Category Archives: Stage

Edinburgh festival fringe threatened by Covid rules, says organiser

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CEO calls on Scottish ministers to replace 2-metre rule with 1 metre to secure future of world’s largest arts festival

The survival of the Edinburgh festival fringe is at stake unless social distancing rules for venues are relaxed within a fortnight, its organiser has said.

Shona McCarthy, the chief executive of the Edinburgh Festival Fringe Society, called on ministers to replace the 2-metre rule with the 1-metre distance used in hospitality in order to help secure the future of the world’s largest arts festival.

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Billie Piper: From vulnerable teen pop star to director of an ‘anti-romcom’

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The characters she plays do not match her own life, the actress insists, but it’s hard not to see parallels with her own journey

Billie Piper has occupied a near continual, if shifting, position in the public imagination for almost a quarter of a century. That’s a notable achievement by any reckoning of a performer’s career, but it’s also rather alarming, given that she’s still only 38.

Having started out as 15-year-old chart sensation, she walked away from the pop music treadmill, enjoyed a boozy marriage with the DJ Chris Evans, returned to frontline fame in Doctor Who, struck out on a path of acclaimed dramatic performances on TV and the stage, and has now made her directorial debut with the feature film Rare Beasts.

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Puppet of refugee girl to ‘walk’ across Europe along 12-week arts festival trail

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Three teams of four puppeteers will accompany Little Amal from Turkey to Manchester to celebrate refugees

A giant puppet of a nine-year-old Syrian refugee girl is to “walk” from Turkey to the UK through villages, towns and cities for one of the most ambitious and complex public artworks ever attempted.

The Walk project was meant to have taken place between April and July but was delayed by the pandemic. Now the 5,000 mile (8,000km) journey of Little Amal, from Gaziantep, near the Turkish-Syrian border, to Manchester, will take place over 12 weeks from 27 July.

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On my radar: Fiona Shaw’s cultural highlights

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The award-winning actor on the genius of Fritz Lang, the human cost of Homer’s Iliad and where to find the best live music in Ireland

Born in County Cork, Ireland, in 1958, Fiona Shaw studied philosophy at University College Cork before training at Rada. Her stage roles have ranged from Sophocles to Shakespeare, Beckett to Brecht; she has won two Olivier awards and directed theatre productions and operas including Britten’s The Rape of Lucretia. She has also appeared in numerous films, including My Left Foot and the Harry Potter movies, and television series such as True Blood and Killing Eve, for which she won a Bafta. Her latest film role is in Ammonite, a romantic drama about fossil hunter Mary Anning, now streaming and in cinemas from 17 May.

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Olympia Dukakis obituary

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American stage and screen actor who won an Oscar for her role in the 1987 film Moonstruck

After more than two decades of distinguished work in the US theatre as an actor, director and teacher, and appearances in a dozen or so films, Olympia Dukakis, who has died aged 89, became hugely famous overnight by winning the best supporting actress Oscar in 1988 for her performance as Cher’s mother in the romantic film Moonstruck (1987).

The course of her career suggests that her ambitions never lay in the direction of Hollywood. Her theatrical credits read like the canon of classic and modern plays: she had roles in plays by Euripides, Sophocles, Shakespeare, Chekhov, Ibsen, Lorca, Pirandello, Brecht, Eugene O’Neill and Tennessee Williams, on and off Broadway, as well as in various regional theatres across the country. In films, she took on several character roles, making an impression in scores of pictures for more than half a century.

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Rafe Spall: ‘Madonna came up and started grinding me. A circle formed’

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For all the standing ovations, Hollywood roles and parties with stars, nothing beats the rough and tumble of real life for actor Rafe Spall

The play was going well. It was going very well, a Broadway production of Pinter’s Betrayal, starring Daniel Craig and Rachel Weisz as a married couple and Rafe Spall as her lover – the last thing Mike Nichols directed before he died. It was a hit; so much so that one night Madonna invited the cast round for dinner. “So I went to dinner,” says Spall.

He is telling the story with relish, leaning into his laptop camera as if we’re slightly pissed on a Sunday and our families have drifted off to watch telly. “And Madonna was dressed as Madonna, a gold grill and fingerless gloves. I was feeling quite confident, because I’ve just done the show and I was like, I’m going to pretend to Madonna that I’m not scared of her.” After dinner the tables were pushed to the side to make a dancefloor, “and Lourdes is on the iPad playing tunes. So I started dancing and Madonna came up and started, well… grinding me. Very close. I suppose ‘dutty wining’ would be the phrase? My wife was there… [actor Elize du Toit, they’ve been married since 2010, three kids, recently moved from London to Stroud] And she looked at me like, ‘The fuck?’ My torso was pouring with sweat. And in my mind I was saying, don’t back down. So I looked her in the eye and said to myself, ‘Yeah, this is me.’” Soon after, a dance circle formed. “With Madonna on a literal throne. And all of the dancers from her tour were in a circle around her. And she said, ‘Rafe, get in the circle!’ So I was like, ‘Don’t back down, this is you.’ So I got in the middle of the circle of Madonna and the best dancers in the world. And I danced in there for three minutes.”

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Whispers to thunderstorms: the world of sound designer Max Pappenheim

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After embarking accidentally on his career, Pappenheim has created innovative soundscapes for theatre, opera and radio

Max Pappenheim’s journey into sound design comprises a series of happy accidents. Music – and especially organ music – was his first love. He spent a year as a cathedral organist and it was only his predilection for experimentation and finding “the weirdest corners of the repertoire” that stopped him from pursuing a professional career in liturgical music.

Instead, he went to Cambridge University, read classics and began teaching at a school in the Midlands. There, he was asked to direct a musical, Sweeney Todd, and it was then the ground began to shift beneath his feet.

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‘When I paint, all the voices in my head go still’: Juliet Stevenson on how art got her through lockdown

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Painting has helped one of Britain’s most revered actors survive Covid restrictions and the loss of a child. We join the actor for an art class that never quite happens

If you go down to the woods today, you may just come across Juliet Stevenson dangling from a branch, fumbling to photograph the light falling through a caterpillar hole on a particularly disobliging leaf, with her partner Hugh chuckling, resigned, as yet another quick stroll turns into a day trip. Upside down Juliet Stevenson has been a rare constant of Suffolk’s lockdown landscape, even as snow buried it and tides hacked away at its crumbling coastline. The 64-year-old has been all over the East Anglian country, leaving a trail of snow angels on her quest to find its most picturesque – and acrobatic – angles.

What’s an actor to do when the West End goes dark? All that creative energy must go somewhere – and this actor is training the newly discovered painter’s eye that has kept her sane over lockdown. “By the time you get to my age,” she says, when I question why painting would be the basis of our interview, “you become too settled into the skills you know you have. I can sort of do my job. I know quite a lot about parenting. But to be absolutely at the beginning of something – at square one – it’s just a great feeling.”

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‘An explosive energy’: Sam Mendes pays tribute to Helen McCrory

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Whether acting in Chekhov on stage or a Bond film, the star – who has died aged 52 – was incredibly exciting to watch, remembers the Skyfall director

Most actors are liked by those they work with. A few are loved. With Helen it was unquestionably the latter. People would light up at the mention of her name. I was one of those people.

When I was directing Uncle Vanya and Twelfth Night as my final productions as artistic director of the Donmar in 2002, I asked Helen to play the role of Sonya in Uncle Vanya. Word came back that she would love to have a chat about it. She strode into my office, sat on the sofa and immediately told me I had it all wrong. She told me she should be playing Yelena – the other young female role – and then proceeded to spend the next hour telling me exactly why. She left the room with the part. This has never happened to me before or since. All I can say by way of explanation is that it just felt inevitable. She was clearly already half way to giving a superb performance, I simply had to get out of the way and let her complete the job. Which, of course, she did – with utter brilliance.

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Helen McCrory remembered: ‘She had a brightness about her. She was a star’

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Richard Eyre, the National Theatre director who cast the actor in some of her earliest roles, pays tribute to her after her death

Part of the tragedy of Helen McCrory dying at such a young age, leaving a husband and two young children, is that professionally she had everything to look forward to. She had established herself as a very considerable actor in the theatre and on film and television.

She had a brightness about her, a luminosity: she was, in short, a star. She lit up a stage or a screen – you knew you were in the presence of a force of character and talent.

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‘A lovely bit of squirrel’: Paul Ritter’s most memorable roles

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Ritter carved out a wonderful career, culminating in the acclaimed Chernobyl – but he’ll be remembered most as oddball patriarch Martin Goodman in Friday Night Dinner

Paul Ritter, who died on Monday at the age of 54, is destined to be remembered as the dad from Friday Night Dinner. And rightly so. If you think of Ritter, or Friday Night Dinner for that matter, one image will almost certainly be seared into your mind: Ritter, walking around with his top off like it was the most normal thing in the world, complaining about the heat, or enquiring after a “lovely bit of squirrel”.

That role, and that image, brought Ritter a level of fame he had previously never achieved. Before the sitcom, which began in 2011, he had worked solidly in a number of small screen parts, usually playing characters who were professions first and people second – Detective Sergeant in 1998’s Big Cat, Geography Teacher in 2007’s Son of Rambow and Prisoner Louis in Hannibal Rising from the same year – while tending to a growing reputation on the stage. In 2006, he was nominated for an Olivier award for Coram Boy, and a Tony three years later for The Norman Conquests.

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Friday Night Dinner star Paul Ritter dies of brain tumour at 54

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Ritter, who also appeared in films including Harry Potter and the Half-Blood Prince, died at home alongside his wife and two sons

The actor Paul Ritter has died of a brain tumour at the age of 54, his agent has told the Guardian. Ritter who starred as the family patriarch Martin in Channel 4’s Friday Night Dinner alongside Tamsin Greig, Simon Bird and Tom Rosenthal died on Monday.

In a statement, his agent said that the actor, who also appeared in numerous films including Harry Potter and the Half-Blood Prince and Quantum of Solace, died at home with his family by his side.

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‘Rehab made me grateful to be alive’: Margaret Cho on sobriety, solitude and Stop Asian Hate

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One of the world’s most outrageous comedians, Cho is helping to lead the battle to end racism against Asian-Americans. She discusses hatred, hope and how humour saved her life

● Warning: this article contains discussion of suicide from the start

The thing about being a standup comedian is that you can never turn off that part of your brain, not even when you are trying to kill yourself. Margaret Cho learned this in 2013 when she attempted suicide in a hotel room, using a shower curtain rail. “It started bending and I was like: Oh shit, I’m too fat to kill myself, so I had to get down,” says Cho. “I thought: I’ll go on a diet and I’ll try again when I reach my goal weight, which means I’m never going to kill myself, because I’ll never reach my goal weight.”

The 52-year-old Emmy-, Grammy- and Oscar-nominated comedian, author, actor and podcaster lets out a delighted cackle. “That joke … people get really upset. They’re like: ‘You should put in a trigger warning.’ I don’t know how to do a trigger warning!” The point Cho is trying to make is a serious one. “My sense of humour probably saved me from dying,” she says. “You can’t really shut that part of you off, because humour is really hope. Humour and laughter is the intake of breath, which is the preservation of the body for the next moment … at your darkest moments; it’s actually the thing that shines the brightest. I’m really grateful for it and I’m really grateful I got to live.”

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Thomas Bernhard was a ‘demon’, half-brother reveals in bestseller

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Memoir by Peter Fabjan, an acclaimed hit in Bernhard’s native Austria, describes a tormented man who flitted between ‘affection and icy contempt’

In public, he could be gregarious. His charm was legendary. For the great Austrian novelist and playwright Thomas Bernhard, life was a kind of production. But as his half-brother Peter Fabjan remembers him in his new book, A Life Alongside Thomas Bernhard: A Report, published in German in January, there was another side to Bernhard. “My life was a life with a phantom – indeed a demon – at my side,” he writes.

A Top 10 bestseller in Austria, and labelled a must-read by Germany’s Die Welt, Fabjan’s book marks what would have been Bernhard’s 90th year, were it not for his premature death in 1989 at the age of 58. It has been widely acclaimed by critics; behind Fabjan’s sentences, Marc Reichwein wrote in Welt am Sonntag, one feels “the wounds of a sibling’s entire life”.

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‘A light at the end of the tunnel’: Australian theatres launch 2021 seasons as the rest of the world stays dark

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Sydney Theatre Company is the latest to launch this year’s season, as Broadway and the West End look to Australia as the pandemic pioneer

“Australia has become a test case for the rest of the performing arts world,” the Washington Post proclaimed last month, as theatres across the country prepared to move to full capacity, while throughout most of Europe and the US they remain dark.

So yeah, no pressure there, says Sydney Theatre Company’s artistic director Kip Williams, two days out from launching the company’s complete 2021 season – the largest season the STC has seen since 2017.

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Lockdown one year on: Hiran Abeysekera on how Covid nixed his West End debut

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The Sri Lankan actor, who had wowed audiences in Sheffield in Life of Pi, was poised for West End fame when theatres shut up shop. He reflects on a career interrupted

“I was scared that I might not be able to do Pi again,” says Hiran Abeysekera, who was preparing to transfer his rapturously received 2019 performance in Life of Pi to the West End when the pandemic hit. “We were joking that when theatres finally reopened, I’d have grey hair and a walking stick. People would go: ‘Hiran, do you still want to do Pi?’ And I’d be like: ‘I can’t do it any more, man, I’m too old!’”

Abeysekera, who is a very youthful and ebullient 35, graduated from Rada in 2011. His credits include The Taming of the Shrew at the RSC and Peter Pan at Regent’s Park, and he played Puck in a spirited BBC adaptation, by Russell T Davies, of A Midsummer Night’s Dream in 2016. But Life of Pi in the West End was an obvious breakthrough moment. Lolita Chakrabarti’s stage adaptation of the Booker prize-winning novel by Yann Martel received five-star reviews when it opened at the Sheffield Crucible, and Abeysekera’s performance as Piscine “Pi” Patel – shipwrecked with various zoo animals, including a ravenous tiger – was hailed as star-making. The Guardian called it “superb”, noting that “the actor has the charm, wit and seriousness to make him a compelling narrator of his own magical-realist tale”. Our own reviewer described Abeysekera’s performance as “unbelievably credible”.

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The Picture of Dorian Gray review – the ugly face of social media

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Eternal youth and beauty exist only online in this thoroughly modern adaptation of Oscar Wilde’s fable, which counts Stephen Fry and Joanna Lumley among its impressive cast

If Dorian Gray were reborn in our age, it seems entirely fitting that he would be a social media star obsessing over his image. So it makes great intuitive sense for this adaptation of Oscar Wilde’s novel to situate its protagonist in the centre of the digital whirl of 2021.

There is now no physical painting: the deal made with Basil Hallward allows Dorian eternal youth and beauty online, but age marks him in the real world, his face becoming etched with the ugliness of his accumulating misdeeds (snorting coke, catfishing and late night hookups). The pandemic is incorporated into the drama and enhances the storyline as Dorian wears his mask to cover his ageing face.

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Actor strips at ‘French Oscars’ in protest at closure of theatres and cinemas

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Corinne Masiero criticises coronavirus strategy with words ‘no culture no future’ on her chest

A French actor stripped naked on stage during a scaled-back César Awards ceremony in Paris to protest against the government’s closure of theatres and cinemas during the coronavirus pandemic.

Corinne Masiero had “no culture no future” written on her chest and “give us art back Jean” on her back, in a message to the prime minister, Jean Castex.

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Yellow review – a gripping epic about fascism in Belgium

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Part two in NTGent’s Sorrows of Belgium trilogy is a visually arresting account of the rise of the Rex party and the horror of the second world war

Director Luk Perceval’s Sorrows of Belgium trilogy charts three dark chapters in the nation’s history, starting with colonial oppressions in the Congo in Black (produced by NTGent in 2019) and ending with the Brussels terrorist attacks of 2016 in Red (yet to be staged). The second instalment, Yellow, dramatises the rise of the fascist party Rex, which led to collaboration with Nazi occupiers.

What is immediately arresting in NTGent’s live-stream, with English subtitles, is the cinematic quality of the production. It is exquisitely filmed by Daniel Demoustier in the theatre, though not always on the stage. Shot almost entirely in black and white with some intermittent hues of yellow, it seems variously like a dance and a series of sorrowful tableaux of human suffering and collective delusion. Camera angles draw us into the roused faces of Belgian fascists, circling them dizzily as they spit out their rhetoric, and then drawing away to show them as a choreographed ensemble. Annette Kurz’s set design seems more like a moving painting, with the actors often performing on or around a table that serves as a miniature stage.

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Indian theatre festival forced to close after Hindu vigilantes object to satirical plays

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Bajrang Dal hardliners in Madhya Pradesh threaten violence over plays ‘disrespectful to the Indian flag’

Rightwing Hindu vigilante groups in the Indian state of Madhya Pradesh have forced the cancellation of an annual theatre festival, after threatening violence over satirical plays they accused of being “anti-national”.

The annual theatre festival organised by the Indian People’s Theatre Association in the small town of Chhatarpur became the object of abuse and violent threats by Bajrang Dal, a hardline Hindu group linked with the ruling Hindu nationalist Bharatiya Janata party (BJP).

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