Since it is the season of goodwill to all men, I’m not going to belabour the point that it is a shame that ‘musicals’ have been lumped together as a category here, whereas the likes of Pinter and Kane got their own specials, whither Sondheim, Herman and Tesori. Still, it’s lovely as ever to stretch back over years of musical theatre productions to see some of Tristram Kenton’s most iconic shots for the Guardian:
Photos: Tristram Kenton
I mean, just look at this absolute treasure trove of theatrical talent!
I’m off to listen to Patsy Ferran read Tom Wells, and Gabby Wong read Alexi Kaye Campbell, and Sarah Niles read Winsome Pinnock and…and…
Flying against the wind with this I know, but the second series of Fleabag leaves me rather cold…
“I think you’ve played with my guinea pig long enough”
I’m not sure why I’ve never succumbed to the Fleabag love that has swept the nation. Whether onstage or on screen, Phoebe Waller-Bridge’s magnus opus has never quite done it for me but what do I know – the return of the show, to a West End theatre no less, sold out quickly and the column inches about this second series of the TV show have been mounting up.
And ever the contrarian, this follow-up hasn’t really tickled my fancy either. The one thing that I think it did brilliantly was in its use of the fourth wall, particularly how Andrew Scott’s hot vicar was able to see through it for the loneliness avoidance technique it was and for pure storytelling, I thought it worked very well in terms of humanising a character who has always been rather arch. Continue reading “TV Review: Fleabag Series 2”
The finalists of the The Offies 2018 have been announced and as ever, there’s much of interest there, in the choices made and the breadth of Off West End theatre celebrated. Play-wise, I’m delighted at the love for The Revlon Girl and An Octoroon here, nice to see the Bunker’s Eyes Closed Ears Covered rewarded too, plus Will Pinchin’s work in Frankenstein.
With the musicals, I’m not down with the love for Promises Promises, an ill-judged revival that added nothing to the conversation (and even less in these #MeToo times) and I’m disappointed that none of the boys of Yank! were recognised. The rest of the Southwark Playhouse’s spectacular year does get the appropriate plaudits though, with Superhero, The Life and Working all getting multiple nominations.
And lastly, at times it can seem like all you have to do is sing in your bathroom and you get an Offie nomination ? so it is interesting to see how the numbers break down, albeit somewhat vaguely. These 80 or so finalists have apparently been whittled down from over 350 nominations from over 190 shows – there’s clearly just a lot of Offies love to share. Should you wish to join in said sharing at the IRL award ceremony on Sunday 4th March at The Albany, Deptford, you can buy tickets here.
Continue reading “The finalists of The Offies 2018”
“I have a horrible feeling that I’m a greedy, perverted, selfish, apathetic, cynical, depraved, morally bankrupt woman who can’t even call herself a feminist”
I left it a little while to watch Fleabag on television, for though Phoebe Waller-Bridge’s ascension to the ranks of hugely buzzworthy writer has been pleasing to watch, I haven’t – dare I say it – always been the hugest fan of her work. For me, the effectiveness of her writing hasn’t always matched with the audacity of its frankness and so in her plays and TV shows like Crashing, I’ve admired the path she’s taking without hugely enjoying it.
Her breakthrough piece Fleabag equally didn’t hit my buttons in the way that it did for many others, thus my delay in getting round to watching it. And as is often the case with lowered expectations, it actually surprised me by being a very effective adaptation of the play. Its world has been expanded, both physically and personally, a whole cast of supporting characters now appear but crucially, there’s the thing I was missing most at the Soho – direct eye contact. Continue reading “TV Review: Fleabag”
“Let’s be clear, there’s nothing ironic
About our love of Manolo Blahnik”
So in a slightly odd turn of events, as Rupert Goold’s American Psycho opens for previews on Broadway, the London Cast Recording of the Almeida’s Winter 2013/14 production is finally released. That London run was well-received by me, so much so that I went back (not just to post the pics of one of its nifty ad campaigns) twice and Duncan Sheik’s music was a big part of that, very much appealing to the 80s kid in me.
Sheik’s score is bathed in a glossy sheen of electronica, predominantly made up of original songs but also featuring covers of some 80s classics – Human League, Tears for Fears, even Phil Collins in radically reharmonised version of ‘In The Air Tonight’. And it’s the ideal partner for this adaptation of Bret Easton Ellis’ novel and surprisingly, it holds up really well, even without the vivid visuals (not least of Matt Smith’s abs). Continue reading “Album Review: American Psycho (London Cast Recording)”
Last year, I made a weekly feature out of short film reviews (if you explore the film tag, you can find them all) but in the name of reclaiming some semblance of a normal life, I’ve put them on hold. Things still pop into my awareness or my inbox though so I thought I’d flag these up.
Not quite a short film but an interactive video game, 5 Minutes features newly-announced Beowulf Kieran Bew (and it’s good news, he’s a bearded Bew in this one) as a father trapped in a zombie nightmare with his teenage daughter. You can select three levels of difficulty to help them through their journey to try and escape the zombie curse (I’ve managed medium, just about) and it is all rather well done. I’m no expert at all in this kind of thing though so make of it what you will! Continue reading “Short Film Review #62”
“Is everything alright Patrick?”
Third time round for this show, so little to add to my original review and then the subsequent brief re-review. One of my new year’s resolutions is to embrace seeing the shows I love more than once – there’s so much theatre in London and beyond that it has often felt like a crime to view things again rather than going to see something new and though that hasn’t changed, the joy of rewatching things recently has been particularly great. In that spirit, when a random cheap ticket popped up on the Almeida’s website, the prospect of seeing American Psycho again was irresistible.
Some pieces of theatre impress with the depth of their profundity, whilst others glisten with their immediacy, and American Psycho most definitely fits into the latter category. It’s almost like an extended music video with its 80s pop score, extraordinary visual impact and kinetic choreography (I’m on the lookout for a club in which people actually do that ‘hands in the air’ dancing) and the fast-moving pace of Rupert Goold’s production means its thrills are akin to the rush of a rollercoaster and for me, endlessly reconsumable.
Running time: 2 hours 40 minutes (with interval)
Programme cost: £5, and worth the purchase for its great content
Booking until 1st February, run sold out but day tickets and there’s often returns available on the website, checking late at night works