“It took a lot of love to hate him”
On the one hand, Legend has a pair of cracking performances from Tom Hardy, who plays both Ronnie and Reggie Kray, that makes it an instantly interesting proposition. On the other, it’s a rather shallow, even sanitised version of events that delves into zero psychological depth and smacks of a irresponsibly glamourised take on violence that plays up to the enduring roll-call of British crime flicks that just keep on coming.
Writer and director Brian Helgeland begins with the Krays already established as East End hoodlums and tracks their rise to power as they seek to control more and more and have all of the capital under their thumb. This is seen through the prism of Reggie’s relationship and eventual marriage to Frances Shea, the teenage sister of his driver, a sprightly turn from Emily Browning when she’s allowed to act but too often she’s forced to deliver syrupy voiceover. Continue reading “DVD Review: Legend”
“I’m full of all commotion like an ocean full of rhum”
The Gershwins’ Porgy and Bess (as it appears to be styled here, in case you confuse it with Jedward’s Porgy and Bess) made for a striking component of the Open Air Theatre’s programme this summer. More folk opera than musical, it is perhaps a more challenging choice than usual but none the worse for it, the musical and dramatic spectacle heightened by an impressionistically remarkable design by Katrina Lindsay and director Timothy Sheader’s resourceful production which hammers home its musical strength.
From its tragically inclined leads, Nicola Hughes’ sensational Bess with her substance abuse issues and Rufus Bonds Jr’s impassioned dignity as Porgy, through brilliant support from the likes of Golda Roshuevel’s Serena and Sharon D Clarke’s Mariah, to the polar opposites of Jade Ewen’s impossibly pure Clara to croons the iconic lullaby ‘Summertime’ and Cedric Neal’s sleazily cocky ‘Sportin’ Life’ who swaggers through ‘It Ain’t Necessarily So’ as he ensnares Bess with his wares, the sheer size and quality of this ensemble is truly something to behold. Continue reading “Review: Porgy and Bess, Open Air Theatre”
“There must be no squeamishness over losses”
In the centenary year of the beginning of the First World War, many a theatre has programmed accordingly but few can lay as effective a tribute as the Theatre Royal Stratford East with their revival of Joan Littlewood’s Oh What A Lovely War which premiered here a little over 50 years ago. The play came in for some stick from that enlightened soul Michael Gove who denounced its political revisionism (and gave it a healthy dose of publicity to boot) but in the final moments of this emotionally exhausting show, only the most totally deluded of fools would have politics on their mind in the face of such unutterable loss of life, something that continues in battlefields today.
There is no denying that the show wears its politics clearly on its sleeve. Devised by Littlewood and Theatre Workshop in the 1960s, its depiction of the class lines within the armed forces speak firmly of its time, and it is interesting to see how the American efforts are viewed at a time before any “special relationships” had been forged. But truly at its heart is the experience of the ordinary soldier and Lez Brotherston’s design never lets us free of the unflinching barrage of information and imagery – projections simulate what life might have been life, a constantly scrolling panel of statistics keep the human cost at the front of our minds. Continue reading “Review: Oh What A Lovely War, Theatre Royal Stratford East”
“Do not rejoice in his defeat”
Despite feeling like I live in a theatre at time, my experience of Brecht has actually been very limited. When I first saw Mother Courage at the National, I hadn’t got a clue what was going on and it was a rather disconcerting experience all told. My subsequent discovery that all the shenanigans were an integral part of the show left me a little nonplussed, but since then I haven’t had the opportunity to revisit his work, or maybe I just haven’t been looking hard enough… Even when The Resistible Rise of Arturo Ui was first announced as part of Chichester’s 50th anniversary season, I can’t say the thought filled me with much anticipation.
But the cast was attractive, led by Henry Goodman, and crucially, the word of mouth from trusted souls was excellent and so I booked myself in on a day when those lovely £5 train tickets were available. And I really enjoyed myself, having one of those great experiences where a complete lack of pre-knowledge about the show really paid off to just fascinating effect. Brecht wrote the play in 1941, a story about a small-time Chicago gangster whose violent seizure and control of the cauliflower trade (I know but bear with) saw him ascend to fearsome heights, but the playwright’s true intentions are revealed through the parallels, which are soon crystal clear, with the rise to power of one Adolf Hitler. Continue reading “Review: The Resistible Rise of Arturo Ui, Minerva”
“When you speak, it sounds like poetry”
The second disc of ShakespeaRe-Told (first disc reviewed here) features reworkings of The Taming of the Shrew by Sally Wainwright and A Midsummer Night’s Dream by Peter Bowker. Shrew is a problematic play at the best of times and I have to say that I found this interpretation to be very difficult. Katherine becomes an abrasive politician aiming to become Leader of the Opposition who is advised to get married for her image, Petruchio is a foppish aristocrat who has fallen on hard times and is attracted by her wealth. They meet, sparks fly and thus do battle whilst conducting their relationship. Initially it works, as he is just as mad as her – almost cartoonish in how mental they are – but the ‘taming’ that ensues only applies to her and so the unease feeling of misogyny is always too present. Shirley Henderson gives shrewish life to Katherine (sorry) and Rufus Sewell swaggers well as the cross-dressing Petruchio, but it never really flies as a revision.
The subplot involves her supermodel sister Bianca – Jaime Murray as she bats away the affections of her manager for the seductive allure of a Spanish stranger Lucentio. I have to say that Santiago Cabrera looks pretty much like perfection here, the sexiest glasses-wearer ever, and so is forgiven for the underwhelming way in which this subplot works. Stephen Tompkinson’s manager is oddly fobbed off with the mother – Twiggy of all people – but it does lead up to a nifty conclusion in which Katherine’s hard-to-swallow speech ends up being about prenuptial agreements. David Mitchell is also featured in this as Katherine’s aide, demonstrating just how little range the man has.
Continue reading “DVD Review: ShakespeaRe-Told – The Taming of the Shrew/A Midsummer Night’s Dream”