CATS 2019- Critics' Awards for Theatre in Scotland- Nominations Announced.
This year, MLR clients receive SIX nominations for the Critics’ Awards for Theatre in Scotland.
Vicki Manderson receives her nomination for SQUARE GO in the BEST ENSEMBLE category which was produced by Francesca Moody Productions in association with SEARED.
MLR clients account for 50% of this year’s BEST MUSIC & SOUND category. Danny Krass is Nominated for BALLYTURK at The Tron Theatre, Glasgow. While, MJ McCarthy is nominated for WHAT GIRLS ARE MADE OF at The Traverse Theatre, Edinburgh.
Also, Composer, Sound Designer and Musical Director MJ McCarthy has been part of the creative team of three of this year’s BEST PRODUCTION category. These are WHAT GIRLS ARE MADE OF & ULSTER AMERICAN at Traverse Theatre, Edinburgh and PRIDE AND PREJUDICE *Sort Of at The Tron Theatre, Glasgow.
AMOUR: Cest Magnifique!
Read More On: Matt Cole
“Matt Cole has choreographed some big production numbers, as well as a gentler flow in the majority of scenes, making Amour a visual treat, with just a hint of magic thrown in.”
“Its fabulous tale, its luscious music, its clever lyrics all delivered with such understated verve, is exactly what's needed. Literally delightful”
“Irresistibly charming chamber musical by the late Michel Legrand.”
“It's got no shortage of cinematic dazzle and it never misses a beat”
THE HALF GOD OF RAINFALL: A moving, contemporary EPIC on a small scale ★★★★
MLR Director Nancy Medina's production of Inua Ellam's most recent play, THE HALF GOD OF RAINFALL is a hit with audiences and critics across the country, in a co-production with Fuel, The Kiln Theatre and the Birmingham Rep. Also featuring Movement Direction from Imogen Knight.
‘Nancy Medina’s production is both delicate and severe; coarse like raw earth, yet soothing like a balm.’
‘In Nancy Medina’s taut, stunning staging of Ellams’ words the epic is revealed to be much smaller. While still a story of feuding gods and journeys to the edge of the universe, its theatrical scale now feels plausibly, sometimes terrifyingly human. Its inherent violence no longer incidental metaphor, but structural and real.’
‘Combining gorgeous storytelling with beautiful imagery, the piece is expertly directed by Nancy Medina, and told with precision by Rakie Ayola and Kwami Odoom. The 80-minutes are an exciting watch from start to finish.’
‘They laugh, dance and physically manipulate their bodies - aided by movement director Imogen Knight - to take on the role of different deities.’
‘This is a moving, contemporary epic on a small scale, with universes and gods brought vividly to life in director Nancy Medina’s fervent production.’
‘At the same time it speaks shrewdly about power, dreams and fear, as well as the huge potential and vulnerability of the human body. ‘
‘Bow down before them all.’
'Nancy Medina’s production deftly embraces the vastness of its vision and the intimacy of its aesthetic.'
★★★★★ ALL MY SONS Finds New Resonances
Read More On: Max Jones
Arthur Miller’s classic tale resonates strongly with audiences and critics in the Old Vic and Headlong Theatre’s new production, designed by MLR’s Max Jones.
‘Herrin and his designer Max Jones assert its relevance with one moment of trickery at the start: a film on the back wall reflects the history of the US in combat, and the neat suburban homes from which its soldiers have sprung. Then, as if by magic, one of the video houses materialises in front of our eyes, and becomes the home of Joe Keller, pillar of the community, head of a thriving family business and a man who – we gradually discover – has a terrible secret.’
‘Flickering footage at the top of the show of all-American families from across the 20th century, before Max Jones’s immaculate stage set hoves into view with its own cutesy clapboard house and picket fence, Joe and Kate’s is an age-old challenge.’
‘Even the gorgeously sunlit house-and-garden set, by Max Jones, ends up less stable than it appears. It’s a quiet evening, but its cumulative power takes your breath away.’
‘A vividly naturalistic, almost hyperreal suburban house and garden [...], it looms over everything like a monolith, until finally at the end it dramatically recedes. It is the hope, the dream, the prize, the lie that holds protagonists the Kellers together, years after they should have fallen apart.’
'From the outset, Max Jones’ set suggests that the veneer of the wholesome American Keller family isn’t what it seems. On the surface it’s a postcard-perfect wooden house with a porch and a squeaky screen door. But look closer and the turf is blatantly astro, the bulbs producing all that beating sunlight are clearly visible and there are wires holding up the trees. The set is a reminder that the American idyll is never as perfect as it appears on the surface.'
'supported visually by Max Jones's set: a dominating idyllic wooden house and unchecked verdant garden that invades the Old Vic'
THE LEHMAN TRILOGY in “thrilling” North American premiere
Read More On: Candida Caldicot
This electrifying production, directed by Sam Mendes, serves as a parable of the shifting definition of the American dream. Following a sold-out run at the National Theatre, The Lehman Trilogy has transferred to New York’s Park Avenue Armory, where Candida Caldicot has reprised her role of Musical Director and Pianist.
“Genuinely epic... out of nothing there emerges such a heaving ferment of aspiration, energy, tenacity and audacity that you’re left reeling by the scope and vitality of it all.”
“Beale, Miles and Godley propel the story with a force that feels aerodynamic. The counterpoint is the lovely underscoring performed on a piano at the lip of the stage by Candida Caldicot: Call it a fugue for stocks and bonds.”
“This is theatrical storytelling at its most thrilling, a work of novelistic sweep and operatic crescendos, as rich in incisive character detail as it is in breathtaking visual coups.”
“The use of cinematic underscoring coming from music director Candida Caldicot on piano at the side of the stage is essential to the vitality of the piece”
“a masterful work… gripping narrative with a strong lyrical bent.”
“an astonishing theatrical event not to be missed.”
“the three-hour staging of the history of Lehman Brothers is such a staggering achievement… one of the finest plays I’ve ever seen.”
“It’s impossible to imagine a more spellbinding evening of theater, and the way the actors interact with one another — they are so frequently in motion that the play is practically a dance, to the tune of a near-constant piano score played live at the front of the stage — is precision itself.”