#michael balogun

[introvertedpedant]

Stephen Dillane as Roy Branson in Series 2 Episode 6 of Sherwood (2024) - Set Four

[emergefromthenoise]

Violent delights and violent ends – a tragic lovers' tale.

All the world's a stage... Indeed, so the whole theatre becomes exactly that: from the rooftop (a distant and isolated Mantua), to the backstage corridors and fire escapes standing in for meandering streets of Verona or foyer turning into Capulet's house's halls. Use it all. And at the same time focus on the word: darkness engulfing the stage where vulnerable characters bare their desires. Micro expressions on display as cameras follow the actors around. Lights. Camera. A story of love and hate. A tragedy weaved by fate. Timeless tale.

Some raised the alarm as the casting revealed Francesca Amewudah-Rivers as Juliet, claiming it wasn't true to Shakespeare's spirit. Well, I, for one, am glad that it wasn't. Not that I have anything against men in tights, but that would be a different play entirely. Also may I remind everyone we would be subjected to some pre-teen, prepubescent males with their falsetto trying to nail Juliet's voice timbre. And Nurse's too. But then we would have been deprived of seeing such brilliant performances from Francesca and Freema [Agyeman] which would be simply a travesty. And all in a name of staying true to the original text (may I add also well known fact – Shakespeare's not so secret and nice tendency to “borrow” from other's work thus him being not so original himself).

Even though my first reaction to Freema being cast as a Nurse was: she's too young! Because in my head this character is this elderly matron rather than witty and lively Nanny. But that's the beauty of theatre and interpretation: anything goes! And oh, boy how it worked!

Francesca's Juliet is so youthful, gentle, so full of passion. One's heart sinks seeing her heart's woes. Tom's Romeo has boyish charm, rage and love so bound together it boils. His Romeo is impulsive, emotional, he brings laughter and choked silence as one observes his character being played by fate. Let's not forget Juliet is the driving force. She's “yes” or “no”, black or white, ultimatum giving kind of girl. And Romeo? Well, he's both romantic (grand gestures much?) and... well, he's a fuckboy (how fast Rosalind is in his rearview mirror, huh?). But then he's Juliet's fuckboy and heaven is not on their side.

Maybe I'm a cynic when I look at this great romance and frown and childish overreactions and hyperboles. But these two [Francesca and Tom], they're so gentle and pure, so deep, that one quickly invests in their budding feelings and looks upon them with softness knowing too well what's glooming over. The tragic face of star crossed lovers.

But these two aren't the only ones shining bright on that stage. Mercutio always has been one of my favourite characters – flamboyant, fast with words and weapons, mad or is he? Harold Perrineau made such an impact with his Mercutio [in Baz Luhrmann's Romeo+Juliet], even though not on stage, there was no other version of this character for me. But I dare to say Joshua-Alexander Williams comes real close or maybe even matches the performance. Which is incredible considering it's his professional debut. Exuberant, cheeky sidekick, cursed... and cursing the feuding families. Seemingly insane with his flowery talk turns out to be the voice of reason and prophecy in the end.

The staging is stripped back, functional, raw in it's simplicity, but not dull. Focus is on the actors and the text. Blaring music and flashing lights prevent the audience from being too comfortable in their seat – it's a tragedy after all.

'Romeo and Juliet', a tale as old as overplayed. Yet, always attracting both actors ready to add their version to the pile and crowds eager to see lovers' tragic fate onstage (and/or on screen).

Shakespeare's plays always were the entertainment for the masses, even the tragedies have characters being bigger or smaller 'comic relief'. In 'Romeo and Juliet' it would be surely the Nurse, but thanks to Freema's brilliance this character is so much more than crazy old lady. The wit is her weapon of choice, true, but the emotions and layers that spill out thanks to Freema shine a new light on this character.

It takes a special kind of talent to breathe a new life into the text and a play as a whole (and the assemble did a marvellous job at it!), especially one so well-known, played so many times that people think they have seen it all. But Jamie Lloyd has carved a reputation for himself and his innovative and bold approach (and vivisection) is doing only favours to dusty classics. It is an unmissable event.

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William Shakespeare's ROMEO & JULIET.

Dir.: Jamie Lloyd

Cast: Tom Holland, Francesca Amewudah-Rivers, Freema Agyeman, Michael Balogun, Tomiwa Edun, Mia Jerome, Daniel Quinn-Toye, Ray Sesay, Nima Taleghani, Joshua-Alexander Williams, Callum Heinrich, Kody Mortimer

In Duke of York's Theatre, London from 13 May to 3 August 2024

[Photo from Duke of York's Theatre]

[notaperfectworld]

Yes yes, I realize The Lehman Trilogy is a Tony-award winning play with Oscar & Tony-Award winning director Sam Mendes bringing it to the West End but…you mean to tell me…we might get multiple hours of Hadley in a tailored suit??? 🫣😵‍💫🥺🥵

“The three actors not only play the three Lehman brothers who founded the business but all other roles. They play their children and grandchildren, including Philip Lehman (son of Emanuel, played by Simon Russell Beale), Herbert Lehman (son of Mayer, played by Ben Miles), and Robert Lehman (son of Philip, played by Adam Godley), as well as various minor characters[20] during the unfolding of family history such as wives, toddlers, and business partners, although they never change the original costume – tailored three-piece suits often seen in 19th-century portraits of men.”

EMPHASIS MINE.

[introvertedpedant]

Stephen Dillane as Roy Branson in Series 2 Episode 6 of Sherwood (2024) - Set Two

[introvertedpedant]

Stephen Dillane as Roy Branson in Series 2 Episode 6 of Sherwood (2024) - Set One

[iheartvelma]

https://youtu.be/yVuCKaetRss

This brilliant one-man play opened at the National Theatre one week before London went back into lockdown. Available free on YouTube now (posted above).

I watched it: It’s really good, and innovatively staged.

“Michael Balogun plays Delroy with 'firecracker energy’ (★★★★ Evening Standard) in this new work by Clint Dyer and Roy Williams, which explores a Black working class man searching for truth and confronting his relationship with Great Britain.”

[reviewsphere]

THEATRE REVIEW: The Dark @ Traverse Theatre

THEATRE REVIEW: The Dark @ Traverse Theatre ⭐️⭐️⭐️ @traversetheatre @NickMakoha @RAWeiseArtist @FuelTheatre @Ovalhouse @laughandaguise #thedark

Refugee. Asylum seeker. Immigrant. Words with distinctive meanings which are often lumped together in confusion, ignorance and hatred to describe “The Other”.

A term used by poet-turned-playwright Nick Makoha in the programme notes of his autobiographical two-hander The Dark to describe the reception he faced in the UK at the hands of a toe-curlingly patronising official after his mother smuggled…

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[general-post-blog1]

I Have Visited Over 30 States In Nigeria – Michael Balogun, CEO, Tour2Nigeria (GP) -- Michael Balogun is one of the few tour operators in the country who has experienced tourism in two different worlds: Britain and Nigeria.