Robert Zemeckis takes on Roald Dahl’s The Witches for a new spin but loses his purpose pretty quickly. And Anne Hathaway is no Anjelica Huston as the Grand High Witch
“That’s how you wanna play, we’ll play”
I swear I went into watching this ‘reimagining’ of The Witches with as open a mind as I could muster but the truth, Nicolas Roeg’s iconic 1990 film looms incredibly large in the mind as I first saw it then as an impressionable 11 year old. The fabulousness of Anjelica Huston’s performance, and Jane Horrocks’ menacing work too, etched themselves on my mind, leaving Robert Zemeckis with lots to do here.
And I’m not sure he really does it. His screenplay, written with Guillermo Del Toro and Kenya Barris, shifts the action to Alabama in the late 1960s but does little with that, aside from casting the excellent Octavia Spencer as Grandma alongside Jahzir Bruno’s Charlie. And in simply retreading familiar ground, there’s little that really gives any sort of compelling reason for this new adaptation to exist. Continue reading “Film review: The Witches (2020)”
“A man dare not play the tyrant in London, because there are so many examples to encourage the subject to rebel.”
It may be The Beaux’ Stratagem but it is Mrs Sullen’s play. The most striking thing about Simon Godwin’s production of George Farquhar’s final Restoration comedy is its determinedly proto-feminist stance as Mrs Sullen – an independently wealthy woman now desperately unhappily married – is given surprising agency to express herself in a meaningful way and attempt to extricate herself from her situation. And in Susannah Fielding’s superbly silken performance, she’s exquisitely played as an almost tragicomic figure, endlessly entertaining in the raucous romping around but as Jon Clark’s lighting picks her out at the end of each act, capable of holding the entire Olivier theatre’s hearts in her hands.
The beaux ain’t too bad either. Farquhar’s plot centres on their attempts to marry into money after squandering their fortunes in London. Hoping news of their disgrace hasn’t reached the provinces, they head north and stop off in Lichfield, pretending to be master and servant, where their attentions fall on a rich young heiress and her unhappily married sister-in-law. Samuel Barnett’s Aimwell and Geoffrey Streatfeild’s Archer are a witty pair of fellows indeed, with a cracking line in beautifully cut overcoats too, as their avaricious adventures are soon overturned by amorous attentions as they can’t help but fall head over well-turned heel for their marks. Continue reading “Review: The Beaux’ Stratagem, National Theatre”