The 'move, bitch, get out the way' award for scene-stealing
Usually reserved for James Garnon: scene stealer extraordinaire, he this year bequeaths it to another Glober (well, two of them, actually). I've already written at length about how much I adored The Globe's Taming of the Shrew, and there really wasn't a weak link in the cast. However, messrs Tom Godwin and Jamie Beamish snatched the focus of every scene (and a few hearts, I'll wager). The phrase 'rakish charm' could have been invented for Godwin (who you may recognise from previous starring roles), and his lanky physical comedy was an utter delight, while Beamish's outlandish, wild-eyed Tranio was hilarious to the point of hyperventilation.
Best pigeon impression
Having bought tickets for She Stoops to Conquer mostly owing to an absolute need to see the entirety of John Heffernan's ouvre, it was Harry Hadden-Paton who made the biggest impression. An absolute master of preposterous posturing and peacocking, his Marlow was nothing short of glorious, and made it more than worth seeing twice more. He has since been known as Harry Hadden-Pigeon, with good reason.
Most adorable corpsing
Of course, I couldn't shun The Heff from these awards, deservable of his own mention as he always is. This year, his tender yet bawdy Hastings in She Stoops was a delight, but it was the last-night corpsing that I remember with most affection. Was a person ever so charmingly pelted with orange peel? I think not.
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| Aforeawarded Hadden-Pigeon and Heff (from Harry's twitter) |
Myself and the cohorts with whom I most often attend the theatre share a fondness for background acting, and thus frequently leave shows more in love with minor characters, supernumeraries and orchestra members than the leads themselves. Taming of the Shrew was no exception, with several excellent background actors working their best adorable reaction faces. We were particularly enamoured by Robert Heard's booty wiggle during The Cuckoo's Nest song - both for its extreme adorability, and it's merits as a warming device when watching an outdoor play in the cold.
Best incorporation of a capella renditions of pop songs
Posh was rightly raved about, and having missed out on seeing it the first time, I was super excited to see this year's cast -- having lost Harry H-P to She Stoops, I still got to see Tiny Hamlet (Joshua Maguire), Tom Mison and Leo Bill, so I was on board. It absolutely loved it - full of bile and pomposity, it was an exaggerated yet unsettling look at entitlement and poisonousness in the upper classes. And, aside from all that, it has a capella renditions of Sexy and I Know It. Tiny Hamlet sang at me at one point. It was a good moment.
Favourite returning characters
If you've met me, chances are I've mentioned The Globe's touring production of As You Like It from 2011. Because of how it is the best play I've ever seen. The show was revived this year, replacing its two leads and choice others, but retaining a good half of the cast. I was a tad sceptical, knowing how much I loved the ensemble as a whole last time, but was very pleased to see the new cast were just as dynamic, quick and tight as the original. I was charmed by new additions Deirdre Mullins and Will Mannering, but it was a particular treat to be able to see Will Oxborrow, Emma Pallant, Beth Park and John O'Mahony reprise the roles I so loved them in the first time.
Favourite nicknaming happenstance
Upon finding out that Will Featherstone - our background favourite of choice from The Globe's 2011 season - had landed the role of Orlando in 2012's As You Like It, my best girl Emma and I subsequently flipped out. A lot. Frantically discussing the dreamy prospect of a Northern Orlando, I decided that he should henceforth be known as Geordlando. As became tradition with the Tiny Hamlet Saga of 2011, songs were writ, tweets were twote, and poor Will was dutifully informed of our nicknamification. Even better, a fansite bearing the name appeared, the phantom owner of which is yet to be revealed (though we have our suspicions). Geordlando himself was a gorgeous, goofy, TALL delight to behold, and I can only hope and pray we haven't pissed him off too much with our stupid nicknames.
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| Geordlando and co. |
Remember when Philip Ridley wrote adorable children's books I loved, like Scribbleboy? I do. Remember when I thought seeing his plays would be a similar trip through charming storytelling? I do. Remember when it turned out that watching Ridley's raw, visceral, heartbreaking plays was like rubbing sandpaper on my heart? I DO. God this man is a marvel. I saw Shivered and Tender Napalm this year: the former actually had Emma worried I might pass out in the interval, gut-churning as it was, but I've never been gladder to have stayed thanks to its beautiful climax; while the latter saw an hour and a half of two people on stage with no props or set dressing pass in minutes, leaving me feeling like I'd barely breathed throughout. I can't describe Ridley's writing styling well enough; his words are sharp and cutting and soothing and perfect, and I would thoroughly recommend seeing any of his plays. Just take tissues.
Most pleasant surprise
Although One Man Two Guvnors was a huge sellout and monster hit, my closest theatre pals were less enthused. Their opinions being the ones I respect most, I didn't see it ... until longtime fave Ed Bennett was announced for the touring cast, and I absolutely had to. I can see why many weren't keen, but I very much enjoyed it - Bennett was predictably wonderful, tall tired frog that he is, while Rufus Hound was a surprisingly charming and adept lead. The real treat, of course, came from the music: live sixties jazz played by four guys in quiffs and burgundy suits? Yes please.
Most aptly rainsoaked
Rob and I got stellar front-row seats for York's Mystery Plays, a production of extreme scale and wonder which was deservedly raved about. (Un?)fortunately, our seats were some of the few not to be covered by the roof, and when a downpour of suitably Biblical proportions occurred, we were royally drenched - as were the poor cast. It was actually rather brilliant -- a floodlit rainstorm over a manger scene is quite, quite beautiful (shame it wasn't over the ark scene, mind). Despite it getting progressively colder and damper, the show was a joy, and the cast coped with the poor weather incredibly well. Ferdinand Kingsley's performance was something really special.
Performance of the year
You know when you see a person in a role they were born for, and when you see it a second (third, fourth...) time you can't think they can't do it any better, and yet somehow they do? This could be The Emma Pallant Story (if it had a nattier title). Her Lady Jacques in AYLI 2011 was nothing short of magnificent, and I was so excited to see her reprise the role this year. Somehow, she managed to be even better - her melancholy sharper, more biting; her snark more vivid and burning; her Seven Ages of Man speech even more heartbreaking. Seeing that, and her feather-adorned Titania in Playing Shakespeare's Midsummer Night's Dream in March, were unnecessary yet extremely welcome reminders of Pallant's talent
Show of the year (show of my life??)
I've neglected mentioning Matilda this far, much as it could have stolen any number of these awards. I didn't think anything could pip AYLI 2011 from the top spot on my 'favourite productions ever' list (and it's extremely close, as that show has incredible memories for me), but the sheer range and intensity of emotion I felt while seeing Matilda has catapulted it to the top of the list.
Rob had sent me the soundtrack early in the year, and I was instantly in love. Tim Minchin's playful, whip-smart melodies and frantic piano were the perfect accompaniment to Dahl's suprisingly dark story, tugging both hilarity and raw emotion from the plot. The mischievous tip-toeing of Naughty, the swell of children's voices in When I Grow Up, the utter beauty of Quiet - I listened to the soundtrack on loop for weeks and learned every word. I was honestly a bit nervous it wouldn't live up to my expectations when I finally saw it.
I needn't have worried a jot. It was a magical, charming, hilarious, heartbreaking, overwhelming theatre experience that filled me with more joy and exuberance than I could have ever hoped. The vivid set, the childlike yet kick-ass choreoraphy, Bertie Carvel's magnificent Trunchbull. Oh god, I could wax lyrical about it forever, and this is already getting away from me, so I'll stop. It was a wonder, and if you get a chance to see it I implore you: go, and feel what it's like to be a child again.
And one extra award: The 'LOVE YOU' award for tip-top friends and theatre cohorts
Though the stigma is waning a little, having Internet friends is still seen as a bit odd. I just want to put people who roll their eyes in a room with my web-based pals and let them see how fantastic they all are. Then they'll see. Gabriella, Emma, Sophie, Izi and Julia have been long-term theatre buds, and I was of course grateful to spend lots of time in their company in 2012, but this year in particular belongs to Jan, Rhian and Rob. Still quite new friends of mine at the start of the year, I was lucky enough to see many shows with them, and spend a good deal of time in their company, sobbing/enthusing over various shows and people. You're all gorgeous and hilarious and I hope you know how much I love you. Thanks, guys <3
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