Anthony Walker-Cook - Page

Anthony Walker-Cook

Anthony is a PhD candidate at UCL but aspires to work in the arts industry when he finishes studying. He's probably somewhere in a theatre not working on his PhD. @AntWalker_Cook




MOST POPULAR ARTICLES
LAST 30 DAYS

BWW Review: THE GRINNING MAN, Bristol Old Vic At HomeBWW Review: THE GRINNING MAN, Bristol Old Vic At Home
Posted: Jun. 27, 2020


LAST 365 DAYS

BWW Review: TEENAGE DICK, Donmar WarehouseBWW Review: TEENAGE DICK, Donmar Warehouse
Posted: Dec. 12, 2019


BWW Review: DEATH OF A SALESMAN, Piccadilly TheatreBWW Review: DEATH OF A SALESMAN, Piccadilly Theatre
Posted: Nov. 4, 2019


BWW Review: THE TAMING OF THE SHREW, Barbican CentreBWW Review: THE TAMING OF THE SHREW, Barbican Centre
Posted: Nov. 7, 2019


BWW Review: SINGIN' IN THE RAIN, The Mill At SonningBWW Review: SINGIN' IN THE RAIN, The Mill At Sonning
Posted: Dec. 6, 2019


BWW Review: RICHARD III, Sam Wanamaker PlayhouseBWW Review: RICHARD III, Sam Wanamaker Playhouse
Posted: Nov. 23, 2019


BWW Review: SETTLING THE SCORE, Royal Albert HallBWW Review: SETTLING THE SCORE, Royal Albert Hall
Posted: Oct. 20, 2019


BWW Review: THE PRINCE OF EGYPT, Dominion TheatreBWW Review: THE PRINCE OF EGYPT, Dominion Theatre
Posted: Feb. 25, 2020


BWW Review: THE GRINNING MAN, Bristol Old Vic At Home
June 27, 2020

a?oeAnd so we find ourselves gathered once again at the altar of sweet distractiona?? purrs Julian Bleach's Barkilphedro, an ambitious court clown, at the beginning of The Grinning Man, a new musical with book and lyrics by Carl Grose and music by Tim Philips. If only, you might think: being in a theatre would do more than put a smile on my face right now.

BWW Interview: Robert Glenister Talks THE SEAGULL at the Playhouse Theatre
March 12, 2020

Robert Glenister is currently treading the boards at the Playhouse Theatre in Anya Reiss's adaptation of Chekhov's The Seagull. Starring alongside Game of Thrones's Emilia Clarke and Indira Varma, The Seagull marks Glenister's second production with director Jamie Lloyd. Glenister's recent theatre credits include Alys, Always at the Bridge Theatre and Pinter Four as part of Lloyd's Pinter at the Pinter season. BroadwayWorld spoke with Glenister about the production, adapting Chekhov, and the importance of star casting for commercial theatre.

BWW Review: WOMEN BEWARE WOMEN, Sam Wanamaker Playhouse
February 28, 2020

Following the lacklustre reception of The Taming of the Shrew, Thomas Middleton's Women Beware Women opens in the candlelit Sam Wanamaker Playhouse as part of the Globe's continuing 'She Wolves and Shrews' season. Where Shakespeare's play showed a woman tamed, however, Middleton explores the unbridled rage and fallout of women scorned.

BWW Review: THE PRINCE OF EGYPT, Dominion Theatre
February 25, 2020

When you think of theatre, what shows come to mind? An obvious answer may well be Wicked. The writer of songs such as 'Defying Gravity' and 'Popular', Stephen Schwartz is for many the epitome of musical theatre. But cast your mind back to before Wicked and remember The Prince of Egypt, a 1998 animated film for which Schwartz penned 'When You Believe'. Now at the Dominion Theatre and bolstered with 10 songs penned by Schwartz, a new adaptation of the 1990s DreamWorks film defies little other than entertainment.

Michael Billington Talks About His Career at the National Theatre
February 25, 2020

At a platform at the National Theatre on a blustery February evening, Michael Billington spoke with artistic director Rufus Norris about his career and processes. Billington stepped down from his role as chief theatre critic of the Guardian, a position he held for 48 years, at the end of 2019. 

BWW Review: PASS OVER, Kiln Theatre
February 20, 2020

After you have seen Antoinette Nwandu's Pass Over, you might give a second thought to the next street beggar you see and, probably, ignore.

BWW Interview: Kevin Mathurin Talks THE VISIT at the National Theatre
February 19, 2020

Kevin Mathurin is currently appearing in The Visit, Tony Kushner's adaptation of Friedrich Dürrenmatt's play of the same name at the National Theatre. Mathurin plays Bill, one of the inhabitants of Slurry tempted by Claire Zachanassian's offer of a billion dollars in exchange for the murder of one man...

BWW Review: THE HIGH TABLE, Bush Theatre
February 15, 2020

Love was in the air at the Bush Theatre this Valentine's Day with the opening of Temi Wilkey's new play The High Table. A heartfelt drama that spans generations of a Nigerian family, this is a confident debut.

Long Overdue Recognition of a Vital Role at the Casting Directors' Guild Awards 2020
February 12, 2020

The winners of the Casting Directors' Guild Awards 2020 have been announced! Casting directors of theatre, film and television gathered at the Ham Yard Hotel last night to celebrate the significant achievements of the guild's members.

BWW Review: THE HAYSTACK, Hampstead Theatre
February 7, 2020

Terrorism. Online security. Passwords. Encryption. Cookies. These are all familiar terms in the modern world. Odds are, as audiences take their seats in the Hampstead Theatre to watch Al Blyth's new play The Haystack, they'll finish a text or quickly dash out an e-mail before turning off their phones. The walls have ears, they used to say a?' but now, the threat seems much closer, with the objects we rely on daily becoming tools to invade our privacy. But is this a necessary evil?

BWW Interview: Debbie Kurup Talks THE PRINCE OF EGYPT in the West End
February 10, 2020

Debbie Kurup's recent roles include Blues in the Night at the Kiln Theatre), Sweet Charity at Donmar Warehouse), and Girl from the North Country at the Old Vic and in the West End. Kurup is now in Stephen Schwartz's The Prince of Egypt at the Dominion Theatre, playing the role of Queen Tuya. She spoke to BroadwayWorld about self-representation, the large scale of the show, and the theatrical magic that awaits audiences.

BWW Review: FAUSTUS: THAT DAMNED WOMAN, Lyric Hammersmith
January 28, 2020

If like many you find yourself wishing you could change the world right now, you might want to first pop down to the Lyric Hammersmith to see Chris Bush's Faustus: That Damned Woman. Taking Christopher Marlowe's Renaissance play and bringing parts of it into the twenty-first century, Bush's new work reminds audiences that dealings with the devil always ever benefit one person. Hint: it's not you or me.

BWW Review: THE SUNSET LIMITED, Boulevard Theatre
January 25, 2020

a?oeWhat is a true book?a?? Cormac McCarthy's early attempts to distinguish the nature of fiction in The Sunset Limited are, at the very least, ironic. A programme essay from Joe Penhall suggests the difficulty of the play form is the reason McCarthy has only ever had two performed. To be blunt, it shows.

BWW Review: SCENES WITH GIRLS, Royal Court
January 22, 2020

a?oeIt was human tapioca.a?? An unusual way to describe a party, perhaps, but a stickily accurate one. That's just one of many effective lines in Miriam Battye's Scenes with girls at the Royal Court. Knowing references, squeals of delight and animated gestures confirm the hilarious familiarity shared between Tosh and Lou as the two dissect said party, and from there audiences are quickly drawn into their comfortable space.

BWW Review: LONDON COMMUNITY GOSPEL CHOIR AT CHRISTMAS, Royal Albert Hall
December 15, 2019

Two towering Christmas trees dominate the stage of the Royal Albert Hall. Pillars of festive spirit, they were an ample backdrop for the London Community Gospel Choir's (LCGC) Christmas concert, which was a magical evening of love and worship.

BWW Review: FASCINATING AÏDA, Southbank Centre
December 15, 2019

Fascinating Aïda's new show offers irreverent looks to growing old, politics, the environment, dogging, and everything in between. Having gone a?oefungala?? with 'Dogging' and the infamously naughty 'Try Not To Be a C**t, It's Christmas', the group are now playing a limited four-week season at the Queen Elizabeth Hall before a spring tour in 2020.

BWW Review: TEENAGE DICK, Donmar Warehouse
December 12, 2019

It's a case of rather ironic programming that the press night for Mike Lew's Teenage Dick at the Donmar Warehouse was on the 12 December, the day of the General Election in the UK. An adaptation of Shakespeare's Richard III, Lew's new play is a meditation on the nature of power transposed to an American high school. Commissioned by The Apothetae, a theatre company dedicated to plays that discuss disability, and with direction by Michael Longhurst, Lew retells Shakespeare with a needed urgency, providing an arch reminder that the voices of the disabled have often been ignored, terrorised or shouted down from the earliest possibility.

BWW Review: THE DUCHESS OF MALFI, Almeida Theatre
December 11, 2019

Following the success of Summer and Smoke at both the Almeida and the Duke of York's theatre, director Rebecca Frecknall returns to the former venue with John Webster's The Duchess of Malfi. Taking Webster's grotesque tale of betrayal, this production sets the lives of its female characters on brutal display with a relentless atmosphere.

BWW Interview: Anna-Jane Casey Talks GIRL FROM THE NORTH COUNTRY at Gielgud Theatre
December 13, 2019

Following successful runs at the Old Vic, in the West End and in New York, Conor McPherson's Girl from the North Country returns for a limited run at the Gielgud Theatre. Anna-Jane Casey's past work includes Chicago, Billy Elliot and Calendar Girls, alongside regular appearances in the BBC's Prom series. She talks about her role, Bob Dylan's music and the audience reactions she's experienced so far.

BWW Interview: Amy Morgan Talks A KIND OF PEOPLE at the Royal Court
December 9, 2019

With recent roles in Noises Off and Exit the King, Amy Morgan can now be seen at the Royal Court performing in Gurpreet Kaur Bhatti's A Kind of People. Set during a party on a Friday night, this new play examines seven people and asks wider questions about communities in Britain today. BroadwayWorld spoke with Amy about her character, Victoria, the rehearsal process and how the play compares to her previous work in theatre.



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