Category Archives: Theatre

And now for a song about the clitoris! The joy of sex education

Posted on by

With gags, tunes and dance, The Family Sex Show celebrates sexual pleasure, equality and independence. What is there to be embarrassed about, asks theatre-maker Josie Dale-Jones

‘I remember the tampon dipped in Ribena,” says Josie Dale-Jones, her fingertips pressed together as if holding on to the string. “The way it swelled up immediately.” In school, Dale-Jones recalls her sex and relationships education as being “near to non-existent”. There was the purple-soaked tampon, the classic condom rolled on to a banana and the “general fear-mongering” of pictures of STIs pinned up on a board. “But never a mention of why you might want to have sex,” she says, rolling her eyes. “Never anything about empathy or pleasure, or how any of it might impact other people.”

With a team of eight performers, Dale-Jones is making a show about sex and relationships for ages five and above. Accompanied by workshops and panel talks, The Family Sex Show tackles topics including boundaries, gender, relationships and masturbation. Through a series of artistic responses and conversations, the group want to help make it easier for anyone, of any age, to talk about these sticky, tricky topics. “I don’t know another subject that we only talk about once and then we tick it off as if it’s done,” Dale-Jones says. “The learning is never over.”

Continue reading...

‘Anne Boleyn’s tiara was from Claire’s Accessories’ – how we made Six: the musical

Posted on by

What if Henry VIII’s wives were a pop group? The makers of the smash hit recall how Catherine of Aragon was very much Beyoncé, Anne Boleyn had Lily Allen vibes – while Jane Seymour was a sort of Adele

In 2017, Cambridge University’s musical theatre society invited applications for an original show that it could take to the Edinburgh fringe. Toby Marlow and I were third years at the university, and had talked about doing a musical together for ages, so he applied, saying he would write a show with pop music and lots of women at its centre. Representation of women on stage was in the cultural conversation – later that year #MeToo happened.

Continue reading...

Trouble in the stalls: when audience drama upstages the show

Posted on by

What’s going on in our theatres? A recent spate of rowdy behaviour – notably at jukebox musicals – raises the question: have audiences simply forgotten how to behave?

A drunk woman in the seat next to me is softly caressing my hair as though stroking the ears of a particularly mild-mannered spaniel. It’s a strange sensation, but I can’t really complain because I’m at the theatre. You’re not meant to talk. Just as I rouse myself to say something, she stumbles to her feet and lurches her way to the exit. “Finally!” mutters the woman in front, who made the mistake of asking her to be quiet a few minutes earlier (when my neighbour was dancing in her seat and yelling “That’s right!” after lines she particularly enjoyed), resulting in a whispered row. Order is restored, and we settle down once more to watch Frozen, a moving family show about sisterhood and redemption.

But your average West End audience is not always one big happy family. Especially not right now, when complaints about drunken, chaotic and argumentative audience behaviour have been reaching fever pitch. “It feels like every bloody day there’s a new debate coming up on Twitter about theatre etiquette,” says one theatre usher. “And I hate to stereotype, but the worst incidents seem to happen at jukebox musicals.”

Continue reading...

Lena Zavaroni: fame, anorexia and the tragedy of a 1970s child star

Posted on by

Zavaroni was in the charts at 11 and died after years of illness aged 35. Her father talks about their family life as a new stage show about her is about to open

There are a few recordings of television interviews with Lena Zavaroni around online. One with Russell Harty where he comments that her eating disorder must save on restaurant bills and another when Terry Wogan tells her to eat up so she can get back to “your chunky self”.

The little girl with the big voice was 10 when she appeared on Opportunity Knocks – television’s predecessor to Britain’s Got Talent and Pop Idol – singing Ma! He’s Making Eyes at Me, 11 when it was a hit and 13 when she was diagnosed with anorexia, a barely known illness then called the “slimmer’s disease”. Before she died in 1999 the girl from Rothesay on the Scottish island of Bute had hosted her own TV shows, performed at the White House and shared a stage with Barbra Streisand, Frank Sinatra and Lucille Ball. She remains the youngest artist ever to have a record in the Top 10 UK albums chart. Lena was huge.

Continue reading...

They have agents, do auditions and can still steal a scene after filling their nappies – meet the baby actors

Posted on by

Rafael, star of The Ferryman, has been paying taxes since the age of one, while Adiya received glowing reviews for her portrayal of Lyra in The Book of Dust. Say coochy-coo to the babies treading the boards

When their son was seven months old, strangers used to ask Kat West and Jaime Vallés if they fed him sedatives. “No, I don’t drug my baby!” West recalls with mock incredulity. “That was the weirdest question.” But it wasn’t: as Vallés reminds West, someone once asked if their son was animatronic.

West and Vallés were subject to this line of questioning because, for about six months in 2019, their baby boy Rafael played Bobby Carney in The Ferryman. Bobby, as you might have gathered, is also a baby – the youngest character in the Olivier-winning Troubles drama by Jez Butterworth. For the show’s production team, and ultimately its audience, a real baby was miles better than a doll. “The live baby added to the verisimilitude of the production,” said Tim Hoare, associate director at the time. During its Broadway run, four different babies became Bobby, with Rafael playing him four times a week.

Continue reading...

‘All that Hollywood glamour doesn’t feel like me at all’: Joanna Scanlan on self-doubt, sexism and being the red-hot favourite at the Baftas

Posted on by

After years of great roles in comedies such as The Thick of It and Moving On, the actor is now being feted for her devastating dramatic performance in After Love. She talks about ‘serious’ acting, a breakdown in her 20s and learning to fight for herself

When Joanna Scanlan arrives, she is hidden beneath a yellow raincoat, glasses steamed up, blown through the door as if the gathering storm outside has washed her ashore. “I am so sorry for dragging you out here,” she says, laughing slightly hysterically, as she sheds the layers. Scanlan is filming in rural Wales – she, her husband and their dog are renting a cottage nearby – and this cafe, also in the middle of nowhere, was her suggestion. Even the women who work in the cafe were surprised to be called in. We are the only customers, but there are pots of tea and welsh cakes, and Scanlan is great company, so all is well.

She grew up in Wales, so this job – filming The Light in the Hall, a psychological thriller, for which she has had to learn some Welsh – is something of a homecoming. Being here is also a detachment from London, and everything that goes with her job outside of being on set or stage – the bit, you sense, she could take or leave. And so she’s a bit distanced from the buzz around her Bafta nomination for best actress for her role in the extraordinary film After Love. “When you sit here in Tywi Valley, just learning your lines for tomorrow, it’s hard to take that in,” she says. “I feel very long in the tooth to be coming to this sort of prominence.”

Continue reading...

‘The sober fairy gave me one more chance!’ Glee’s Jane Lynch on alcoholism, ambition and the return of Mrs Maisel

Posted on by

The 61-year-old scene-stealer and gay icon is back! She talks about her triumph over sexism, shame and self-doubt

Not so long ago, Jane Lynch was walking her dog, happy as could be, and she paused and said out loud to herself: “God, I love being Jane Lynch.” She laughs at herself. “As if ‘she’ were something outside of me.” But things do seem pretty good: she recently finished her run of cabaret dates with her friend, the actor Kate Flannery. There’s a reboot of the underrated sitcom Party Down coming, and a fourth series of the Amazon show The Marvelous Mrs Maisel is about to start. Lynch won an Emmy for her role as Sophie Lennon, a bawdy superstar comic housewife from Queens (in reality, an upper-class Manhattanite, slumming it for financial gain and self-expression). This year, Lynch takes to Broadway, to be in Funny Girl, the fulfilment, at the age of 61, of a childhood dream. Last year, she got married for the second time. “I live in this really cute house in a little beach town,” she says. “I’ve got a beautiful dog, a fantastic wife.” She seems to marvel at it – she doesn’t sound remotely boastful, just grateful.

Things haven’t always been so good. Lynch has been through divorce and alcoholism – giving up alcohol for the second time only fairly recently, after slipping back into addiction. As a teenager, she carried deep shame about her sexuality. Well into her 30s, she felt lonely and alienated, and it wasn’t until her 40s that her career took off. Lynch might be the perfect embodiment of the idea that It Will Get Better.

Continue reading...

Maria Friedman: ‘Sondheim was a kind man, but God, he could be very direct’

Posted on by

The musical theatre star on her new tribute show to Stephen Sondheim, her unconventional upbringing, and her happiest song…

Maria Friedman, 61, is a singer, actor and director who has a natural musicality (her parents were classical musicians) and knows how to get inside a song and make it her own – and ours – with emotional precision. An eight-time Olivier nominee (she has won the prize three times), she is known for her interpretations of Stephen Sondheim’s songbook, and is about to celebrate him and the composers Marvin Hamlisch and Michel Legrand in Legacy, a show at the Menier Chocolate Factory in London. Friedman is married to the actor Adrian Der Gregorian and has two sons.

Tell me about the first time you met Stephen Sondheim…
I was in my early 20s and in a gala as a replacement for a singer who had flu. I had two days to learn Broadway Baby [from Sondheim’s Follies]. The lyrics fitted me like a glove: it was about a girl with aspirations who wanted to land a great job and not work in cafes or live in a bedsit with no money. Everyone considered Broadway Baby Elaine Stritch’s song [she was also on the bill that night]. The music started and a spotlight went on to the middle of the stage. I took a deep breath and was about to start my song when, from the top of the gods, someone shouted: “Get off, we want Elaine!” I had tears in my eyes but dug really deep into those lyrics. It’s what I have done ever since. Sondheim’s work is extraordinary: when you trust it and live in it, it keeps you safe. The place went berserk. Sondheim was in the audience; at the party afterwards he asked: “Who was that girl?”

Legacy is at the Menier Chocolate Factory, London, 3-20 March

Continue reading...

Unesco warns of crisis in creative sector with 10m jobs lost due to pandemic

Posted on by

Artists finding it harder than ever to make a living despite being part of one of the fastest growing industries

Ten million jobs in creative industries worldwide were lost in 2020 as a result of the Covid pandemic, and the increasing digitisation of cultural output means it is harder than ever for artists to make a living, a Unesco report has said.

Covid has led to “an unprecedented crisis in the cultural sector”, said Audrey Azoulay, the director-general of Unesco, the UN’s cultural body, in a foreword to the report. “All over the world, museums, cinemas, theatres and concert halls – places of creation and sharing – have closed their doors …

Continue reading...

‘There’s a truth to it’: RSC casts disabled actor as Richard III

Posted on by

Arthur Hughes says decision for 2022 production will allow lived experience to be ‘shown properly’

He is one of Shakespeare’s most reviled characters, distinguished by his “deformed, unfinish’d” figure. Now, for the first time, the Royal Shakespeare Company has cast a disabled actor in the title role of Richard III in a new production opening later this year.

For Arthur Hughes, it is a “dream come true” although his first reaction to being cast as the 15th-century king of England was disbelief. “It’s a part I’ve always wanted to play, it’s a very complex role, and it’s the biggest thing I’ve done,” said Hughes, 30.

Continue reading...

James McAvoy: ‘Play Hamlet? Nah – he’s always seemed a bit of a moaner to me’

Posted on by

He came blazing out of Glasgow like a rocket, scoring hits and acclaim. As he returns to the stage in a hard-rapping, homoerotic Cyrano de Bergerac, the star talks about partygate, snout size – and tackling Lear when he hits 100

James McAvoy is talking about Cyrano de Bergerac, the long-nosed, lovestruck poet he first played on stage in 2019, and is now about to reprise. But every now and again he interrupts himself with off-piste observations that have nothing to do with 17th-century libertines and doomed love triangles. It slowly becomes clear that he is inside his car, which is parked at the stage door of the Harold Pinter theatre in London, ready to jump into rehearsals after our chat.

“What’s this guy doing?” he says, in his meta commentary of people-watching. “Oh my God. There’s a labourer walking down the road and he doesn’t have any trousers on. He’s just in long johns and he has got the biggest penis I think I’ve ever seen.” Wait, how can he tell? “Because he’s wearing long johns! And he’s packing a nine-inch –”

Continue reading...

‘The godfather of alternative comedy’: Eddie Izzard, Paul Merton and more on Spike Milligan

Posted on by

He was the shellshocked genius who channelled his anarchic brilliance into The Goon Show. Ian Hislop and Nick Newman explain why they’ve written a play about Spike Milligan – while comedians remember a legend

The tortured lives of comedians form a biographical genre all of their own; there’s always an audience for the tears of a clown. No wonder Nick Newman and Ian Hislop chose Spike Milligan as the subject of their new play. Milligan, who died 20 years ago next month, is the troubled comedy genius to end them all. Shellshocked in the second world war, repeatedly admitted to hospital for mental ill health, subjected to electroconvulsive therapy, and increasingly embittered as his career failed to deliver on early promise – the Spike Milligan sad-clown drama writes itself.

“But we didn’t want to do that,” says Newman. “We wanted to ask: how did he come to create these brilliant things?” Their play – a cheerful act of ancestor-worship by by Private Eye’s editor and its eminent cartoonist – is about the first three years (1951-54) of The Goon Show, as its chief writer Milligan battles the BBC to get his vision on air. “It’s: will he survive the fallout from the war?,” says Newman, “and will he crack radio?” And, “spoiler alert!,” chimes in Hislop. “Milligan wins! We just wanted to have a play where he wins.”

Continue reading...

From Billy Elliot to Spider-Man: how Tom Holland won the world’s heart

Posted on by

The British actor’s ascent to Hollywood stardom via gymnastics and dance was not always a given

Tom Holland was obsessed with Spider-Man as a boy. Growing up in Kingston upon Thames, he came to own more than 30 Spider-Man costumes and cherished his Spider-Man bedsheets.

And, unlike for most, his childhood obsession paid dividends later in life: he would eventually get to play his hero, landing the role that has made him the most famous young British actor in the world.

Continue reading...

‘I felt a sickening pain’: how the ‘first true Hitchcock movie’ almost killed its star

Posted on by

Alfred Hitchcock described his third film, The Lodger, as the true beginning of his directorial career but it would prove a near fatal screen debut for its leading light June Tripp

December 1925 was a busy month for June. A fixture of the West End stage since childhood, her surname, Tripp, had been excised by the impresario Charles B Cochran because it “sounds a bit comical for a dancer”. She spent the days rehearsing for a musical, Kid Boots, the evenings starring in another, Mercenary Mary, and then would “rush to the studio at midnight”, to act in a horse-racing short film opposite the fading American film star Carlyle Blackwell. The studio was at Poole Street, Islington, in north London, built five years earlier by Paramount but now rented out, most often to a British company, Gainsborough, run by Michael Balcon.

The short, Riding for a King, starred the celebrated jockey Steve Donoghue and had its premiere in January 1926, with June in attendance. Two days later, she collapsed during a performance of Mercenary Mary and shortly after underwent an appendectomy. Daily Express readers subsequently learned that she would “not be able to dance for six months”. By February, she was recuperating on the Riviera. It was there that she received a telegram from her old friend Ivor Novello, who offered film work. “No dancing required. You will act beautifully and we shall have fun.”

Continue reading...

Mystery of the second world war ‘trophy’ and the Royal Court founder

Posted on by

When George Devine’s family discovered a Japanese battle flag among his belongings, it led to a three-year quest for answers

“I am not a man for soldiering, although I do tolerably well at it in a very minor role. But there is nothing about it that pleases me, and much that offends … It is a corrupter of morals in the widest sense and a gross waste of man’s time and effort.”

These words were written by George Devine, the actor and founding artistic director of the Royal Court theatre, in a letter to his wife from Burma, where he served in the second world war. The views he expressed reflected what his family – and many in the arts world – regarded as his essential humanity and compassion.

Continue reading...

‘You immediately tell your friends to cancel their tickets’ – what’s it like to star in a flop?

Posted on by

How does it feel to go back on stage night after night in a play that’s been mauled by critics and deserted by audiences? Richard Eyre and other directors and actors relive their trauma

Movies, TV shows and books can all get terrible reviews and small audiences, but the difference when this happens in theatre is that the actors have to go back on stage and remake the work just after critics have declared it disastrous. “It is so crushing for actors to have to go on night after night bearing the weight of failure,” says Richard Eyre, artistic director of the Royal National Theatre from 1987 to 1997. “And that’s one of the reasons actors are such stoics. For directors and writers, there’s a sense of disembowelment you carry round if you’ve had a major failure – but they can just fuck off to Tenerife, and some do. Actors are obliged to soak it up.”

Actor Michael Simkins, who wrote the theatrical memoir What’s My Motivation?, says: “If I had to articulate what it feels like to be in the middle of a play you feel is dying on its arse, it’s a cold sense of dread, like battery acid in your stomach. After terrible reviews, a sort of numbness sets in that is still there for the second night. You haven’t yet fully processed it. The first thing you do is tell all your friends who have booked tickets to cancel.”

Continue reading...

A Fight Against … review – Chilean playwright’s sparky sketches

Posted on by

Royal Court Theatre Upstairs, London
Pablo Manzi’s political scenes, which span several decades and are powerfully performed, could perhaps lead to a future epic

Thirty years ago, the Royal Court introduced a Chilean playwright, Ariel Dorfman, with Death and the Maiden, a much-revived, twistily structured thriller about South American human rights abuses.

While theatre can have a one-hit-and-run attitude to distant politics, the Court has commendably kept an eye on Santiago. Its international programme mentors new writers in an initiative spawning several Court stagings, including Guillermo Calderón’s B in 2017 and now, in sparky English by the same translator, William Gregory, Una Lucha Contra … by Pablo Manzi.

A Fight Against … (Una Lucha Contra … ) is at the Royal Court theatre, London, until 22 January

Continue reading...

‘There’s always been an affinity between Christmas and ghosts’: Mark Gatiss on the joy of festive frights

Posted on by

The writer and actor puts the ghoul into yule with screen and stage roles reprising haunting classics from Charles Dickens and MR James

Close the curtains. Light the fire. Then prepare to be terrified; it’s Christmas. For although the word “cosy” may be closely tied to festivities at this time of year, so it seems is the word “ghost”.

In northern Europe people understandably cope with the shorter days and darker evenings by drawing in around a roaring hearth, metaphorical or otherwise. Light and warmth: it makes sense. But what kind of stories are told while friends and families gather together? The answer, of course, is the spookier, the better.

Continue reading...

‘We are in limbo’: banned Belarus theatre troupe forced into exile

Posted on by

Members of Belarus Free Theatre say authorities ‘are more scared of artists than of political statements’

For 16 years, the Belarus Free Theatre has advocated for freedom of expression, equality and democracy through underground performances from ad hoc locations to audiences hungry for an alternative voice to the country’s repressive dictator, Alexander Lukashenko.

Now the banned company has taken the momentous decision to relocate outside Belarus, saying the risk of reprisals against its members is too great for it to continue its cultural resistance under the Lukashenko regime.

Continue reading...

On my radar: Adjoa Andoh’s cultural highlights

Posted on by

The actor on her hopes for Brixton’s new theatre, an offbeat western and the sophistication of African art

Adjoa Andoh was born in Bristol in 1963 and grew up in Wickwar, Gloucestershire. A veteran stage actor, she starred in His Dark Materials at the National Theatre and in the title role of an all-women of colour production of Richard II at the Globe in 2019. On TV, Andoh plays Lady Danbury in Bridgerton, which returns next year, and she will appear in season two of The Witcher on Netflix from 17 December. She lives in south London with her husband, the novelist Howard Cunnell, and their three children.

Continue reading...