News: The National Theatre announces 2021-22 programming and launches National Theatre Together

The National Theatre announces new programming and launches a major new campaign for its future, National Theatre Together

The National Theatre has announced its programming until the start of next year with productions on all three South Bank stages as well as three major UK tours, two productions on Broadway, a return to cinemas, and a new feature film to be broadcast on television this autumn. In the week the theatre reopened for audiences again, six new productions were announced, and five productions halted by the pandemic were confirmed to return to the South Bank.  

It has also announced the public launch of National Theatre Together, a new campaign with people at its heart, highlighting the importance of creativity and collaboration with theatre-makers and communities, for young people and audiences. The campaign cements the NT’s commitment to the people of this country and will raise vital funds for the theatre’s ambitious recovery post-pandemic.  Continue reading “News: The National Theatre announces 2021-22 programming and launches National Theatre Together”

27th Screen Actors Guild Awards nominees

Film
Outstanding Performance by a Male Actor in a Leading Role
Riz Ahmed – Sound of Metal as Ruben Stone
Chadwick Boseman – Ma Rainey’s Black Bottom as Levee Green (posthumous nomination)
Anthony Hopkins – The Father as Anthony
Gary Oldman – Mank as Herman J. Mankiewicz
Steven Yeun – Minari as Jacob Yi

Outstanding Performance by a Female Actor in a Leading Role
Amy Adams – Hillbilly Elegy as Beverly “Bev” Vance
Viola Davis – Ma Rainey’s Black Bottom as Ma Rainey
Vanessa Kirby – Pieces of a Woman as Martha Weiss
Frances McDormand – Nomadland as Fern
Carey Mulligan – Promising Young Woman as Cassandra “Cassie” Thomas Continue reading “27th Screen Actors Guild Awards nominees”

News: new Netflix show Bridgerton sets its premiere date

I was already looking forward to the new Shondaland show Bridgerton, but these preview pics are really whetting the appetite. I mean, Jonathan Bailey…*insert falls over emoji*

 

Bridgerton will premiere on Netflix from 25th December

Film Review: The Good Liar (2019)

Ian McKellen and Helen Mirren team up for the entertainingly twisty film The Good Liar

“It seems like you’ve had quite a past”

Adapted by Jeffrey Hatcher from the novel of the same name by Nicholas Searle, The Good Liar marks the first time that British institutions Ian McKellen and Helen Mirren have worked together on screen. And when these two are onscreen together, this is a corking film.

With a twinkle in his eye, McKellen’s Roy is trawling the dating apps and lights upon the widowed Betty (Mirren). soon setting a date. They connect over martinis and bond over not necessarily being who they said they were online but as we discover Roy is a lifelong conman, it’s clear his eyes are set on her not inconsiderable means. Continue reading “Film Review: The Good Liar (2019)”

Review: All My Sons, Old Vic

Some titanic acting performances from Sally Field, Bill Pullman and Colin Morgan in this superb All My Sons at the Old Vic Theatre

“We all got hit by the same lightning”

You do wonder how new playwrights are ever going to get a look-in when Arthur Miller can dominate London theatres without it even being a significant anniversary year for him. That said, the Old Vic’s second Miller in a row sees a Headlong co-production of All My Sons (with Death of a Salesman imminent at the Young Vic, he’ll have the run of The Cut) that gives an enviable target to aim for.

I’ve seen a handful of All My Sons since starting the blog, from the sublime and superb to the somewhat less impressive, and it is remarkable how it stands as a play that really needs little doing to it for its quality to shine through. And so it is with Jeremy Herrin’s production here, a relatively straightforward one for Headlong all told, but all the more effective for it. Continue reading “Review: All My Sons, Old Vic”

Review: King Lear, Old Vic

“’Tis the time’s plague when madmen lead the blind”

Though no spring chicken myself, I’m not quite the right age to be truly excited about Oscar winning actress-turned politician-turned actress again Glenda Jackson’s return to the stage. I was more intrigued than truly excited when she was announced in the title role of Deborah Warner’s King Lear for the Old Vic for though I’m well aware of who she is, her film and TV credits never broke through into what I was watching either back then or since. (Feel free to recommend her must-see performances – I’ll add them to the list of things I’ll get round to watching one day.)

But I’m always here for casting decisions that shake the established order somewhat and with Celia Imrie, Jane Horrocks and Rhys Ifans in the cast too, there was no chance I wouldn’t go see this. Full disclosure though, I went to the final £10 preview so treat this review how you will. For it is simultaneously an effortful and frustratingly vague production that never truly convinces of the attempted scope of its artistic vision. Fortunately, this often-times ephemeral and occasionally perplexing Lear is anchored by a striking performance from Jackson. Continue reading “Review: King Lear, Old Vic”

Film Review: Les Misérables (2012)

“Life has dropped you at the bottom of the heap”

For many people, myself included, it is nigh on impossible to approach a film version of stage behemoth Les Misérables with a blank slate. It’s been a mainstay of the musical theatre world since its 1985 London debut – it is most likely the show I have seen the most times throughout my lifetime – and after celebrating its 25th anniversary with an extraordinarily good touring production, has been riding high with a revitalised energy. So Tom Hooper’s film has a lot to contend with in terms of preconceptions, expectations and long-ingrained ideas of how it should be done. And he has attacked it with gusto, aiming to reinvent notions of cinematic musicals by having his actors sing live to camera and bringing his inimitable close-up directorial style to bear thus creating a film which is epic in scale but largely intimate in focus.

In short, I liked it but I didn’t love it. I’m not so sure that Hooper’s take on the piece as a whole is entirely suited to the material, or rather my idea of how best it works. Claude-Michel Schönberg’s score has a sweeping grandeur which is already quasi-cinematic in its scope but Hooper never really embraces it fully as he works in his customary solo shots and close-ups into the numbers so well known as ensemble masterpieces.  ‘At The End Of The Day’ and ‘One Day More’ both suffer this fate of being presented as individually sung segments stitched together but for me, the pieces never really added up to more than the sum of their parts to gain the substantial power that they possess on the stage. Continue reading “Film Review: Les Misérables (2012)”

18th Critics’ Choice Awards nominees

Best Picture
Argo
Beasts of the Southern Wild
Django Unchained
Les Misérables
Life of Pi
Lincoln
The Master
Moonrise Kingdom
Silver Linings Playbook
Zero Dark Thirty

Best Director
Ben Affleck – Argo
Kathryn Bigelow – Zero Dark Thirty
Tom Hooper – Les Misérables
Ang Lee – Life of Pi
David O. Russell – Silver Linings Playbook
Steven Spielberg – Lincoln Continue reading “18th Critics’ Choice Awards nominees”