Theatres across the capital felt the impact of the riots this week, with a raft of fringe and off-West End venues forced to cancel performances on police advice. The historic Hackney Empire – which was thankfully undamaged – was the site of some of the most striking images from the riots, with violence spreading to its roof. Meanwhile, over in Stratford, the Theatre Royal had to postpone rehearsals for its forthcoming production of A Clockwork Orange. Which seemed strangely appropriate Photograph: Dan Istitene/Getty Images
Up in Edinburgh, though, there were no such problems, and the worst that festivalgoers had to contend with was the weather. Indeed, at times, it would be tempting to think that police had already begun to deploy water-cannons north of the border. Much of the talk of the festival so far has concerned Audience – by Belgian theatre company Ontroerend Goed – which received raves and stinkers in equal measure, with some critics questioning whether the production’s attempts to unsettle and abuse its audience were 'artistically valid'
Photograph: Murdo Macleod for the Guardian
Meanwhile, a more mainstream hit, The King’s Speech, is gearing up to make the transition from screen to stage, with a West End version of the Oscar-winning film in the offing for 2012. And before anyone revives that old chestnut about everything in the West End being adapted from film, it’s worth bearing in mind that the production was originally envisaged as both a stage and screenplay by its author David Seidler. Former RSC boss Adrian Noble is lined up to direct, but no casting has yet been announced Photograph: PR
Monarchs aren’t the only people to suffer from debilitating vocal conditions, though. It appears that TV talent contest winners can be just as susceptible. News this week that Connie Fisher – from the BBC’s How Do You Solve a Problem Like Maria back in 2006 – has finally had to press mute on The Sound of Music. The actor has pulled out of appearing in the final stages of the show’s UK tour after failing to overcome a condition known as congenital sulcus vocalis, which had restricted her singing range (but improved her latin)
Photograph: Tristram Kenton for the Guardian
Always of strong voice himself, John Wood sadly passed away this week. The actor was perhaps best known for his work in the plays of Tom Stoppard. He created Henry Carr in Travesties (for which he won a Tony award), played Guildenstern in the US premiere of Rosencrantz and Guildenstern Are Dead, and more recently played AE Housman in The Invention of Love. Still, he was equally adept at Shakespeare – turning in a superlative Lear for the RSC Photograph: Cinetext/Allstar Picture Library
Sad news as well from all-male dance company the Featherstonehaughs and its sister group the Cholmondeleys, who will be facing their final curtain in December, having lost Arts Council funding. Alumni of the troupes include Matthew Bourne and Sadler's Wells producer Emma Gladstone. But, after losing their joint annual grant of £300,000 as part of the latest funding shake-up, both have decided to call it a day. The Featherstonehaughs will perform a final celebratory tour this October and November. Sadly, the jig is already up for the Cholmondeleys
Photograph: Tristram Kenton for the Guardian
But it’s not all doom and gloom. Jude Law – scourge of News International – has been receiving glowing notices for his turn in Anna Christie at the Donmar Warehouse. Law is appearing in Rob Ashford’s revival of Eugene O'Neill’s 1921 play as a burly Irish stoker who falls in love with Ruth Wilson’s titular character. Such has been the demand for tickets to see Law on stage in the diminutive Donmar, that seats have been swapping hands for £400 on ticket exchange sites
Photograph: Johan Persson
