Antonia Campbell-Hughes and Johnny Flynn lead psychological thriller Cordelia through its uneasy relationship with reality
“You’re tortured by guilt”
There’s a lot of double duty going on in Cordelia, with writers Antonia Campbell-Hughes and Adrian Shergold also taking on the roles of leading actor and director respectively. Not only that, Campbell-Hughes plays twin sisters Cordelia and Caroline in a quirkily, dark movie that lurks somewhere close to psychological horror. Rather randomly, it also marks the debut of Sally Hawkins as an executive producer.
After a traumatic event some 12 years ago, Cordelia has retreated from the world. A RADA-trained actress, she has now scored a part in the company of a production of King Lear at the Donmar and so can no longer remain holed up in the basement flat she shares with her sister in London. Over the course of a weekend when Caroline is away, Cordelia’s dalliances with the outside world are shaped, for better or worse, by her growing connection with the handsome cellist who lives upstairs. Continue reading “Film Review: Cordelia (2019)”
Messiah 2: Vengeance Is Mine keeps the gruesome intensity of this series effectively and chillingly high
“For every wrong conviction we’ve made, an innocent person could die”
Following on from the success of the first series, Messiah 2: Vengeance Is Mine continues in the same vein though it does so with an original screenplay from Lizzie Mickery, who adapted Boris Starling’s novel first time around. And much like the first series of certain successful Scandi-dramas, it manages the transition away from a highly personal narrative for its leads into something (slightly) more general.
That’s not to say that the cases here aren’t intimately linked to the key investigating team of Red Medcalfe (Ken Stott), Kate Beauchamp (Frances Grey) and Duncan Warren (Neil Dudgeon) but there’s only so far you can drag a tortured soul so directly through the mire. A subplot featuring Red’s brother does it best but you can’t deny its effectiveness in mirroring the key themes here, humanising the conflicts. Continue reading “TV Review: Messiah 2: Vengeance Is Mine (2003)”
Powerfully acted by Nicola Walker, Alun Armstrong anf Maggie Steed, Mark Ravenhill’s cleverly written The Cane is bracing stuff at the Royal Court
“These children now can hunt out anybody’s grievance and claim it as their own…they want to be offended”
Inspired by Mark Ravenhill’s realisation that some teachers retiring now would have been active when corporal punishment was outlawed in 1986, The Cane is his first new play for a goodly while. And directed by Vicky Featherstone, it is a strikingly intriguing piece of drama which has as much to say about contemporary outrage culture as it does the abuses of the past.
Edward is marking 45 years as a teacher and preparations for his retirement do are in full swing. A mob has trapped him and his wife Maureen in their own home though, inflamed by his past use of the cane, and the arrival of their daughter Anna is little comfort as she is long-estranged. And as it turns out she has both a personal and professional interest here, the atmosphere within proves no less febrile than without. Continue reading “Review: The Cane, Royal Court”
All hail the return of Nicola Walker to the stage! Get your tickets for Camelot! Discover the Heart of Darkness! Get your exam in musical theatre singing with ABRSM!
London Musical Theatre Orchestra has announced casting for Saturday’s concert version of Camelot at the London Palladium and there’s still a few tickets going. Packed with some of musical theatre’s best songs, LMTO’s concert version with full orchestra will celebrate the centenary of Alan Jay Lerner’s birth.
The role of Arthur will be played by Olivier Award-winner David Thaxton (Passion / Les Misérables / Jesus Christ Superstar), Guenevere will be played by Savannah Stevenson (Wicked / Aspects of Love / Follies), and Lancelot will be played by internationally renowned opera star Charles Rice (Mozart’s Requiem / The Barber of Seville / Candide). Continue reading “Friday feeling – news aplenty”
“Do you believe that there is a demi-monde?”
It is hard to credit that the first series of Penny Dreadful managed to encompass something as sublime as Eva Green’s magisterial lead performance as the haunted Vanessa Ives as well as one of the worst accents ever committed to celluloid (or whatever it is these days) in the form of Billie Piper’s Northern Irish brogue which, without due care, could well ignite some Troubles of its own. The transatlantic Showtime/Sky Atlantic co-production aired this summer and was conceived and written by John Logan and with an executive producer credit for Sam Mendes, it is no surprise that it is a quality product, albeit not without its issues.
Penny dreadfuls were a British 19th-century invention, sensationalist fiction with often lurid subject matter, and Logan has drawn on these alongside more well-known tales from the time from authors such as Mary Shelley, Bram Stoker and Oscar Wilde. So the show is set in 1891 London in a world heavy with the supernatural where noted explorer Sir Malcolm Murray is searching for his kidnapped daughter Mina. He is assisted by a motley crew – Green’s prepossessed Vanessa, Josh Hartnett’s sharp-shooting Ethan, Danny Sapani’s enigmatic Sembene, Harry Treadaway’s tortured Victor – but they soon find that (to borrow a phrase), the night is dark and full of terrors (and unexpected gayness).
I won’t say much more about the story as it is full of clever little reveals within the overarching narrative and I loved these ah-ha moments, Logan balances them well against his primary storytelling and the general feel of Gothic horror is maintained brilliantly. As with anything to do with the supernatural, it is more effective in suggesting what lies in the shadows (thus the séance of episode 2 is way creepier than the possession of episode 7) but that said, the make-up and effects are highly superior and the composition of Xani Giminez’s cinematography is just beautiful as the Dublin locations are utilised to their full advantage.
Continue reading “DVD Review: Penny Dreadful (Series 1)”
“I understand dear, it’s all so grand dear.”
One of the earlier Proms this year featured a semi-staged, fully-talent loaded yet inexplicably unfilmed production of Lerner and Loewe’s classic musical My Fair Lady. Fortunately it was recorded by Radio 3 so its reach wasn’t just limited to those who were able to get tickets for the Royal Albert Hall. And as befits the Proms, it was given an extraordinarily lush treatment by Shaun Kerrison, with John Wilson conducting his own orchestra of 70, using Previn’s film score orchestrations, and a classy cast and chorus plus dancers to make this quite the significant event and probably deserving of more than this mini-review.
First off, it sounded simply glorious. The score is just a delight to listen to at the best of times but given full orchestral rein here, the songs like ‘Wouldn’t it be Loverly?’, ‘On The Street Where You Live’ and ‘I Could Have Danced All Night’ amongst many many others, sparkled and shone and made an instant reminder as to why this show has endured so well. And it was largely sung well: Annalene Beechey (an actress we really ought to see more of on-stage, darn her maternal instincts ;-)) and Julian Ovenden bringing their customary interpretative skill to Eliza and Freddie and making a darn fine job of it. Continue reading “Radio Review: My Fair Lady, Prom 2 on Radio 3”
“I’ll tickle your catastrophe”
I was mildly disappointed by the second instalment of The Hollow Crown, Henry IV Part I and so it was pretty much a given that I’d feel more or less the same about Henry IV Part II and so it came to pass. In some ways, little changed: Walters and Russell Beale continued to be themselves, Heffernan continued to be neglected as a simple serving boy, the women continued to get a raw deal of it only this time Niamh Cusack got in on the action with a mere handful of lines as Lady Northumberland (and admittedly Maxine Peake rightly got a bit more screentime as Doll Tearsheet), Hiddleston and Irons continued to be epically good and it all felt a bit too theatrical for my liking.
I did like that we got more Dominc Rowan in this one, though his hair still caused me consternation, Iain Glen and Pip Carter were great additions to the cast as Warwick and Gower respectively – Glen was particularly sonorous when speaking – and everyone has got to love a scene that looks like it could have been set in a gay sauna 😉 And though they lacked a certain something, the rural scenes with David Bamber and Tim McMullan as Shallow and Silence, were largely well-played. Continue reading “TV Review: The Hollow Crown, Henry IV Part II”
“Then would I have his Harry, and he mine”
The Hollow Crown continues with Henry IV Part I, directed by Richard Eyre who also does the ensuing Part II (but not Henry V, though the productions are cross-cast). But where Rupert Goold’s Richard II embraced the form to create something more cinematic (although not to everyone’s tastes), this is an altogether more traditional affair and not necessarily the better for it.
What Eyre brings out is the father-son relationships. Tom Hiddleston’s carousing Prince Hal, partnered extremely well by David Dawson’s Poins in what was an excellent performance I thought, is movingly forced towards maturity on the battlefield, as King Henry, Jeremy Irons in impassive form and making the presence of what is admittedly quite a secondary character really stand out, laments the fecklessness of his heir. This is contrasted of course by the gumption of young Hotspur, Joe Armstrong oozing rugged charisma and forming the highlight of the whole thing for me, and in a lovely piece of casting, his real father, Alun Armstrong has been cast as his onscreen father which added poignancy to their moments. Continue reading “TV Review: The Hollow Crown, Henry IV Part I”
“There’s a reckoning to be reckoned”
Forming the culmination of the 25th Anniversary celebrations of Les Misérables was a pair of concert versions of the show taking place at the O2 centre in Greenwich which brought together the company of companies, over 500 actors and musicians joining forces to pay tribute to this enduing classic of a show. The cast and companies of the touring production and the West End production joined with a massive choir and orchestra and a hand-picked international cast performed the lead roles in this concert presentation which was also relayed live into cinemas and later released on DVD to be enjoyed by those who chose not to go (or couldn’t get tickets).
Concert versions of shows are always a bit funny, performers singing songs to each other but looking straight out at audiences and limited opportunity for acting so they can often feel a little constrained in their presentation. Here, the cast were in full costume and projections and clips from the show used to fill in some of the gaps that the songs could not fill. And it is all really rather good if not quite the self-proclaimed “musical event of a lifetime”. Continue reading “DVD Review: Les Misérables in concert: The 25th Anniversary”