Rachael Stirling recalls her mother’s last months – and remembers her enormous sense of fun, whether pulling pranks on stage or dancing until dawn on her 80th birthday
When Ma found her cancer was malignant, all the theatres went dark.
“Normally, when one gets bad news like this, one becomes the focus of attention, but in a pandemic, no one gives a fuck!”
Continue reading...The giant puppet representing a nine-year-old Syrian girl has reached the UK, making her first stop in Folkestone, Kent, after walking thousands of miles across Europe.
Choirs sang and children greeted Little Amal on the beach on Tuesday. She had made the same cross-Channel journey taken so far this year by more than 17,000 people seeking refuge from conflict, hunger and persecution.
On the last leg of her journey, Little Amal will visit Canterbury, London, Oxford, Coventry, Birmingham, Sheffield and Barnsley before the extraordinary and complex 14-week travelling street theatre production ends in Manchester on 3 November
The comic has come blazing out of lockdown fearless and on full throttle, buying a motorbike for her 50th birthday and turning the menopause – along with an incident in a park – into comedy gold
‘I must tell you how old I’m going to be when I die,” says Bridget Christie, whipping out her phone to show me a small cartoon gravestone bearing the date of her demise. Fittingly, we’re sitting in a churchyard near her home in London, not far from some actual gravestones. According to the app, Christie, who recently turned 50, has 34 years left. As one of the many people who lost loved ones to Covid-19, death has been on her mind during the pandemic, and her thoughts on ageing have been exacerbated by the arrival of the menopause. In lockdown, preoccupied by the passage of time, she decided to look at the moon every night: “I thought about how many moons I’ve got left to see. I was like, ‘We’re not here for very long – what are you going to leave behind?’”
Her thoughts coalesced into her BBC Radio 4 series Mortal, which tackled birth, life, death and the afterlife. Working with BBC Radio Theatre, where she’d previously recorded standup, she decided to try something different. Whispered monologues, surreal characters (Zeus, the Grim Reaper and dead Bridget among them) and real telephone conversations are stitched together into something quite intimate. Although she got their permission, she didn’t tell her dad, sister Eileen and friend Ashley exactly when she’d be recording their phone calls, lending a naturalness to the chats.
Continue reading...From being pelted with stones in Greece to receiving a papal welcome in Rome, the giant girl’s migrant trek from Syria to Manchester provoked powerful responses
In Greece, far-right protesters threw things at her as she walked through the streets, local councillors voted to ban her from visiting a village of Orthodox monasteries, and protests in Athens meant her route had to be diverted. In France, the mayor of Calais raised objections to her presence.
At times, the 8,000km journey across Europe of a 3.5m-tall puppet child refugee highlighted the hostility experienced by refugees who have been travelling along the same route from the Syrian border to the UK for years. Elsewhere, this ambitious theatrical project has triggered the scenes of welcome its artistic directors hoped to inspire when they embarked on this walk in July.
Continue reading...Man, 37, said to be killed by falling decor in set change during Rimsky-Korsakov opera
A performer at Moscow’s renowned Bolshoi theatre was killed on Saturday in an accident on stage during an opera, the theatre said.
The Bolshoi, one of Russia’s most prestigious theatres, said the incident occurred during a set change in Sadko, an opera by Russian composer Nikolai Rimsky-Korsakov.
Continue reading...I was quite a shy boy. Growing up in Middlesbrough, I felt a bit of an outsider. My three elder brothers are funny and boisterous and I was in awe of them. I felt like an appendage. It’s probably the curse of being a younger kid. I’ve seen some become the loudest because they fight for their place, and others retreat to the fringes. I was in the latter group.
If you’re the quietest at home, it’s tough to find a voice. I’ve always been quite a good mate to have because of that. If I ever did make a connection with anyone, it was very precious to me. My friendships are everything.
Continue reading...The comedian and her dad recreate a childhood photo and talk about early days in India, agoraphobia and swapping banking for comedy
Born in New Delhi in 1969, Sindhu Vee spent her childhood in India and the Philippines, before throwing herself into academia, getting degrees from Oxford, Montreal and Chicago universities. In her early 40s, she traded the world of investment banking for standup comedy. Her career quickly ascended, with appearances on QI, Have I Got News for You, Radio 4 and Netflix’s forthcoming adaptation of Matilda. She lives in London with her husband and three children; she is currently touring her new show Alphabet.
Continue reading...The Australian composer has returned to performing after a 10-year break. He writes about fame, failure and his surprise comeback
In 2003, I booked a tiny venue for Melbourne fringe festival, to perform a show I had tortuously titled Navel: Cerebral Melodies With Umbilical Chords. It was a sort of dark, ridiculous cabaret, and a desperate attempt to shake off the pain of all the rejections I had been getting (agents/record companies/the dude who approves small loans at the bank), by showcasing my various “talents”, which arguably included unusually clear diction, considerable manual dexterity, and a love of cheap double entendre. (Which is to say there were some outstanding jokes about fingering.)
Navel was a gamechanger for me, because I knew I had an unusual toolkit, and although I knew I had a tendency to play the clown, I didn’t by any stretch think of myself as a comedian. But that night, everything changed: the 30-odd weirdos perched on bar stools and chaises longues laughed. A lot.
Continue reading...In her new memoir, New York City Ballet’s first Asian-American soloist speaks out about racism and sexual bullying in ballet. Now she wants to overhaul the industry from within
When Georgina Pazcoguin was 19 years old, she went to see a doctor about her thighs. A dancer at the New York City Ballet, Pazcoguin had previously had what was known among dancers as “the fat talk” with the company’s then leader, Peter Martins. During their meeting Martins had told her she didn’t “fit in”, silently indicating the area between her backside and her knees. And so, following a recommendation from a friend, she visited the office of one Dr Wilcox, who told her she should consume no more than 720 calories a day – the recommended number for the average woman is closer to 2,000 – and gave her some sealed packets of powder. For the next four months, she subsisted on the powder, plus a single chicken breast and two pounds of spinach or lettuce, which would make up her evening meal.
“No one wants to be told their body is insufficient,” says Pazcoguin, now 36. “I mean, line is essential in my business; there is a certain aesthetic [that is expected]. But I am not an ectomorph. As a dancer you are staring at your body all day long in a mirror. But to try to intimidate me to make me look like this stick figure? Some women are just born a particular way. And there [should be] flexibility within the ballet world for more body types than just this waif-thin idea.”
Continue reading...The filmed Broadway show has crash-landed early on the streamer with hilariously awful songs, a musical mess to rival Cats
Logically, it makes perfect sense that Diana: The Musical should exist. After all, Diana, Princess of Wales lends herself extraordinarily well to musical theatre. Hers was a story of wealth and betrayal, of high camp and tragedy, plus she also happened to be an enormous fan of the medium. If you built a time machine and used it to tell Diana that she would one day get her own Evita, she would be absolutely thrilled.
However, Diana died a quarter of a century ago and will never get to see Diana: The Musical. Some people get all the luck.
Continue reading...Strong’s role as the self-destructive media heir takes commitment – and the actor goes all in
• Plus: inside the Succession writers’ room
Earlier this year, Jeremy Strong left his apartment in Brooklyn, walked across the bridge to Manhattan and headed towards the far west side of the island, where he was filming the third season of the feverishly adored and heavily accoladed HBO series Succession. Strong plays Kendall, the alternately bullied and rebellious son of the vilified, Murdoch-esque media tycoon Logan Roy, played by Brian Cox, and Succession follows the jostling among the patriarch’s four children for his affection and respect, both of which he generally withholds. None of them is as visibly crushed by this as Kendall, who bears more than a slight resemblance to James Murdoch, even down to the dabblings in hip-hop. With every timid step Strong makes on screen, every apologetic dip of his chin when he starts to talk, he captures the pain of a son who knows he has failed to live up to his father’s expectations from the first time he cried. He won an Emmy last year for the role, beating, among others, Cox, in neatly Freudian style.
Strong likes to walk while learning his lines, so on that day in New York as he was walking he was also talking, reciting a speech he would soon be saying to Cox, in which Kendall tries to curry favour with his father, but also to be seen as his own man. “Suddenly, out of the corner of my eye, I saw a ghost-grey Tesla rolling to a stop, so I looked in it, and there was James Murdoch,” Strong says when we meet in a London hotel. “He looked at me and I looked at him, and there was a flicker between us. Then he was gone. So we had a moment.”
Continue reading...This filmed version of the Broadway show, with its accidental comedy and cringeworthy lines, is a guilty-pleasures singalong in waiting
And … so … it’s … springtime for glamour and victimhood, winter for Windsors and Charles. Netflix have now given us the filmed version of the entirely gobsmacking and jawdropping Broadway show Diana: The Musical, shot at the Longacre theatre on West 48th Street last summer with no audience while the show itself was on pause due to the Covid pandemic. And while you’re waiting for Pablo Larraín’s movie Spencer, starring Kristen Stewart as Diana, this will have to do. Although there is a danger it will cause you to hyperventilate.
Not since the Cats movie have I literally shouted from my seat: “What? What? WHAT?” Only by having Diana ride on stage on the back of a Jellicle cat could this be more bizarre. If it was deliberate satire it would be genius, but it’s not. It’s a saucer-eyed retelling of the life of Diana, Princess of Wales, with bobbing chorus lines of footmen and flunkies who with a costume change morph into step-in-time phalanxes of snarling tabloid hacks, while Diana solemnly warbles downstage about her loneliness and determination in a pool of follow spotlight.
Continue reading...As the star dives into a giant glass of fizz for her first online extravaganza, she talks about this new golden age for burlesque, why the French Strictly gives her costume problems – and how #MeToo has changed her
Dita Von Teese is looking divine. Her lips are that signature red, she’s wearing 1950s cat eye glasses, and her black hair falls in a thick wave across a Snow White skin – and all this on the unglamorous stage of a glitchy Zoom call. Only knowing Von Teese from her femme fatale image, her teasingly aloof burlesque performances, and her time in the tabloids as former wife of goth rocker Marilyn Manson, you might expect an icy demeanour, an impermeable mystique. So it’s surprising to discover quite how normal she is: chatty, self-deprecating, not very vampish. It’s easy to see traces of Heather Sweet, the “super shy” girl from small-town Michigan who transformed into Von Teese.
The reason for our conversation is a new film, Night of the Teese, made with director Quinn Wilson and featuring some of Von Teese’s classic routines alongside guest performers from male burlesque artist Jett Adore to hula-hoop virtuoso Marawa. While others rushed out online content during the pandemic, Von Teese took her time to get the details right. “When I was watching a certain famous talkshow host doing his show from his backyard, I thought, ‘Oh, you really do need some showbusiness,’ you know?”
Von Teese is all about the showbusiness, from the giant clam shell she emerges from in her opening routine to the finale bathing in a fizz-filled champagne coupe. It’s a land of satin, ostrich feathers and diamanté nipple pasties, with each of her many-layered outfits drenched in sparkle. “I love trying to come up with the most complicated striptease costume,” she smiles. “That’s my speciality.”
The adaptation of Baz Luhrmann’s musical picked up 10 awards in a ceremony that also acted as a comeback for New York theatre
Moulin Rouge! swept the board at the 2021 Tony awards, picking up 10 trophies during a ceremony that also acted as a celebration of the return of Broadway.
The adaptation of Baz Luhrmann’s 2001 Oscar-winning musical, which reopened on 24 September, became the first Australian-produced show to win a Tony for best musical, beating Jagged Little Pill and Tina: The Tina Turner Musical.
Continue reading...How do you turn hit musicals like Everybody’s Talking About Jamie and Dear Evan Hansen into films? You axe songs, throw out plots and don’t worry about anyone’s favourite bit
Choosing a stage musical to see right now can feel like browsing the cinema listings of the 1980s and 90s. Pretty Woman and Back to the Future are playing across the street from one another in London’s West End, with The Lion King, Matilda and Heathers nearby. Indecent Proposal opens next month.
The speed of traffic travelling in the opposite direction, from stage to screen, tends to be a little faster, though. A film of Dear Evan Hansen, the Broadway hit about an anxious, alienated student who pretends to have been friends with a suicide victim, has arrived only five years after it opened, with Julianne Moore and Amy Adams among the cast. Everybody’s Talking About Jamie, which follows a 16-year-old budding drag queen from Sheffield, has taken just four years, picking up Richard E Grant and Sharon Horgan along the way.
Continue reading...Playwright Morgan Lloyd Malcolm on how the groundbreaking female punk band helped her tell the story of women suffocating in the prison system
It was a bit of a “pinch me” moment, to be honest. Earlier this month I sat in the rehearsal room for Typical Girls and watched our incredible cast play the music of the Slits to Tessa Pollitt, an original member of the band.
When I first started writing this show, never in my wildest dreams could I have imagined we would get to this point. This absolute legend, punk royalty, was beaming at the liveness of it all and so were we. This is what we’ve all been aching to do.
Continue reading...The comedian Chris Rock on Sunday said he had tested positive for Covid-19 and sent a message to anyone still on the fence: “Get vaccinated.”
Related: Tate Reeves: Biden vaccine mandate an ‘attack on hardworking Americans’
Continue reading...York Theatre Royal
Tonderai Munyevu’s semi-autographical show addresses Zimbabwe’s traumatic history with honesty and humour
Clothes hang in broken rows above the bare stage (Nicolai Hart-Hansen’s design). Dresses, suits, uniforms – they are presences that suggest absences, the “ghosts” of the people in the stories that Tonderai Munyevu and Millie Chapanda are bringing to life through words and music.
The text of Mugabe, My Dad & Me, written by Munyevu, is an assemblage of the events that have shaped his complicated identity as a “gay, black Zimbabwean man”. The narrative is set in motion by a white man’s question: “Where are you from?” Never shrinking from confronting the (overwhelmingly white) audience with the lazy tropes of the colonial mindset, Munyevu sets before us intersecting histories, both personal and political, “bouncing, non-linear” between Zimbabwe and the UK, past and present.
Continue reading...I am actually one of the few people on the planet who is a heterochromiac syndactylite. I have webbed middle toes on both feet. I also have different coloured eyes: one is brown, one is green. I don’t know how many of us there are: I heard seven.
I think I still have the lizard brain of a 20-year-old. I wake up every morning and I have the same vision, the same perception – except when I start to move. The lag between my perception of how young I feel and that mobility… There’s a lag there.
Continue reading...Photographer Tommy Trenchard documents students whose stories of transformation at the Hogwarts of South Africa are more than just fairytales
To fans of JK Rowling’s books, the story may sound somewhat familiar: a young boy living in difficult circumstances is enrolled in a mysterious school far from home, where his life is changed for ever by the transformative power of magic.
Anele Dyasi’s story is no fairytale, though, and the school in question is not Hogwarts, but the College of Magic in Cape Town, a unique institution that has been training some of the continent’s most skilled illusionists since the 1980s.
Continue reading...