I don’t know about you, but the one and only time I watched the film Waitress, my first thought was most definitely not ‘hey, this would make a great musical!’ The film starring Keri Russell and Nathan Fillion is the story of, quite literally, a waitress. She makes the best pie in town and is always coming up with new pie concoctions. Oh, she is also in a horrible marriage and gets pregnant thus introducing her to her gynecologist, aka Nathan Fillion. Spoiler alert: they have an affair. Great musical subject matter, right?
In September of last year I had the privilege of having a National Theatre Live Event showing of Streetcar Named Desire from the Young Vic at a local movie theatre. I walked out of that showing awestruck. This was the kind of theatre I went to theatre school to make. This was the kind of magic that I longed to go to the theatre and see with my own eyes, not through a movie screen. My longing is about to be fulfilled as the Streetcar Named Desire with Gillian Anderson and Ben Foster is about to come stateside.
If you’re paying attention to London Theatre (as we diehard theatre peeps do), then you may have heard that the London Evening Standard Theatre Awards will be on November 30th. They will be broadcast live at standard.co.uk/showbiz. If you have kept your ears open, then you also know that some of London Theatre’s big names have been shortlisted for said awards.
National Theatre Live has become something of a habit of mine, it seems. A few weeks back I visited my local cinema (movie theatre to us yanks) and settled in for a roller coaster ride in the form of A Streetcar Named Desire from the Young Vic. Tonight, fittingly for what EM is calling ‘Hallo-week’, I stepped into the theater to witness the encore viewing of Frankenstein from the National Theatre. It was heartbreaking, disturbing, shocking and amazing. Jonny Lee Miller stepped into the shoes of The Creature in this performance and I was speechless at his interpretation.
I am no stranger to Tennessee Williams’ work. You don’t go through theatre school without reading at least two (in my case, Glass Menagerie and Cat On A Hot Tin Roof), but beyond those two I never pursued more. I usually ended my reading and occasional extensive analysis (see: script analysis classes) with a grimace and an ‘oh, thank God.’ Continue reading