A marvellously against-type Judi Dench and Cate Blanchett score a huge hit in Notes on a Scandal
“Lasagne irritates my bowels, I’ll ask for a small portion”
Intelligently adapted from Zoë Heller’s novel by Patrick Marber, you get the feeling that Notes on a Scandal would be good even if anyone was acting in it. But since Richard Eyre’s film boasts Judi Dench and Cate Blanchett as its leads, it is something extraordinary.
Barbara and Sheba both teach at the same Islington secondary school. Barbara a long-serving history teacher, Sheba a brand new recruit to the art department, an unlikely friendship develops between the pair, one which detonates when the latter starts an affair with a pupil. Continue reading “Film Review: Notes on a Scandal (2006)”
“It’s because you love him too much”
So a slightly odd position to be in, as we saw Harry Potter and the Cursed Child Parts 1 and 2 nearly 7 weeks ago at their first previews. And with the #keepthesecrets campaign already in full force then, I didn’t write up a review, opting instead for this preview of sorts. And even now, I’m loathe to write too much about it, for it really is the kind of play, and production, that benefits from the multiple elements of surprise contained within.
And it really is packed full of them, from all aspects. Based on an original new story by JK Rowling, Jack Thorne and John Tiffany, Thorne’s play revels in the richness and full depth of the Harry Potter universe to the point where the named cast are described as playing “roles include…” so as not to spoil what’s to come. This does have the knock-on effect of making this a play not really suitable for newcomers but I can’t imagine too many of them will have booked! Continue reading “Review: Harry Potter and the Cursed Child, Palace – totes spoiler free!”
“How is that even possible?!”
Well it’s finally here, Harry Potter and the Cursed Child Parts 1 and 2 have landed at the Palace Theatre in a blaze of insane publicity and media coverage desperate for a touch of that JK Rowling magic to drive web traffic. In some ways, I’m no different (hence this post!) but in one crucial way I do have the advantage – I’m one of the lucky audience members who has now seen both shows, along with the one and only scene-stealing appearance of Sprocket the owl.
It’s no secret that Rowling is asking people to #KeepTheSecrets and there’s always an interesting tension about whether or not one should observe an embargo when you’ve paid for your ticket (a whole £10 per show too, we weren’t going crazy!). So for now, I’m leaving you with this little collection of teasers about some of my favourite things from the show and be warned, they do increase in mild spoilerishness (mostly about staging, the final E is the one to avoid if you’re not sure…forgive me JK!). Continue reading “Preview: Harry Potter and the Cursed Child, Palace”
“The factory that started the century providing a range of footwear for men will go into the next century providing footwear for… a range of men.”
I don’t know what I was doing in 2005 but it wasn’t watching Kinky Boots. I don’t really remember deciding that I didn’t want to see Julian Jarrold’s film but for whatever reason, it has remained on my unwatched list but now, a decade on and with its musical adaptation now gracing the London stage, I finally got round to giving it a whirl. And it made for a fascinating watch, especially in light of having seen it in the theatre, that slightly different iteration of the story playing out in quite a different way.
The main thing I took from Tim Firth and Geoff Deane’s writing, inspired by a true story, is that struggling shoe-factory owner Charlie isn’t actually that likeable a character. Perhaps it was partly Joel Edgerton’s muted performance but there’s something a little bleak about him, his single-mindedness coming across more brutally here especially in his treatment of fiancée Nicola (as if anyone could do that to the lovely Jemima Rooper), thus making it hard to see why Sarah-Jane Potts’ Lauren would be quite so keen to step into her shoes. Continue reading “DVD Review: Kinky Boots”
“Everybody’s very very nervous”
The theatrical production of London Road was a major success for the National Theatre, the opening run first extending in the Cottesloe and then being rewarded with a later transfer to the much larger Olivier – I was first blownaway by its originality and then later comforted by its message in the aftermath of the 2011 riots. So the news that director Rufus Norris was making a film adaptation was received with apprehensive anticipation, could this strikingly experimental piece of theatre possibly work on screen.
Writer Alecky Blythe uses a technique whereby she records interviews with people which are then edited into a play but spoken verbatim by the actors, complete with all the ums and aahs and repetitions of natural speech. And in 2006, she went to Ipswich to interview a community rocked by a series of murders, of five women in total, all sex workers, and set about telling a story not of salacious deaths but of a community learning to cleave together in trying times. Oh, and it’s all set to the most innovative of musical scores by Adam Cork, elevating ordinary speech into something quite extraordinary. Continue reading “Film Review: London Road”
“You’re curious, that’s why you’re here”
The personal connections that one can easily build up in a city such as London are so wide-ranging that the riots of 2011 would most likely have affected us all in some particular way or other. For me, as a former resident of Hackney Downs, it was the sight of an innocuous convenience store being looted that really got me, it was a shop I’d passed every day from which I’d picked up many a bottle of Diet Coke or a lottery ticket and to see it being gutted felt very much not in tune with what Mark Duggan’s death should have stood for.
So I was fascinated to see that Alecky Blythe’s new play Little Revolution was focusing on this very shop and the community action that arose from its ransacking. Though 2011’s London Road saw her break through to mainstream success, Blythe has long been a proponent of verbatim theatre, by which she records interviews with real people at the heart of a certain issue and constructs a play out of their exact words – accents, inflections, verbal tics and all. Continue reading “Review: Little Revolution, Almeida Theatre”
“Hey, you look really depressed”
I fly off on holiday in mere hours so the briefest of mentions for this Alan Bennett play. My second comedy in a day after a Chichester matinée and a thankfully traffic-free drive over to Bath, Kafka’s Dick is a remarkably prescient play (from 1986) which looks at our ever-increasing desire to know more about the private details of our public figures. Sydney and Linda, a regular Yorkshire couple (is there any other kind?!) have their lives disrupted when Franz Kafka, his friend and contemporary Max Brod and his father Hermann all turn up at their home.
That they’re all dead is one thing but more importantly, Elliot Levey’s Brod promised Daniel Weyman’s Kafka that he would destroy all his writings on his death but published them instead, garnering the writer unimaginable posthumous fame. And as it turns out, Sydney is something of a Kafka scholar who focused on the family dynamic of the Czech, so the arrival of Matthew Kelly as Hermann adds a surprising depth to the play, far beyond the initial comic stylings. Continue reading “Review: Kafka’s Dick, Theatre Royal Bath”
With the news that the wonderful Rio cinema in Dalston is once again under threat, Paul Rapacioli and Joe Shaw’s film Passing Through feels an entirely appropriate starting point for this post, even though it was made in 2002. A ruminative love letter to the cinema – both in terms of classic film-making and also the demise of old-school picture houses – it’s a powerfully moving and beautiful piece of work as Graham Pountney’s projectionist marks his last day at work, before enforced early retirement, with an uncharacteristic act of rebellion. It’s a heartfelt choice and even in the depths of despair, it brings to him something infinitely lasting, reminding us all of the magic of the cinema. Highly recommended.
The premise behind Joyce Treasure’s Be Mine is really rather lovely – a 10 year girl from some rough area of Birmingham dreams of a shiny red bike in a local shop window, and expresses her desire mainly through the medium of song and dance. And in Esther May Campbell’s 2005 film, it has a delightfully homespun charm about it as Sophie Jukes’ Tina tries to persuade her mum (Maxine Peake) that it would be the perfect birthday present. As part of the Bollywood Shorts competition, it draws on sub-Continental influences but could have perhaps gone a little further – the main dance routine does come a little out of nowhere – but the ambition of this project is definitely delightful.
Dan Zeff’s film features a most fresh-faced David Tennant as Pete, an attentive young man agonising over the most painless way to dump his girlfriend Juliet. He makes everything as nice as can be, treats her well and prepares her for a life-changing revelation but before he actually gets to it, the phone rings and Juliet answers, revealing that she’s got the wrong end of the stick and thinks he is trying to propose. The ‘news’ soon spreads quickly and an array of well-wishers turn up to wish them well, including nice turns from Diana Hardcastle as her mother, Thusitha Jayasundera as a colleague of hers, the hilarious Bruce Mackinnon as one of his friends and Barry McCarthy as his dad. The final note doesn’t quite have the impact it desires, the abrupt end a little too brutal but it’s fun none the less.
Benedict Wong has had a great year on the stage but delving into his filmography has been lots of fun too as his short film work is pretty bloody good too. Selina Lim’s Painkiller is another example of his extraordinary talent at bringing portrayals of bruised masculinity to life as a stick-up of a convenience store goes wrong with him stuck inside. Franz Drameh’s Dominic is the youthful robber determined to make a quick getaway but finds himself distracted and nearly derailed by Wong’s Jay, a depressed taxi driver who manages to connect with him. Director Mustapha Kseibati keeps us on our toes throughout, throwing in sharp beats, comic beats, dark beats, particularly where Kris Saddler’s hapless cashier is involved, and it makes for a brilliant piece of film.
“This is the excellent foppery of the world”
Considered one of the defining roles for actors, there never seems to be a lack of King Lears on our stages and in 2012, it is Jonathan Pryce’s turn to wear the crown in this Michael Attenborough production for the Almeida. Such is the potential for great quality at this North London theatre that when they get everything right, there’s a beautiful marriage between the epic and the intimate (as advertised) and this is largely what we get here.
Pryce’s Lear is a father first and foremost, and losing some of the distance that accompanies an overly regal bearing results in a rather effective focus on the emotions of the man rather than the monarch. Thus the rage, the tenderness, the regret, the pain that he feels – elucidated with some masterful re-readings of the text – is always accessible and persuasive. The look in his eye during ‘I know thee well enough…’ cuts to the very core; his bantering relationship with his Fool borne of a genuine connection between the pair, Trevor Fox’s native Geordie accent a perfect fit to the riddle-me-dees and sharp observations and really demanding full attention. Continue reading “Review: King Lear, Almeida Theatre”
This post was originally meant to be the out-of-office message that went on here before I went on holiday, but time ran away from me as I left myself much too much to do and so it was left unfinished. But I liked it too much to abandon it completely, as my entrée into the world of watching short films was far too much fun to go unmarked. So here is a collection of short videos, many of them featuring familiar faces from the theatre, that should hopefully entertain you as much as they did I. Continue reading “Short film reviews #1”