is playing King Lear in a new production at the Bristol Old Vic. In this exclusive interview with Michael Hasted he talks about being part of a theatrical dynasty (or family business, as he prefers to call it), his long-standing relationship with theatre in Bristol, the start of his long career and his early life rep.
Read MoreThe Father is a play of outstanding quality the like of which you will rarely see. From this review it sounds heavy going, but it certainly is not. One is entertained, enthralled and involved. The ninety minutes, without interval, flash by in an instant leaving a certain emptiness but most of all, admiration.
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Into the Breach is a tour-de-force by Mark Carey for its concept, writing and his performance. He skips effortlessly between the half-dozen, eccentric characters without pausing for breath and was a joy to watch. However, I think the play’s greatest achievement was to demonstrate that, even after 400 years, Shakespeare is accessible and relevant to us all, at all times and in all circumstances.
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Although his name may not be universally familiar as a rock star, his family name will be recognised by everyone and provides the credentials that justify his autobiography being included in these august pages. The son of John le Mesurier and Hattie Jacques, his childhood was spent surrounded by actors and musicians . . .
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Ballet is often, mistakenly, thought of as elitist, difficult and serious but, as last night showed, it can be a lot of fun too. The programme consisted of four short-ish pieces, two of which could be described as playful . . . Birmingham Royal Ballet is always a joy to watch. I look forward to seeing them with a sort of childish glee of which a man of my age should be ashamed. But I’m not, I love ‘em.
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