- Interview with Lesley Sharp at Whatsonstage. Apart from her current run in Jim Cartwright's Little Voice at the West End Sharp talks about her next project, a version of Ibsen's Ghosts directed by Ian Glen (I saw a rehearsed reading of this a while back at the Young Vic, with Sharp, Glen and my beloved Tom Brooke; and it blew my mind). Don't forget Little Voice opens officially tomorrow at the Vaudeville Theatre. It is really worth it, one of the most enjoyable plays of the season - you can get very cheap first row day seats if you swing by the theatre around 10 in the morning.
- Listen to a new adaptation of Berthold Bretch's and Kurt Weill's The Threepenny Opera for Drama on 3. A collaboration between BBC Drama and the BBC Philharmonic. A quite splendid production of this masterpiece, thanks to the very special talents of Joseph Millson as Macheath and Zubin Varla as Peachum.
- Speaking of this blog's favourite actor, Joseph Millson; news are officially out that he will play Raoul in Love Never Dies, the sequel (or reimagining, or whatever Lloyd Webber said it was) of The Phantom of the Opera. To no one's surprise, since Millson was strongly rumoured for the role as he had already recorded the part in the concept album (you can order it at the official website). News about the cast announcement via Playbill, and the always useful Joseph Millson.com.
- "Sacred" opens tomorrow at Chelsea Theatre. A season of contemporany performance that promises to be something quite different to our usual theatre evenings. Looking forward to it.
- Also opening this week If There Is I Haven't Found It Yet at the Bush Theatre. The always wonderful Josie Rourke directs and the always interesting Rafe Spall is in the cast.
- Simon Anstell will be doing his stand-up routine, Do Nothing at the Royal Court in November. I saw two warm ups and it's a really enjoyable act, charming and well-observed. You won't regret spending money on this, I promise.
- Matt Trueman's article in the Guardian yesterday, "Is the live theatre experience dying?" left us a bit worried. Not because the live theatre experience might be dying (although all this business of Tennant's Hamlet DVDs and live transmisions from the National Theatre is quite annoying) but because some people's implication that the mix-media might by killing it. As the article says indeed the theatrical experience, its liveness, needs to be re-examined, but not from a position of deriding the new shape narrative and performance art takes. One of the examples used, Katie Mitchell's use of video on her productions, feels specially significant for me, because ...some trace of her remains one of the most original, touching and yes theatrical experiences I've had as an audience. So maybe all this genre-bending and media infiltration is not the death of live theatre but rather its evolution in order to survive.
- Also interesting, Michael Billington's little note about the use of the word "Brechtian" and how it tend to send audiences running out of the auditorium. I agree people have a natural reluctance to the adjetive. As for me, I am not Bretch's most fervent fan, far from it, but I was brought up to believe you can do worse than "Brechtian" in your plays.
Review: Obsession, Barbican
13 hours ago