Talking with “Misfits” Actors Iwan Rheon and Nathan Stewart-Jarrett

Nathan Stewart-Jarrett and Iwan Rheon(photo: Dave M. Bennett/Getty)

It’s tough doing an oversees phone interview with U.K. actors when the connection is spotty and the Olympics festivities are going on full blare in the background. But MisfitsNathan Stewart-Jarrett and Iwan Rheon were game if we were, and it was particularly sporting of Rheon as he’s no longer even on the series. (He left at the end of Season 3 when his character traveled back in time.) But Rheon is thrilled that American TV audiences are finally getting to see the show [now airing on Logo] since he and the rest of the Misfits cast and crew “put so much work into it, and so much love.”

Here’s six things we learned via our chat that might interest fans of Misfits, Iwan Rheon, Nathan Stewart-Jarrett… and even fans of HBO’s Game of Thrones.

His character Curtis is a track and field star, whereas Stewart-Jarrett “regularly loses at table tennis.” The actor is also not nearly as serious as the character he plays, something that comes across on our call.  Curious who in the Season 1 Misfits cast is the most like the character they play? Stewart-Jarrett and Rheon both agree it’s a tie between Lauren Socha (Kelly) and Robert Sheehan (Nathan).

The casting call that went out for new character Alex described him as “the sexiest guy on the estate. He is super good looking, all the girls fancy him, but for some reason he is very standoffish, he doesn’t seem interested in girls. Everyone reads this as being extremely suspicious and suspect it’s power related.”

That description led more than a few commenters to speculate that Alex might be gay, but when I asked Stewart-Jarrett whether Season 4 had a storyline that LGBT audiences might be especially drawn to – and in particular to give us more information about Alex’s storyline – he was careful not to get gay fans’ hopes up…

Stewart-Jarrett: [Of Alex.] Well, that isn’t in a sense that kind of storyline. [pauses] I’m trying to think through the storyline now… I don’t think that’s a storyline that would really reflect that to be honest with you.  I think the one more relevant to gay and lesbian audiences would be the one in season three, with Curtis changing into a woman.

No guarantees of course, but it doesn’t seem like Stewart-Jarrett would have made the above observation if new guy Alex played on Team Gay.

When Season 3 left off, Curtis had traded in his gender switching power for the power to raise the dead. Still, I asked Stewart-Jarrett, currently on a break from filming Season 4, if maybe his characters’ female embodiment Melissa (played by actress Kehinde Fadipe) would possibly make a return appearance. Says the actor, “no, it’s kind of done because of that power swap thing. I gave up that power and in giving that up I suppose she dies. That part of me dies.”

I asked if Curtis would have a different power at the start of the new season, or will he keep the ability to raise the dead? The actor let on that his supernatural ability “pretty much stays the same, which is unfortunate for him. It’s a great power, but it has its setbacks.”

(Not the least of which is that the people and animals he brings back are flesh hungry zombies!)

Rheon has reportedly landed a role in Game of Thrones’ upcoming third season. There are first-hand accounts of him being spotted on set, and then there’s that picture of him hanging out with other GoT cast members at a Belfast pub near where filming is taking place…

As rumor has it, Rheon will be playing Ramsay Snow, Lord Bolton’s bastard son and a truly nasty piece of work. (In the books, Ramsay spends a lot of time flaying people alive, cutting off fingers, pulling out teeth and such). I asked the actor if he could confirm that he would be playing the villainous Ramsay Snow, and here’s what he had to say on the subject…

Rheon: Well I’m playing… I’m possibly in the show.. and if I was to be in the show I’d be playing a character called “the Boy”… Uhm, yeah, I can’t really talk about it.

As I said, cagey, but GoT fansites make a good case that “Boy” is actually the bastard of Bolton, Ramsay Snow. Draw your own conclusions.

If you haven’t already, check out Rheon’s EP Changing Times, available on iTunes. Here he is performing one of the tracks…

Says Rheon of his sideline recording career: “I’ve always been into music like from a very young age, and I’ve always played guitar and written songs and all that – and I love it, but the way it’s all turned out in my life… the acting’s sort of taken the leading role if you like. So it’s turned out like that… which I quite like because it means I can do the music in my spare time and write and record stuff. And if anyone wants to listen to it that’s great. It’s very much a no pressure thing.”

 6. Nathan Stewart-Jarrett, like many of his countrymen has gotten quite a kick out of Mitt Romney’s gaffe-prone foreign tour.

I asked him his impression of the U.S. Republican Presidential nominee’s visit to the U.K.

Stewart-Jarrett: “Romney put his foot in it badly. So badly! He’s done like a few of them. First he did the whole ’We’re not ready for the Olympics’ bit, and then he called the leader of the opposition [Edward Miliband] ’Mr. Leader’. So yeah, he’s not doing great at the moment. Is he ever going to release his tax returns?”

Apparently, even the British are scratching their heads over that one.

Angels in America review – Garfield and Lane excel in Kushner’s surreal epic

Lyttelton, LondonTwenty-five years after its first production, this eight-hour fantasia is revealed as both a document of the Aids crisis and an enduringly relevant commentary on US politics

First: do these two plays justify their formidable eight-hour length? The answer is a qualified yes. Second: written in the early 1990s, do they come across as a fascinating period document, or something that speaks to us today? The answer is, a bit of both.

In the tighter, tauter first play, Millennium Approaches, Kushner certainly captures the fear and uncertainty caused by the Aids crisis: this is 1985, and many of the characters are in a state of sexual denial.

The most vividly drawn is the power-broking lawyer, Roy Cohn, who rejects the label of homosexual on the grounds that they are men who have “zero clout”. But both Joe Pitt, a married Mormon, and his Valium-addicted wife are unable to openly acknowledge the fact that Joe is gay.

Louis, a word-processing Jewish clerk, also flees in terror when he believes his lover, Prior Walter, to be dying of Aids. Almost the only character who is fully honest about his sexuality is Prior himself, confronting mortality with whatever courage he can muster. Prejudice and homophobia still exist but, watching the first play, one is reminded how much has changed since it was written in terms of gay rights, sexual openness and HIV-testing.

If progress has been made in some areas, however, Kushner’s apocalyptic view of American politics now looks amply justified. The action takes place at the start of Reagan’s second term, and in one scene a justice department official exults in the possibilities ahead: “It’s really the end of liberalism. The end of New Deal socialism. The end of ipso facto secular humanism. The dawning of a genuinely American political personality.”

Even allowing for the intervening presidencies of Clinton and Obama, this has a chilling resonance today; and it comes as no surprise to learn that the corrupt Cohn acted as Donald Trump’s legal adviser for a decade.

But what really hits one is the expansiveness of Kushner’s imagination and the rich opportunities he creates for actors. Lane, seen previously on the London stage as Max Bialystock in The Producers, is magnetic as Cohn, creating a figure who is part predator, part patriarch but, above all, a victim of his own sad delusions about the significance of power. Meanwhile, Garfield as Prior excellently combines a head-tossing, period-style camp with the desperate anguish of a man craving love in his hour of need.

James McArdle has just the right guilt-ridden charisma as his defecting lover, Louis, while Russell Tovey as a closeted Mormon and Denise Gough as his tormented wife exactly convey the agonies of a marriage mired in lies and self-deception.

After this, the four-hour second play, Perestroika, seems wilder, stranger, more surreal. I have to admit that Kushner loses me when he introduces angels into the action, even if their function is to suggest that they have been deserted by God, are doomed to inertia and that it is up to mankind to sort out its problems. Elliott stages the idea of angelic intervention ingeniously, with Amanda Lawrence appearing with spreadeagled wings and supported by a group of spectral shadows. But the writing gets woollier the further Kushner strays from the recognisable and the earth-bound.

The best scenes in Perestroika are those that follow the fortunes of the characters we have come to know. Lane’s Cohn remains the embodiment of bullying, power-hungry manipulativeness, but we almost come to pity him as he rages against encroaching death. Nathan Stewart-Jarrett as Belize, the one-time drag queen who becomes Cohn’s night nurse, touchingly suggests a certain compassion for a man whose politics he loathes.

The character who develops most in the second play is Garfield’s Prior Walter. Having narrowly escaped death, he haunts the action with his long, pale face and black cloak and towards the end comes to embody the urge to live and the painful progress that seems the best hope for the human race. Garfield also establishes a close bond with the unlikely figure of a Mormon matriarch, whom Susan Brown, among myriad other roles, portrays with a puzzled kindliness.

There are passages of wonderful writing in both plays. There are also some good jokes, as when Cohn, who sent the Ethel Rosenberg of history to her death, delights in the fact that her reincarnation is chanting over his hospitalised body: “I finally wanted to see,” he says, “if I could make Ethel Rosenberg sing.” There are also times, especially in Perestroika, when you feel, as one character says, that too much imagination is dangerous and can blow up in your face.

What is one left with at the end of eight hours? Some memorable images, thanks to Ian MacNeil’s design. Some astonishing performances from a very good cast. But the prime impression is of Kushner’s conviction that, although we live in dark times where both God and Marx are dead, there is always hope in the instinct for survival and the tenacity of the human spirit.

Angels in America review – Garfield and Lane excel in Kushner's surreal epic

Angels in America: A Gay Fantasia on National Themes Audible Audiobook – Original recording

In this production, adapted especially for the listening experience, Andrew Garfield, Nathan Lane, and the entire cast recreate their acclaimed performances from the 2018 Tony Award-winning National Theatre revival of . With narration by Bobby Cannavale and Edie Falco, and a musical score by Adrian Sutton, this audiobook is a compelling and immersive theatrical listening experience.

A play in two parts, „Millennium Approaches“ and „Perestroika“, is a complex and insightful look into identity, community, justice, and redemption.

New Yorkers grapple with life and death, love and sex, and heaven and hell as the AIDS crisis intensifies during a time of political reaction – the Reagan Republican counterrevolution of the 1980s. 

Published to celebrate the Broadway revival, this is a unique opportunity to hear one of the most honored and timeless plays in American history. 

 Angels in America: A Gay Fantasia on National Themes Audible Audiobook – Original recording

Angels in America review – Kushner’s epic ‘gay fantasia’ flies again

Lyttelton, LondonGaudy and unflinching, Tony Kushner’s 90s Aids drama still resonates in this bold, starry revival directed by Marianne Elliott

Yet Tony Kushner’s “gay fantasia on national themes” is theatrical to the very tips of its gilded wings. Flaunting, gaudy and unflinching, it does something only the stage can do: capture a piece of history and deliver it in the flesh of today. First staged at the National in 1993, this eight-hour epic is set in the New York of 1985, with Reagan in the White House and the terror of Aids at its height.

A gay man shows his lover the patches on his skin: “I am a lesionnaire.” The partner scarpers. A Mormon tries to hide his homosexuality from his wife. When he comes out to his mother, she declares he is being “ridiculous” – overreacting to the realisation that his father did not love him. It is strong, hearing this in the year that marks half a century since the decriminalisation of homosexuality in Britain. As it is to note some dismaying continuities. No nudges or winks are needed to highlight political parallels. The deeply sinister Roy M Cohn, an abrasive to the core Nathan Lane, is a central character, denying his homosexuality, boasting about having sent the Rosenbergs to their deaths: “Half the time I make it up and it still turns out to be true.” He was Donald Trump’s legal adviser.

Documentary resonance is a tiny part of Kushner’s freewheeling extravaganza. A fractured society is projected jaggedly in discontinuous scenes. Ian MacNeil’s design, which creates a luridly enticing Central Park from verdant fluorescent tubes, embodies this: each episode is contained in gliding boxes that do not intersect. Hallucination, illusion, self-deception and visions fuel the action.

Who better to take on its imaginative surges than Marianne Elliott, part-creator of War Horse, and the one-woman rebuttal of the idea that female directors excel not in boldness but in detail. She makes speeches crystal clear: one of the best moments is terrific James McArdle as the self-consciously Jewish lover who eloquently unleashes a flurry of reservations, self-criticism and qualification while missing the main point. She opens the stage to visual glory. To the peerless Amanda Lawrence descending as a harpy angel – with hair like a dandelion clock, and a dark scuttle of puppeteers wagging her skeletal wings. To a column of fire bursting from the floor. To a wonderfully comic mannequin Mormon family.

I wish she had taken a scythe to the garrulous second half of the play, where passages of gobbledygook are aimed like missiles at the audience: sneer at this and you are a dunce. But each major performance is meticulous. Denise Gough, powerful but nuanced in an underwritten part – a wife – makes a character bleached out with fatigue look vivid. Russell Tovey is a fine slow burner as the Mormon. Nathan Stewart-Jarrett is giddily beguiling as the sympathetic nurse who snaps on surgical gloves and wit with equal facility. Andrew Garfield, the Aids patient, abandoned lover, seer and survivor, is a proselytiser, an apostle of hope. That spiralling neck, languorous glances, sharp phrases, that glimpse into another world. Angelic.

Angels in America is at the Lyttelton, London, until 19 August

Angels in America review – Kushner’s epic ‘gay fantasia’ flies again

Soulmates Q&A — Nathan Stewart-Jarrett (Jonah)

Nathan Stewart-Jarrett, who plays Jonah on this week’s episode of Soulmates, talks about when his character first falls for Mateo, how Mateo’s soulmate complicates matters, and the fun caper-feel of this episode.Q: Have you ever worked on a project based in the future?A: I really don’t think so. I’ve done alternate versions of reality, which is obviously all fiction. Doing this show, it didn’t feel like the future, which is probably a testament to its concept of the show. It was obviously set in the future, but I felt like we were based in reality. It’s the small things like how our phones look or a certain billboard that tells viewers all of this isn’t actually happening now. It’s really lovely to think all of this is really about the people and the story—it doesn’t feel completely alien to where we are now.Q: What drew you to this project?A: I was right in the middle of filming something and I had to audition for [Soulmates] and I was like, „Hmmm, no, this is not going to happen. I have too much work to do.“ But I read it and thought this is everything I love to watch and the script is so fun. There’s so much humor and humanity in it that I was like this is Romancing the Stone in 2035 and I’ve got to do this. I’ve never seen that with two gay men—this is not something that’s done often or ever. Plus I love caper movies, they’re just really fun.I also loved the crime aspect. I love the fact that you’ve got these two people going through this journey within a day, and it’s really lovely and mostly fun. With Jonah, there’s such a vulnerability as well. So there was that duality of running around, being silly, riding bikes, getting shot, blah blah blah blah, and romance all coupled with the fact that this person’s a little lost. So I raced from Wales where I was shooting and ran back to London. I looked at the script on the train, did my audition, and then went back to Wales. I’m really glad they said yes.Q: What do you think Jonah’s first impression of Mateo is?A: I think he sees an opposite. They’re both pretty lost, and obviously he’s a good-looking person, so there is that. But I think he sees his opposite and he’s drawn to that. I think that is really what draws him in, that this person is grumpy and he doesn’t hide that. And obviously Bill [Skarsgård], (who plays Mateo), didn’t get hit by any branches of the ugly tree, so I’m sure that’s part of it too.Q: We learn pretty quickly that Jonah can’t be trusted after he steals Mateo’s passport and sells it. Is Jonah a bad guy?A: I think that was out of necessity. I don’t think that he’s a bad person. I think he’s in a bad situation and that’s how he survives. I also don’t think that Jonah decided he would do that immediately. I think it was more about feeling rejected, so he was like, „I may as well. It’s what I do anyway!“ So I don’t think he’s bad. For some people the world has slightly forgotten them, so they say, „Well, f— you. I’m gonna forget about you as well.“ He’s lost, but I don’t think he’s bad by any means.Q: When Jonah first sets out to help Mateo find his passport, is he really looking for it or is he just running Mateo around in circles?A: I think there was probably a shorter path to that (laughs). But I think he knows that he has to do it. He knows that if you lose a passport in a foreign country, you’re not going to suddenly stop looking for it. But I think there’s definitely a degree of reluctance, and I don’t think he wants him to go. He knows that [Mateo] has to go, that he has a soulmate, and it’s not Jonah.Q: When do you think Jonah realizes there’s something more going on between him and Mateo?A: It’s pretty early on. When they first hook up, I think there’s something that happens to Jonah, but it probably doesn’t happen to Mateo. We see that—there’s a shot where Jonah goes into the bathroom and he’s got a sock over his mouth and he’s just like, „Oh God,“ because I think he’s actually already got the feels for this person. When Mateo says, „I’m going to leave,“ he’s like, „I’m never going to see you again and you got some money, so see ya!“ But I think for Jonah it’s pretty early on. I’m not a grifter, but I imagine that it’s a pretty lonely life, so I think they might be drawn to someone immediately.Q: How does Mateo being on his way to find his soulmate affect Jonah’s behavior in the development of their relationship?A: He’s probably extremely jealous. Jealous not just because he wanted Mateo to want him, but also because he hasn’t got a soulmate. Jonah said he thinks love exists, but just not for him, which doesn’t really make sense in the world he’s living in. It’s like how certain people say, „I’m not going to get an iPhone or an Android. I’m just going to get a flip phone.“ Jonah lives in a different direction of where the world’s going. He’s met someone in real life without an app, without a soulmate, without anything, and really likes this person. So I think he’s probably like, „Well, this is real. I’m here, and you’re still going away to someone else.“Q: Was this episode as fun to film as it looked? Especially those bikes…A: I lost weight! We were running around like mad men. It was a lot of fun. Marco [Kreuzpaintner], the director, was great, and it was just a really great experience. Madrid isn’t as warm as you think it is at that time of year. We were both wearing shorts and we were freezing, but the crew was amazing. It’s hard not to have fun doing those things. It’s a caper, so you’re actually doing it. You’re actually running away from fireworks on these little bikes. I’ve done a lot of different jobs where you’re just sat behind a desk. But there’s movement in this script—we’re running around and you’re going to have fun!Read a Q&A with Laia Costa, who played Libby on last week’s more exclusive Soulmates content and videos directly to your inbox when you sign up for the Soulmates email list.

Soulmates Q&A — Nathan Stewart-Jarrett (Jonah)

Angels in America: A Gay Fantasia on National Themes Audible Hörbuch – Originalaufnahme

In this production, adapted especially for the listening experience, Andrew Garfield, Nathan Lane, and the entire cast recreate their acclaimed performances from the 2018 Tony Award-winning National Theatre revival of . With narration by Bobby Cannavale and Edie Falco, and a musical score by Adrian Sutton, this audiobook is a compelling and immersive theatrical listening experience.

A play in two parts, „Millennium Approaches“ and „Perestroika“, is a complex and insightful look into identity, community, justice, and redemption.

New Yorkers grapple with life and death, love and sex, and heaven and hell as the AIDS crisis intensifies during a time of political reaction – the Reagan Republican counterrevolution of the 1980s. 

Published to celebrate the Broadway revival, this is a unique opportunity to hear one of the most honored and timeless plays in American history. 

The Comedian (DVD Review)

Ed (Edward Hogg) is in his early 30s, a northerner who’s been living in London for a decade and is hoping to make it big as a comedian. However few people seem to laugh at his jokes, with a compere describing his act as ‘interesting’ rather than funny.

Outside comedy he’s stuck in a phone call centre job he hates and has a slightly dysfunctional relationship with his flatmate, who’s in love with him even though he’s gay. After striking up a conversation with a man (Nathan Stewart-Jarrett) on a bus, they start a relationship, which begins to highlight the ennui and sadness at the heart of Ed’s life. [Read more…]

The Comedian Trailer – Take a look at the intriguing LGBT themed festival hit

Following successful screenings at the London Film Festival and BFI London Lesbian & Gay Film Festival, The Comedian is due to hit cinemas on May 21st. Sosogay got the first look at the trailer, which you can see above.

It takes on an interesting subject – what happens if a loving but asexual relationship between a man and woman is disrupted when he begins an affair with a man?

Here’s the synopsis: ‘Ed is a stand up comedian in his early thirties, he is handsome, charming, witty and lost.

‘Trying to make it on the London comedy circuit, he spends his nights performing in small rooms above pubs and his days making ends meet at a call centre. He lives with Elisa, a beautiful French singer, the two like brother and sister, inseparable, loving and asexual. Ed funny and playful, Elisa soulful and sensitive.

‘One day, on a night bus home, Ed meets Nathan, a young black artist, blunt, honest and free. They immediately connect and begin a passionate affair. Suddenly the intimate bond between Ed and Elisa is threatened and Ed is faced with a choice between his attraction to a man and his love for a woman. Set in the immediate and random background of today’s London. The Comedian is a fresh, dramatic and funny story about choices and how not to make them.’ [Read more…]

‚Soulmates‘: Bill Skarsgard and Nathan Stewart-Jarrett Have an Unexpected Layover (Exclusive Clip)

The provocative six-part AMC anthology series Soulmates explores what happens when a technology can determine one’s soulmate. Each episode explores the implications of what taking or not taking that test has on individuals and relationships. In “Layover,” Nathan Stewart-Jarrett () and ) play a pair of gay men who have a chance encounter, leading them on an unexpected adventure. 

The episode, which is easily the best so far, is “kind of a crime caper,” Stewart-Jarrett, who made his acclaimed Broadway debut in the 2018 revival of Angels in America and has appeared on Famous in Love, tells ET. “I thought, ‘You’ve never seen it. There are lots of different male-female relationships moving into relationships through a caper and I have not seen two gay characters go through that.”

The actor adds, “I think it was really, really exciting and just really fun on the initial read. I feel from what I’ve seen, it’s a bit of a jump away thematically from the rest of the world [of Soulmates], so it’s exciting to be a bit of the outlier there.”

As Jonah, Stewart-Jarrett seduces Mateo before stealing his passport, delaying his trip to Colombia where he was set to meet his soulmate. Determined to help him get it back, Jonah finds himself catching feelings while also trying to survive one expected situation after the next. 

What makes this journey so believable is the natural chemistry between the two actors, as seen in ET’s exclusive clip from the upcoming episode. “I’ve never met [Bill] before and it was great,” Stewart-Jarrett says of working with his co-star, teasing that in their first shot on set, “we were literally tied together. What can I really say? [We’re] literally tied together.”

While how they end up tied together is a bit of a spoiler about where their adventure takes the two men, their unexpected encounter does complicate things for Mateo, who already has been assigned a soulmate — even though he hasn’t met him yet.

“The point of it is that they met in real life and whether that is a great future they have and it’s wonderful or whether it’s a fun affair, or whatever that may be is that they met person to person and that is what propels them forward,” Stewart-Jarrett says of Mateo and Jonah, reflecting on the notion of the series. “I don’t think that it matters if they’re soulmates or not, really. I think they had an experience, and hopefully once the credits roll, they have a wonderful, long life and more experiences together.”

User Reviews

The Comedian (2012) This movie could best be described as experimental and fitting into the Art House genre. As such it might not appeal to everybody. It was funded by the British Film Institute and filmed with an unusual production methodology: work-shopping the script from the cast’s improvisations, insisting on only one take (with two cameras) per scene, and shooting only in actual London locations, using only naturally available lighting. Even the comedy gigs and acoustic music acts were performed in real London clubs before uninvited and undirected audiences. The actors all use their real first names as their characters‘ names. It seems the filmmaker was aiming for ultra-naturalistic performances in which London itself is as much the star as are any of the actors. Its maker described the film as a „wildlife documentary about human relations.“ Perhaps it’s intending to be the ultimate in Cinema Verité. Hollywood it is most definitely NOT! Ed is an aspiring stand up comedian in his early thirties. While he is almost handsome, charming and witty, he is most definitely lost. Trying to make it on the London comedy club circuit, he spends his nights performing in small rooms above pubs and his days attempting to make ends meet by working in a call centre selling female-specific insurance against cancer. He lives with Elisa, a beautiful French singer in a non-sexual relationship, like brother and sister. Then, out of the blue, Ed meets Nathan a young artist who is blunt, honest and free. They immediately connect with each other and begin a passionate central theme of the movie is the dynamic that emerges between Nathan and Ed when they meet on a bus after one of Ed’s laughter-challenged comedy performances. „Who told you that you were funny?“ Nathan mischievously asks Ed before inviting him back to his place. The depiction of these characters — two men, one white and one black, both of whom just happen to be gay, and for whom sexuality is just one component of their identities could resonate with audiences of all sexual persuasions.I enjoyed the movie, though I don’t see it getting a major theatrical release. My guess is that it will only get to be shown in Art House cinemas and on the Gay and Lesbian Film Festival circuit. I’d love to get proved wrong though! 🙂

Review – Angels In America : A Gay Fantasia on National Themes, Part 2: Perestroika

What to add to our pontifications on Tony Kushner‘s  that we haven’t already mentioned?

That there was a long line to collect tickets as they wouldn’t issue Part 2 tickets when we collected our Part 1 ones (are they thing?). That we queued to get into the auditorium as they didn’t open the doors until 7pm for our 7pm performance. That (apart from two intervals) we were in our cheap 4th row cramped budget airline seats for much of the 4 and three-quarter hours. That’s the flying time to Greenland. Read the rest of this entry »

Posted in West End Whingers| Leave a Comment » Tags: Amanda LawrenceAndrew GarfieldAngels in AmericaDenise GoughentertainmentJames McArdleLondonMarianne ElliottNathan LaneNathan Stewart-JarrettNational TheatreNicky GillibrandplayreviewRussell ToveySusan BrowntheatreTony Kushnerwest end

Review – Angels In America : A Gay Fantasia on National Themes, Part 1: Millennium Approaches, National Theatre

Over 7 hours, 2 nights and at least 3 intervals (we do not yet know how many Part 2 holds). How terribly indulgent. It’s almost as long as its title. Phil saw the original production of Angels in America at the National back in 1992, yet, still he came back for more.

25 years ago Henry Goodman played closeted Roy Cohn, Trump and McCarthyite attorney, Nixon advisor, Rosenberg prosecutor, and all round shyster-meister. Here the casting coup is Nathan Lane. Mildly ironic that Lane should be taking the Goodman role since Goodman infamously (and briefly) took over from Lane when he left the Broadway run of The Producers. Read the rest of this entry »

Posted in West End Whingers| 2 Comments » Tags: Amanda LawrenceAndrew GarfieldAngels in AmericacomedyDenise GoughentertainmentLondonMarianne ElliottNathan LaneNathan Stewart-JarrettNational TheatreplayreviewRussell ToveySusan BrowntheatreTony Kushnerwest end