Each of the three plays – The Trojan Horse, Agamemnon, and Orestes, is to being reworked into a one-hour event featuring, and each evening will see all three presented in sequence.

From the Steam Industry website:
To celebrate London 2012 and a decade of creating award-winning free theatre we present an extraordinary theatrical event.

During July 2012 the beautiful open-air amphitheatre on the banks of the Thames will become home to a rare staging of the magnificent Oresteia trilogy – a three part epic drama charting Ancient Greece’s journey from chaos and war to peace, justice and the harmony that inspired the Olympic ideal.

Award-winning modern theatre talent will shape the centuries’ old text by Aeschylus into a gripping and entertaining retelling of The Trojan War and its legacy.

Each play is an hour long and can be enjoyed separately or in sequence throughout the course of a single evening’s spine tingling theatre.

Performances are FREE and happening July 5 through August 5 at the Scoop ampitheatre on the Southbank of the Thames, in front of City Hall near Tower Bridge and directly across the river from the Tower of London.

On a personal level this is exciting for a number of reasons, not the least of which are the myriad unique challenges which will come from setting up an outdoor venue from scratch! But I’m also excited to be involved in such a high-profile and large-scale event. It’s going to be fun!

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Most reveiwers have focused on the relevance of the script and many have expressed some dissatisfaction with the structure, but comments on the performance and production itself have been positive. Links lead to the full review.

✰✰✰✰✰The Public Reviews
“informative work…very talented cast.”
Anne Bawtree on TPR

✰✰✰✰ Fourthwall magazine
“an excellent ensemble cast…fine revival”
Catherine Love at Fourthwall magazine

✰✰✰WhatsOnStage.com
“strong performances…beautifully lucid direction”
Giles Cole writing at WhatsOnStage

✰✰✰Exeunt Magazine
“many insightful moments”
Julia Rank at Exeunt

✰✰✰One Stop Arts
“a solid production with a strong cast”
Kate Mason at One Stop Arts

✰✰London Evening Standard
“Director Phil Willmott gets committed performances from a cast of 12″
Henry Hitchings on the Standard

The Stage
“a moving and evocative picture of a country and economy on the edge of total collapse”
Gerald Berkowitz on The Stage

There Ought To Be Clowns
“Jason Meininger’s lighting works hard to provide different contexts on the intimate stage and the overall effect is powerfully evocative of the all-too-cyclical nature of the fortunes of the economy. ” Thanks Ian!
Ian Foster’s OughtToBeClowns blog

A Younger Theatre
“slick production…shining performances”
Guy Jones  on AYT

UK Theatre Network
“The whole cast is outstanding. This important and poignant production should not be missed.”
Carolin Kopplin writing on UKTN

StageWon
“cleverly staged…with a highly talented ensemble. Black humour, real heart and a healthy serving of irony mingle in this chillingly relevant production. ”
Mary Halton on StageWon

British Theatre Guide
“…a fine political document that is well worth a look, in an engrossing production…”
Philip Fisher on the British Theatre Guide

___________________

Performances continue through April 21, but tickets are selling fast!

To book call 0844 847 1652 24 hours a day or buy online at the Finborough website

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Phil Wilmott directs Miller’s ‘dramatic vaudeville’ – an evocative interweaving of stories about survival in the 1930′s America during the Great Depression. Taking cues from Studs Terkel’s Hard Times and orbiting a well-off New York family who loses everything in the 1929 stock market crash, the play touches on all levels of society and and crosses the country to paint a fascinating and remarkably relevant picture of a individuals struggling to survive a crisis that threatened the very core of the nation.

This is the first professional production in the UK since it’s Olivier-nominated debut at the National Theatre in 1986.

The American Clock runs Tuesday, March 27 through Saturday, April 21, 2012
Tuesday to Saturday Evenings at 7.30pm,
Sunday Matinees at 3.00pm.
Saturday Matinees 3.00pm (from 7 April 2012).

American Clock Tickets are available online or via the Finborough box office by calling 0844 847 1652

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I did take a handful of my own, but a mobile phone really can’t compare to a big professional setup at all. *grin*

King John continues at the Union Theatre through February 11. Tickets are available, but going fast because the show has been getting very good notices. How good? I’ve compiled all the King John reviews so far and will continue updating them as I find more.

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Reviews for King John are coming in after the opening weekend, and it’s all good so far.

Here’s the full list of reviews, updated as they come out. Emphasis – where added – is mine.

✰✰✰✰ One Stop Arts: “Director Phil Willmott…has uncovered the farcical comedy of the fight for the English throne in this energetic production…a thoroughly entertaining night which sets the bar for future productions” Tom Oakley at One Stop Arts

✰✰✰✰ Time Out London: “a rip-roaringly fun production” Andrzej Lukowski in Time Out

✰✰✰✰ Exeunt Magazine: “Superb…It would take a better scholar than I to explain King John’s long fall from grace – but there could be no better production than this to argue for its return.” Sarah Perry on Exeunt

✰✰✰✰ Remotegoat.co.uk: “brings the text and the meanings within to the forefront with consideration and precision.” And of course I have to include this comment: “Lighting is appropriate, getting darker and moodier as dark times loom.” Read the full Remotegoat review

✰✰✰✰ Londontheatre.co.uk: “it is the sheer quality of this production that makes Shakespeare’s work shine.”
Peter Brown on Londontheatre.co.uk

✰✰✰ The Guardian: “a revival that is simple and direct, and keeps a firm narrative grip on proceedings…there is pleasure to be had from seeing a Shakespearean play that isn’t over-familiar because of repetition” Lyn Gardener in the Guardian

✰✰✰ The Evening Standard: an “uncluttered, sure-footed take with impressive verse speaking, and…a few cherishable flourishes.” Fiona Mountford in the Evening Standard

✰✰✰The Public Reviews: “a perfect example of how a very well-judged production can illuminate material of any quality.” Ian Foster on TPR (Ian also writes as thereoughttobeclowns)

The Stage: “thoroughly engaging as a vivid anatomy of power and politics in not-so distant times.” Michael Coveney on the Stage

LondonSE1: “bursts at the seams with passion, humour and drama… an evening of memorable and accomplished performances” Read the full SE1 review

British Theatre Guide: “This production breathes new life into the play and makes it for today…Get a ticket while you can. ” Howard Loxton on BTG

Reviewsgate: “energetically enterprising revival…” Full writeup on Reviewsgate

…and a blog post I fund on Notes of an idealist: “Well done to the Union Theatre for putting on something different and worthwhile, and for making a good job of it!” read it all

There’s also production photos to come shortly…

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Produced by The Steam Industry and directed by Phil Wilmott, we have reassembled much of the production group behind last year’s hugely popular production of Shakespeare’s “lost” play Double Falsehood.

From the press release: “Combining the sweep of Henry V, the pitch black humour of Richard III, and all the court intrigue of Elsinore, King John is the story of a desperate monarch who will stop at nothing – lies, murder, even outright war – to strengthen his weakening grip on the kingdoms of England and France.”

Although the authenticity of King John is not in doubt (as was the case with Double Falsehood), King John is a decidedly neglected part of the Shakespearean canon, and it will be a unique chance to see “a powerful, fast moving study of a monarchy in meltdown,” which hasn’t been performed in London since the RSC production over a decade ago.

Performances run Tuesday through Sunday, January 17 to February 11, 2012.
Tickets are available now from the Union theatre box office by calling 020 7261 9876 or online via ticketsource.

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Many of you also know Mathew Swift, who in his Beardy Challenge hasn’t shaved since January 1, 2011, raising funds for the Willow Wood Hospice which has been supporting his wife Joan as she fights cancers of her own.

I’m going to now give you a chance to support both causes at once.

I’m essentially offering a matching grant: For every pound donated to my Movember campaign between now and the end of the month, I will match that amount as a donation to Mat and Joan. So whatever you donate – £5 or £10 or £50 – to my Movember campaign, I will in turn donate that same amount to the Beardy Challenge*.

Ready? Go!

[*up to a total sum donation of...eh, let's say, £500. If you've already contributed to my Movember campaign, your donation will be included. I'll donate a lump sum in the first few days of December.]

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Press night went well, the first weekend is done, and the first reviews are starting to appear on the web.

I’ll update this post as I find more.

✰✰✰from Whatsonstage.com: “there is a genuine sentiment behind this play that makes it touching.”

(I do note the “average reader rating” is a rather more enthusiastic five stars ✰✰✰✰✰ … from a comment describing the play as “cleverly done, hysterical but also very moving.”)  Read the full review

✰✰✰from Exeunt Magazine: “Joe Fredericks’ production excels is in its sense of fun and in its sympathetic portrayal of a relationship that doesn’t quite fit social boxes” Read the full review

British Theatre Guide calls it “a well crafted study of what true friendship means” Read the full review

The Stage seems to be underwhelmed. Not an unfriendly review, but not a rave either, though does speak of “a pleasant blend of humour and sentiment.” Read the full review

Over on his blog, PaulinLondon calls it “a reflective evening at the theatre…[and] an opportunity to catch two excellent performances and some new writing in the West End.” Bit sad he didn’t do one of his audioboo reviews, but still glad he came! Read the full review

Extra! Extra! references “a strong creative team, taut, assured writing and compelling performances” in a lengthy and very positive writeup, touching on loads of detail and nuance, with some excellent analysis that suggests the writer really connected with the show. That’s really nice to see. Have a read.

So, up to you to decide for yourself. Tickets still available via the Jermyn Street Theatre website or call the box office at 020 7287 2875

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In a few short weeks I’ll be lighting a new play by David Kerby-Kendall entitled “The Moon is Halfway to Heaven,” playing at the Jermyn Street Theatre near Picadilly Circus.

The play follows Jamie and Paul over the course of an 80-year friendship. “Aged seven, they believe that grown-ups know everything – but as they navigate the trials and joys of adolescence, adulthood and old age they begin to see that we never really grow up.” (Quote from the flyer)

The script is a great read and I’m looking forward to seeing the relationship blossom on stage. I’m also very pleased to be working again with director Joe Fredericks and designer Paul Burgess, recreating the creative team from our successful 2008 and 2009 productions of A Christmas Carol at the King’s Head.

The Moon is Halfway to Heaven plays at the Jermyn Street Theatre
6 September – 1 October 2011
Tuesday – Saturday 7.30pm, Sat/Sun matinees 3.30pm
Tickets: £15.00 / £13.00 concessions.
Earlybird bookings! All tickets £12.00 if booked before 22nd August
To book tickets call 020 7287 2875 or book tickets online via ticketweb

See also:

• The Moon is Halfway to Heaven official website
• Jermyn Street Theatre
• Sally Humprhries Productions

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