Simon Annand’s Time To Act is a beautiful book of photos capturing actors in the minutes before they go on stage
Tackling the constraints of the pandemic in its own way, Simon Annand’s fantastic new book of photos Time To Act has launched a virtual exhibition of some of the photographs which has now been extended to until Christmas. It’s an ingenious way of sharing some of the hundreds of images from the book and should surely whet the appetite for either just buying it now or putting on your list for Santa to collect soon.
Continue reading “Book review: Time To Act – Simon Annand”
I’m loving this deep dive in to Tristram Kenton’s archive, this time taking a turn into the many Chekhov productions he has been witness to. Highly recommended:
Photos: Tristram Kenton
Best Drama Series
The Crown (Netflix)
The End of the F***ing World (All 4)
Line of Duty (BBC One)
Peaky Blinders (BBC Two)
Howards End (BBC One)
The Moorside (BBC One)
The State (Channel 4)
Three Girls (BBC One) Continue reading “2018 British Academy Television Awards nominations”
“A part of love as dreams, sighs, wishes, and tears”
Perhaps taking influence from the roaring success of Kenneth Branagh’s sun-soaked Much Ado About Nothing, Michael Hoffman saw Hollywood’s return to Shakespeare transplant A Midsummer Night’s Dream to a luscious nineteenth century Tuscan setting. So Athens becomes the town of Monte Athena and the soundtrack is suffused with the strains of Verdi, Donizetti and Bellini but in many other respects, it’s a fairly traditional interpretation – a plethora of bicycles aside.
And though it might not seem that big of a deal, it is indicative of Hoffman’s initial approach to tinker where tinkering is not needed. So the heart sinks as the lovers’ comic business is rough-handled onto two wheels and Nick Bottom gains a (mute) wife, but spirits soon rise again as the film begins to trust the text and just enjoy itself. Calista Flockhart proves a revelation as a genuinely emotionally bruised Helena, chasing Christian Bale’s disinterested Demetrius and fending off Dominic West’s magically enhanced interest, much to Anna Friel’s Hermia’s chagrin. Continue reading “DVD Review: A Midsummer Night’s Dream (1999)”
Rubbish sees Martin Freeman and James Lance reprise characters from an earlier short film Call Register, best mates Kevin and Julian. Once again tussling over a girl, in this case Anna Friel’s new neighbour Isobel, this time the scenario is around recycling in the flats where they live. Ed Roe’s film neatly punctures the hypocrisy that many of us carry about green issues, the lip service we pay and in this example, how that can rebound on us. Lance carries on his laidback swagger and Freeman is brilliant once again as the constantly over-compensating Kevin, aware he’s about to lose another girl to his handsome friend.
Elephant Palm Tree
Another film from Kara Miller and another two-hander that this time charts the quietly painful collapse of a marriage. No external factors are involved, it’s just a woman realising that the relationship to which she has devoted her life is giving her nothing back and asking for a divorce. But his (unspecified) high-flying job has kept her a very plush way of life and as they do battle over what she would walk away with, it becomes clear that whereas she’s ready to leave her man, her resolve may not be strong enough to divorce herself from this lifestyle. George Harris redeems himself a little for Frankenstein and Doña Croll is subtly affecting as the torn Martha, the difficulties of her life and decisions etched upon her face.
A rather fascinating project in which the medium of short film is stretched to encompass the world of video games, all on the most meagre of budgets. It’s an experiment for sure, but worth a look.
I Am Bob
Donald Rice’s I am Bob is a rather amusing if slightly overlong film that plays like a homespun take on Being John Malkovich but with Bob Geldof at the heart of it. A mix-up with his chauffeur on a toilet break during a long ride up to a gig in Glasgow leaves him stranded in an isolated Lancashire pub without cash, cards or mobile. But far from being abandoned, it is hosting the 14th Long Marston Lookalike Convention and so he gets swept up in the baffling world of celebrity impersonations where David Bamber has already entered as Bob Geldof and the two have to do battle to be the most convincing Bob. It’s silly but fun and even if it stretches a little too languorously, it is always good-natured.
“Damn this old age, it’s so vile and repulsive”
Revivals of classics often find themselves caught between two schools: revitalising an oft-performed play with a fresh energy, but remaining aware of not rocking the boat too much in order to maintain a healthy (West End in this case) audience. The Print Room – a venue perhaps less burdened by quite the same commercial concerns as West End houses – were able to go whole-heartedly for the former with a scorchingly good version of Uncle Vanya which paid huge dividends. And Lindsay Posner has definitely gone for the latter option with a stolidly traditional production at the Vaudeville Theatre which does the job but rarely excited me in a similar way.
It is undoubtedly well acted, very much so in some quarters, but the performances are overpowered by the stultifying pace of a production that never really got out of second gear. The demonstration of how boring country life can be should never relate to the play itself but Posner has taken Chekhov too literally here and so far too little of the emotional energy being expended by the actors is allowed to take flight on the stage. Instead, the dominant aspect becomes Christopher Oram’s design and the interminably long pauses it enforces during lengthy scene changes which hardly feel worth the effort in the final analysis. Continue reading “Review: Uncle Vanya, Vaudeville Theatre”
Breakfast at Tiffany’s is the latest film adaptation to hit London’s West End, taking up residence in the Theatre Royal Haymarket. Not having seen the film, I had to be informed that this adaptation is actually much closer to the original Truman Capote novella than the Hollywood version, so namely there is much less coyness about how the leads make their money and the timeframe is restored back to 1943. A young writer, Fred, makes his way to New York City where he meets Holly Golightly “a charming, vivacious and utterly elusive good-time girl” who lives in his building and we follow their developing relationship for a year, in the shadow of World War II and her need for a rich sugar daddy.
Events did not start off well by the first main scene seriously evoking the recent corpse of Too Close To The Sun with some pointlessly fast revolving sets, followed by a metal lampshade that lost control and clanged endlessly against a bit of the set, and then by a cringeworthy dance routine which left most of my party helpless with the giggles. This triple threat should have warned us to leave then and there: the evening did not get any better. Continue reading “Review: Breakfast At Tiffany’s, Theatre Royal Haymarket”