title from a JMW Turner painting, but its subject revolves around a different one of the painter's seascapes, unveiled in the same year and possibly a kind of companion piece: Best-known as The Slave Ship, it shows the aftermath of a slave ship (possibly the Zong) jettisoning its human "cargo" in a storm. It was part of the backlash against slavery that led to abolition in British territories, and the painting and its ambiguities - is Turner's not showing the bodies of the victims letting the viewer off the hook, or forcing them to imagine horrors he can't satisfactorily put to canvas? - becomes a recurring symbol, and a starting-off point for trying to reframe the narrative: Instead of making abolition a cause for self-congratulation, looking at the legacy of slavery both at the time and down the generations.

Theatre review:Statements After an Arrest Under the Immorality Act

The JMK Award returns to its new home at the Orange Tree Theatre, a home which feels fitting as it has staged Athol Fugard plays before, and this year's winner Diane Page has chosen to direct Fugard's 1972 play Statements After an Arrest Under the Immorality Act, about the aspects of the Apartheid laws that banned interracial relationships. Errol (Shaq Taylor) is black or "Coloured," the headmaster of a school, with a religious background but an enquiring mind about evolutionary theories that leads him to seek out a book recommended by his university course, but unavailable in any library he'd be allowed to join. Frieda (Scarlett Brookes) is white or "European," six years older than him, single, and the librarian who allows him to study the texts he wants even though he's not allowed to actually borrow them. We meet them a year after they first met, in the darkened back room of the library, where they've been conducting their illegal affair.

Theatre review:Once Upon A Time in Nazi Occupied Tunisia

It's not often the main focus of war movies or other popular culture, so I'm probably not alone in finding where Africa fits into the Second World War something of a blind spot. If German officer Grandma (Adrian Edmondson) is to be believed, it was seen as a backwater during the War as well: He says the most promising Nazis are kept in Europe, and only the "animals" are sent to Africa where nobody's paying much attention to what they might get up to. Josh Azouz' Once Upon A Time in Nazi Occupied Tunisia takes place in 1942, when officers like Grandma and his henchman Little Fella* (Daniel Rainford) presided over a somewhat precarious occupation: Their defeat of the hated French gave them some degree of sympathy with the Arab locals, but while there wasn't much resistance to the persecution of Jews in Tunis, neither did they find the enthusiastic allies they hoped for - perhaps because, under the Nazis' rhetoric supporting an independent nation, many knew that once they were done with the Jews, the Muslims would likely be next.

Theatre review: Salomé

Oscar Wilde is known for extremes: The frothy comedies on one hand, the disgrace and despair of his later years on the other. Somewhere in between was his desire to add a more dramatic string to his bow, and like Racine a couple of centuries earlier he wanted to take Greek Tragedy as his starting point. His personal life having other plans, the only one of these tragedies he actually got to write was Salomé, which applies a biblical story to that format, ending up with a twisted and gory dance through the extremes of sexual obsession. And that's before you get to the added twists individual productions might have in mind: Ricky Dukes' for Lazarus Theatre isn't even the first I've seen to queer up Wilde even further, by gender-flipping the title character. King Herod (Jamie O'Neill) has, in a plot point reminiscent of another famous tragedy, had his own brother killed and married his widow, Herodias (Pauline Babula.) Apart from the obvious, the tension in their marriage is also caused by Herod's undisguised interest in her son Salomé (Fred Thomas.)

Theatre review: 2:22 A Ghost Story

SPOILER ALERT: I don't spoil any twists that actually happen in the play in this review; however I do mention a couple of red herrings that don't lead to anything, so you may want to consider that if you're planning on seeing the show and want it to fully misdirect you.

Tuesday's West End trip saw a TV show spin off to the stage; Thursday's doesn't actually do the same with a podcast (although that's bound to be on the cards next,) but it does market itself heavily on the back of one. I did in fact listen to The Battersea Poltergeist, which I found a suitably chilly accompaniment to a winter lunchtime walk around the park, but I hadn't realised quite how many others were doing the same - apparently at one point it was the most listened-to drama podcast worldwide, so it makes sense that playwright Danny Robins' new play would want to capitalise on the notoriety of a show he wrote and hosted. Especially when that play is called 2:22 A Ghost Story. New parents Jenny (Lily Allen) and Sam (Hadley Fraser) are renovating the large East London house they recently bought off an elderly widow. But for the most part Jenny has been there alone with their baby, as astronomer Sam has been working on Sark, an island noted for its clear skies with no light pollution.

Theatre review: The Windsors: Endgame

I'm not sure I like the increasing trend for popular TV sitcoms to get a West End outing and haven't been to many of them, but George Jeffrie & Bert Tyler-Moore 's The Windsors has been one of my favourite shows of recent years so I made an exception: The TV version is presumably not going to be returning following Jeffrie' s (non Covid-related) death just under a year ago, but he had managed to finish the first draft of The Windsors: Endgame with his writing partner. For those unfamiliar with the sitcom, it essentially plays the current members of the British Royal Family (minus the Queen and Prince Philip) as an overwrought soap opera, with Camilla Parker-Bowles as the overarching villain, plotting to get Charles the crown, and then grab power for herself. This stage finale sees what would happen when she finally got her way - funnily enough the broad strokes of the plot are similar to King Charles III, although this being a much sillier affair it doesn't actually kill off Elizabeth II, it just follows up on the real-life death of Prince Philip to have her abdicate in favour of Charles (Harry Enfield.)

Theatre review: Big Big Sky

The studio venue with the most disproportionate set design budget in London recreates a real place from Tom Wells' past, as Hampstead Downstairs plays host to Big Big Sky, and designer Bob Bailey takes us into a café where the playwright used to work. In the village of Kilnsea where Wells grew up, the café is at a particularly remote point, because it serves the hordes of birdwatchers who arrive every spring and summer, hoping to catch sight of some of the rare sea birds that flock to the coast. Angie (Jennifer Daley) only gets customers between April and October so she closes the café every winter, and will soon close it for good - the play essentially tracks her last year running the place, as a new bird observatory nearby will put her out of business. She's helped out by local teenager Lauren (Jessica Jolleys,) and most days Lauren's widowed father Dennis (Matt Sutton) pops in just after closing, hoping to get a free Cornish pasty from the leftovers, and maybe a chat with Angie.

Theatre review: Paradise

Kae Tempest's Paradise was originally due to run in the Olivier last summer, which makes it the latest rescheduled show to have me wondering how much rewriting or reimagining it had over lockdown - one of its themes is of people who've been isolated for some time, baulking at the thought of returning to the outside world. Then again this new version of Sophocles' Philoctetes is so full of themes and musings that it would no doubt strike some topical notes at any time. Certainly in light of the last few days' news, it finds an instant relevance in the setting for Ian Rickson's production - a dusty Mediterranean or Middle Eastern refugee camp, where the chorus of women (Claire-Louise Cordwell, ESKA, Amie Francis, Sutara Gayle, Jennifer Joseph, Sarah Lam, Penny Layden, Kayla Meikle and Naomi Wirthner) talk about wars that, after decades of fighting and death, only ever go round in circles when they look like they're about to be resolved.

Theatre review: John & Jen

A chamber musical by Andrew Lippa (music and lyrics) and Tom Greenwald (book and lyrics,) John & Jen was the composer's first musical, premiering in 1993. Originally set between 1952 and 1990, Guy Retallack's production in the Little at Southwark Playhouse is the debut of a rewritten new version: With the protagonists' personal lives sometimes being buffeted about by world affairs, the action has been moved forward to strike familiar notes to a new generation. So John (Lewis Cornay) is now born in 1985, and the action takes us all the way through 2020 Zoom calls to an ending slightly in the future*. Five or so years older than him, his sister Jen (Rachel Tucker) is old enough to know he's going to have a tough time, and swears to protect him from life, and particularly from their abusive father. In the first act we see their close relationship growing up, but as a teenage Jen has the chance to go to university and escape their family, she leaves John behind as well.

Theatre review: Twelfth Night (Shakespeare's Globe)

Without the new writing or more obscure revivals that sometimes take us into the autumn at Shakespeare's Globe, it's already time for my last outdoor visit of this summer season (there is one more show scheduled, but it's in the Swanamaker,) and it's the regular onstage appearance of the Artistic Director, as Michelle Terry takes on Viola in Twelfth Night. Shipwrecked on the coast of Illyria - here a scrapyard full of car parts, old neon signs, a jukebox and other clutter of 1950s Americana in Jean Chan's design - Viola makes a beeline for the local Duke, Orsino (Bryan Dick.) Disguised as a boy called Cesario, she falls for him immediately, but he's smitten with the unattainable, grieving Countess Olivia (Shona Babayemi.) When "Cesario" is sent as an envoy of Orsino's love to Olivia, the circle of unrequited love is completed when she's instantly attracted to "him."

Stage-to-screen review: Masks and Faces, or,Before and Behind the Curtain

The Finborough has held off on reopening for live performances until next month due to the added challenges faced by a venue of its size; but not having any intention of being forgotten until then, it's continuing with the online offerings. This time it's the unlikely pairing of Restoration Comedy with Zoom calls with, as part of the Kensington and Chelsea Festival, the rediscovery of Charles Reade and Tom Taylor's Masks and Faces, or, Before and Behind the Curtain. It's fair to say I approached this one cautiously: I've enjoyed Restoration Comedy before but usually it takes quite a lot of work from a production for me to like it. Most of the time we see people in the usual ridiculous outfits and wigs blandly exchanging lines that were very funny at the time but... not so much now. So in a format that just relies on the lines and the actors' faces, with no chance of physical interaction with each other, let alone the audience, I didn't expect much. So what a pleasant surprise for Matthew Iliffe's production to add Masks and Faces to the list of "where has this been hiding all these years?" Finborough rediscoveries.

Re-review: Constellations(Omari Douglas/Russell Tovey cast)

For anyone who needs catching up: Nick Payne's Constellations, one of my favourite plays of the last decade, is back in the West End this summer in Michael Longhurst's original production, with a casting twist that sees four new pairs of actors take on the two-hander in repertory. Tempted as I was to book all four I decided to limit myself to two versions, and even if I hadn't alluded to it in my review of the Capaldi/Zwanamaker version, regular readers of this blog will both have been able to easily guess at the second. Even if it hadn't been for the presence of OG Big Favourite Round These Parts Russell Tovey, part of the idea behind this new casting gimmick was for as many theatregoers as possible to see themselves in Roland and Marianne: So they became a young Black couple, then a much older couple than is usually cast, and now the third cast is here to make them an interracial gay couple*.

Theatre review: The Two Character Play

If it's not common knowledge quite how long and prolific Tennessee Williams' writing career actually was, it's not just a case of not all his Southern melodramas being up there with A Streetcar Named Desire and the other hits; it's also that later in his career he experimented with other styles wildly different from what he's best-known for. As Hampstead Theatre resumes its aborted 2020 anniversary season of shows that premiered there over its long history of new writing, we get to Williams channeling Beckett (worrying,) Ionesco and Pirandello (better) in 1967's The Two Character Play. It does share with earlier work like The Glass Menagerie a personal inspiration: Williams' relationship with his troubled sister Rose, whose mental health problems and the brutal way they were treated give those plays a tragic undertone. But here not only does it seem like we meet a Rose avatar after the lobotomy, that could be the state of mind the whole play takes place in.

Theatre review: My Night With Reg

If established theatres were hit hard by lockdown, how bad must it have been for new venues that hadn't had a chance to build up an audience base or cash reserves? The much-trumpeted, shiny new Boulevard Theatre seems, according to its website, to have permanently shuttered after barely getting a chance to open, but across the river at Battersea Power Station Paul Taylor-Mills' Turbine Theatre is back up and running, reopening with a fairly safe bet: Despite its underlying bleakness, Kevin Elyot's My Night With Reg has been consistently popular with audiences: Both its 1990s debut at the Royal Court and the 2010s revival at the Donmar Warehouse got West End transfers. The only question is, was seven years (it feels a lot less) since last seeing the play too soon for me to revisit it?

Theatre review: Oleanna

David Mamet's most recent foray into gender politics provided the definitive unflushable theatrical turd of 2019, so the return of his much-more lauded 1992 play about the battle of the sexes inevitably raises the question of how well its arguments will have aged. After all, Mamet isn't exactly best-known for his great roles for women, and although Oleanna is largely thought of as one of his better plays it was met with as much controversy as it was praise, for reasons that become apparent in the final moments. I haven't seen the play before, so the transfer of Lucy Bailey's production from Bath to the Arts Theatre is an opportunity to fix that: Jonathan Slinger is John, a University lecturer in... I think maybe Philosophy, although his love of waffling self-importantly means it's often anyone's guess what he's actually talking about. It's no wonder his student Carol (Rosie Sheehy) seems so confused. Set entirely in John's office, Oleanna opens with Carol arriving for an unscheduled meeting.

Theatre review: Operation Mincemeat

PREVIEW DISCLAIMER: Although Operation Mincemeat premiered a couple of years ago, it has been so extensively rewritten during lockdown that the Southwark Playhouse run has now been reclassified as a Work In Progress.

In fact it sounds as if we should consider this a completely different show from the one that the company SpitLip originally produced at the New Diorama: An usher informed me that the show that had been due to transfer in 2020 ran 75 minutes without interval; which means as it currently stands the first act runs longer than the entire show used to. Written and composed by David Cumming, Felix Hagan, Natasha Hodgson and Zoe Roberts, Operation Mincemeat is a farcical musical based on a real World War II mission with a particularly macabre remit: The Allies planned to invade Sicily, but needed Germany to think the target was Sardinia, so they'd redeploy their forces. The decoy was to be a dead airman, washed up on the coast of Spain with top secret documents handcuffed to him in a briefcase.

Radio review: Rodgers and Hart and Hammerstein

A rainy Sunday afternoon after a fairly quiet week of live theatre is as good a time as any to dip back into the Drama on 3 archive of radio plays on BBC Sounds, and an original play written by Sarah Wooley and directed by Abigail le Fleming. Rodgers and Hart and Hammerstein is, as the title gives away, a story all about theatre and particularly the formative years of Broadway musicals, but you'd be right if you suspected that one of the main draws for me was wondering if we'd get to hear Oscar Hammerstein II explain just what attracted him so much to stories whose lead characters have killed a man, honestly it's no big deal why does everyone keep going on about it, who hasn't killed a few people, if anything it's a positive and you should definitely marry off your daughter to him. Sadly this particular bit of psychological insight isn't one we get in what is for the most part a highly sympathetic look at three men who between them largely defined what the Broadway musical was.

Theatre review: Anna X

"What if Sergey Lazarev's performance of 'You Are The Only One' at the 2016 Eurovision Song Contest, but roughly 30 times longer?"

Concluding Sonia Friedman's Re:Emerge season at the Pinter is the superficially frantic but essentially quite ponderous Anna X, Joseph Charlton's play about apps, influencers and the business of turning the appearance of success into a genuine commodity. Both characters in the two-hander trade on appearances, Ariel (Nabhaan Rizwan) by developing a dating app whose USP isn't so much the people on it as those off it: There's a waiting list to have your profile approved, and it's a lot longer than the actual list of users because you can't get on until you're vetted for looks and influence. Exclusivity is what'll make Ariel's fortune, and while the value of his company is still speculative he spends money like it's already in the bank. It's no surprise if he soon attracts Anna (Emma Corrin) who, and I don't think it's a spoiler as it's heavily hinted from the opening lines and confirmed soon after, is much more of a traditional con artist.