Oscar-winning actor Gary Oldman given knighthood in King's Birthday Honours

He became a member of the Royal Shakespeare Company (RSC), starring in productions that included 1985's Abel And Cain at London's Almeida Theatre and first came to public attention in films including Remembrance (1982) and Sid And Nancy (1986), which saw him play the notorious punk rock star.

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The Guardian

2 days ago

• The Guardian

4.48 Psychosis review – bared anguish and delicate detail in Sarah Kane's final play

What must it have felt like to watch Sarah Kane's final play, whose depressed protagonist plots imminent suicide, knowing that the playwright killed herself the previous year? First staged in 2000, under the shadow of Kane's death in 1999, it is back now with the original creative team, including director James Macdonald and its fine three-strong cast of Daniel Evans, Jo McInnes and Madeleine Potter. They play a divided self, it seems, reflecting on illness, shame, self-loathing, love, betrayal, medication culture and – importantly – the prospect of ending it all at exactly 4.48am. Co-produced by the Royal Shakespeare Company, the play is again staged in the upstairs theatre at the Royal Court (after which it will travel to Stratford-upon-Avon). It is variously abstruse and lucid in its arguments on life, death and suicide, and still original in form. But this production feels like the reconstruction of a seminal performance rather than a seminal performance for today. Maybe this is because Kane's position has changed in the intervening decades: she sits firmly in the canon. So this replica-like revival has the strange effect of a museum piece in this 'new writing' space, posthumous and reverential. Jeremy Herbert's set is a white square with functional table, chairs and an overhanging mirror that reflects the audience and the protagonist's selves which acquire more fractured counterparts in shadow. Light alters in this room, glowing sharp or soporific, like the setting and rising of the sun (beautifully designed lighting by Nigel Edwards). There are bursts of disturbance within, reminiscent of the grey fuzz of an old TV set, which becomes an inspired visual analogy for the dismal brain fog of depression. The protagonist variously lies prone, circles the stage or sits in antagonistic conversation with a psychiatrist (another inner voice). There are deep, startlingly lyrical passages ('the cold black pond of myself') alongside bathos and grim humour; the script is an exemplar of Kane's perceptive and emotionally unswerving gifts as a writer. But dramatically it is sedate. You wish for something messier, louder, angrier. There are flickers of this – a stunning moment when the protagonist (McInnes) shouts as she lies on the table, enraged at life – yet it then returns to blankness. Maybe this non-mood is the point – a depression that leaves meaningful emotion quashed – but it evokes a kind of vacancy in the air nonetheless. There is still value in its staging and poignancy, too. It is beautifully performed with moments of bared anguish and delicate detail. The opening of the stage windows, a countervailing gesture to the reflection of a closed window on stage, is a haunting, yet exhilarating, final image. At the Royal Court theatre, London, until 5 July. Then at the Other Place, Stratford-upon-Avon, 10-27 July. In the UK and Ireland, Samaritans can be contacted on freephone 116 123, or email jo@ or jo@ In the US, you can call or text the National Suicide Prevention Lifeline on 988, chat on or text HOME to 741741 to connect with a crisis counselor. In Australia, the crisis support service Lifeline is 13 11 14. Other international helplines can be found at

BBC News

2 days ago

• BBC News

Bradford students learning English perform Shakespeare play

A group of students who came to West Yorkshire as refugees or asylum seekers are set to perform Shakespeare's The Tempest, after using the play as a way to improve their language teenagers are learning English at Bradford College, with some having only been studying the language for less than a year. Their teacher, Esther Wilkey, said learning the play has been more about understanding where language comes from rather than performing. The college has collaborated with the Royal Shakespeare Company (RSC) for the past seven years, and is the only college in the country to use its programme with almost all its students learning English as a second language. Of the 40 ESOL (English speakers of other languages) students taking part, more than 20 nationalities will take part in the performance on Friday. ESOL lecturer Ms Wilkey said: "What is really powerful about this is we've got so many different nationalities and some of these countries are at war with each other, and we've got peace in our department." Explaining how she has taught her students the sometimes complex language of Shakespeare, she said: "What's really lovely is sometimes we will look at a text and I will say to them, what do you think that means? "And they will say, I don't know, and I will say, I don't know either let's work it out from the context. "That is really relevant to them, when they come here and they don't understand words. If they can work out the context, that transfers into working on GCSE English."The students have been studying The Tempest since September, and is a tale of shipwrecked strangers meeting on an island which has obvious parallels with their experience as refugees, making Shakespeare's language come alive. Student Daniel Ghadiri said: "I want to be honest with you, when we started Shakespeare, it was boring for me, and I was thinking why do we have to study Shakespeare in Bradford College? "But when we came to the performance it was interesting to me. "If I come to Bradford College next year, I want to do Shakespeare again." Habiba Syedi added: "It really helps me because Shakespeare obviously, it is the language and the vocabulary, it really helps to improve your speaking skills. "It improves everything like English, friends, teamwork, everything."Abdurrakhman Korzhavin said: "I enjoy because I can show my vision of character to everyone, and the teamwork, it is really helpful."The college was named the 2025 winner of Association of Colleges' The Bell Foundation Excellence in ESOL Award, for its innovative approach to English teaching thanks to its work with RSC. The performance coincides with Refugee Week, which is the world's largest arts and culture festival celebrating the contributions, creativity and resilience of refugees and people seeking sanctuary. Listen to highlights from West Yorkshire on BBC Sounds, catch up with the latest episode of Look North.

Time Out

3 days ago

• Time Out

Michael Shannon: ‘I think television is garbage – I certainly don't watch it'

Striding biblically into the green room at a London Bridge rehearsal studio, Michael Shannon is a daunting figure. Six foot three, craggier than Mount Rushmore and pathologically unsmiling, the double Academy Award nominated, Kentucky-born actor has the most 'just walked out of a Cormac McCarthy novel' energy to him of anyone I've ever met. 'Are you familiar with the play?' he asks immediately, in what is possibly an innocuous opening gambit, but also possibly an attempt to determine if I'm some sort of lightweight flim-flam entertainment journalist. Because we're not here to talk showbiz. We're here to talk about his role in the Almeida Theatre's revival of Eugene O'Neill's A Moon for the Misbegotten. And also we're here to talk about my favourite band of all time, REM. You will recognise Michael Shannon. It would be truly remarkable if you hadn't seen one of his films, because according to his official bio there are over 90 of them. Whether you know him from offbeat indie flicks (of which he has made dozens), huge blockbusters (he famously played General Zod in Man of Steel and The Flash) or somewhere in between (those Oscar nominations came for Sam Mendes's Revolutionary Road and Tom Ford's Nocturnal Animals), it is a statistical inevitability that you have seen a Michael Shannon film. You'll recognise that rough-hewn face. You'll be aware he has range, but always presence and weight – he's not much of a romcom guy. What British audiences haven't seen for a long time is Michael Shannon on the stage. At home, he's an enormously prolific theatre actor: he does roughly a play a year. He's also a musician: he and musical partner Jason Narducy having spent what one can only assume to be the absolute last remaining seconds of Shannon's recent free time touring America with sets based around the first three albums of legendary indie rockers REM. Now Michael Shannon the theatre actor and Michael Shannon the musician are both heading our way. At the end of the summer he and Narducy will do two nights at the Islington Garage, playing REM's 1985 album Fables of the Reconstruction (which was recorded in London, at Wood Green's Livingstone Studios). But first A Moon for the Misbegotten, the great American playwright O'Neill's bleak but redemptive final play. It's not been seen in London since 2006, when Kevin Spacey starred as its cynical alcoholic lead James Tyrone Jr, a character based upon O'Neill's own brother. That performance made Spacey the first ever actor to have played James in both Moon and Long Day's Journey Into Night, O'Neill's most famous play, in which James Jr first appears. Now Shannon makes that a club of two. You played James Tyrone Jr on Broadway in a 2016 production of Long Day's Journey – presumably that was a good experience? 'Oh, that's one of my favourite productions I've ever been involved with. I adored the cast. Jessica Lange as my mum, and Gabriel Byrne as my dad, and John Gallagher Jr as my brother. Just a very, very tight knit group. I love building families on stage. It's one of the primary things that theatre is useful for, I think: we all have families, so we love to see others and how they function.' You must have been aware James Jr was in another O'Neill play: did you have long-held aspirations to do A Moon for the Misbegotten? 'Well, people would come to see Long Day's Journey and they mentioned A Moon for the Misbegotten. They'd say that I should do it. But I had no idea how that would ever come to pass. So it just kind of went in one ear and out the other. And then lo and behold my agent said that Rebecca [Frecknall, director] wanted to speak with me and it was like a gift.' UK audiences probably don't realise what an enormous amount of theatre you do despite your screen success – presumably it's very important to you? 'Film is a director's medium and TV is run by writers and producers and corporate overlords. I mean, I do television, because from time to time there are interesting projects that come across my desk, but by and large, I think television is garbage. I certainly don't watch it. Films are more interesting, but they're the director's medium, they're not theatre where an actor can really do their thing. I like acting, so that's why I do theatre. Do the lines between film and TV feel blurred in the streamer era? Like you have a new Netflix show (Death by Lightning) coming up… 'The thing I've learned about TV is you enjoy shooting it, but my expectations for it are zero. You walk away and you expect them to destroy it. That's what you expect. If and when you ever actually watch the damn thing, you expect it to be hugely disappointing, because a bunch of morons are gonna go in and screw it up.' But the buck stops with you on stage? 'There's no morons that come in who know nothing about art and have no training in the arts whatsoever manipulating the hard work that you've done as an artist and turning it into crap. In the theatre what the audience sees is what I want them to see.' What's a hard sell from you on Eugene O'Neill and this play? 'I think O'Neill is one of the finest playwrights who's ever lived. You know, Long Day's Journey, when he wrote it, he didn't want it to be produced because it was so personal to him, he didn't really think it was anybody's business. He was trying to ease his own suffering and I think it's similar with this play. The depth of the trauma he's trying to exorcise out of his own consciousness writing these plays, I have a tremendous amount of respect for it. We're really lucky to to have O'Neill because he changed drama forever.' James Tyrone Jr is based on O'Neill's older brother – do you find information like that useful or do you prefer to just build your own character? 'I mean I do both, you're a fool not to do as much research as you can. Now, 90 percent of it you may dispense with and say: I don't need to remember that or think about that ever again, but it's not going to hurt you, you know?' Let's talk about REM. You have an REM covers band, which is an unusual thing for a very busy actor to have… 'It was not my choice necessarily. We originated as a one-off show, a one-off performance of Murmur. That's what Jason Narducy and I do. We pick a record, we play the record, that's it. We do it one time. But we did Murmur in Chicago at a venue called Metro, and it was very popular and other venues started reaching out to Jason and saying please come do this here. And so, that was when Jason turned and said, well, what do you think? Should we do it more than once?' And then you toured the next two REM records… 'People were like, OK, are you gonna do the next one, which is very flattering. But I was not writing in my diary one night saying, you know, dear diary: I would like to go on tour with a band that plays REM. It was just kind of manifest destiny or something. We love playing it, people love hearing it, the band has been supportive and they're just the kindest, sweetest human beings you could ever want to meet.' The band recorded Fables in London – I think they famously had a fairly miserable time… 'One of the things I find most impressive was just what hard workers they were, all four of them, just the way they toured, the amount of music they created in such a short period of time. Those first five, six records – it's just unbelievable what they managed before they were even 30 years old.' Michael Stipe's early lyrics are famously indecipherable – as an actor do you feel you need to understand a song like 'Harborcoat' or 'Radio Free Europe' in the same way you understand James Jr? 'It's a different kind of understanding. I think words are not as effective at communicating as we like to think they are, which is why music is oftentimes so compelling. Which is why, frankly, probably a lot more people are moved by 'Harborcoat' than by going to see a play, because something's happening in that compressed period of time that is really at a very high frequency. It's a way people communicate a lot more effectively, than just language. Language is overrated I think. ' What have you been listening to lately? 'As I'm working on the play, I've been listening to a lot of ragtime; ragtime may actually predate this period, but for some reason it's been resonating with me as I work on that.' Oh interesting – I'd sort of assumed you were an indie rock guy… 'My musical taste is not even something you could write about really. It's too far reaching. I love music more than I could possibly express. I am not an indie rock guy. It doesn't mean I don't enjoy indie rock. I love indie rock. But I also love 50 other kinds of music.' You've been in over 90 films, plus TV, plus a play most years, plus a band: you, I mean, do you not ever require a break? That has to be relentless… 'Over 90? Really?' That's what it says in the bio your publicist sent over! 'Oh, well, there's no mandate for working or not working or anything.' You can't be taking much time off! 'I guess mathematically you might have a point, but I don't think much about it. There's a lot of stuff I don't do, where I'm like no, no thank you. But it's all a blur. They asked me to write my bio for the programme and at this point, I just find it kind of scary. I don't wanna even think about it, like it's a mess. Yes, I've done a lot of stuff. Just put: I've done a lot of stuff, the end. And then you write the damn thing and then they're like, oh, it's too long. What difference does it make what anybody's done? Yesterday, doesn't really even freaking matter. All that matters is right now.' A Moon for the Misbegotten is at the Almeida Theatre, now until Aug 16. Michael Shannon and Jason Narducy play The Garage, Aug 22 and 23.