The Theatre Royal Bath has released these great first look production photos of David Hare’s play Racing Demon directed by Jonathan Church. Four clergymen seek to make sense of their mission in inner-city London whilst facing their own personal crises. There’s Lionel Espy, a cleric whose faith is wavering as his parishioners dwindle; tabloid-hounded gay vicar Harry Henderson; ‘Streaky’ Bacon, a genial reverend with a taste for tequila, and a charismatic young curate, Tony Ferris whose arrival is set to fan the flames, whilst his sexual relationship with his lover turns to ash. The day of judgement is at hand for all. The cast of Racing Demon includes Olivier Award-winning David Haig will star as Lionel Espy, Sam Alexander, Michelle Bonnard, Anthony Calf, William Chubb, Paapa Essiedu, Andrew Fraser, Ian Gelder, Rebecca Night, Amanda Root and Ashley Russell. Racing Demon is the first production in Jonathan Church’s innaugural season as … Read more
Following last year’s success, Hampstead Theatre has confirmed that its second annual festival will take place on 18 – 20 March 2016. The Festival boasts over 30 unique events including workshops and panel discussions featuring Sir David Hare, Sir Matthew Bourne, Howard Brenton, Darcey Bussell, Tim Pigott-Smith, Deborah Moggach, Meera Syal and Kate Mosse. Hampstead Theatre’s artistic director Edward Hall and producer Issy van Randwyck have invited a wide variety of artists to share their stories and work processes. Hall said: “Hampstead Theatre is thrilled to be bringing back The Festival after its incredible success in 2015. “We hope this year’s programme will give attendees an opportunity to meet some of the most original thinkers in British culture today and discover new insights into the wonderful worlds these people work in.” The first Hampstead Theatre Festival was hosted in March 2015 and attracted a 2,500 audience footfall in just one … Read more
What pleasure the play offers comes in the characters Hare has carved from fragments of history. Roger Allam, almost unrecognisable as John Christie, does a superb job, totally transforming himself into a funny, fussy, oddly dressed Opera lover. He makes eccentricity part of the fibre of Christie and superbly shows his extremes: his anger about Glyndebourne when things don’t go his way; his gentle adoration of Audrey; his unflappable belief in the inherent value of Opera as the most sublime aspect of humanity.