“Not a stress or strain is found here for it must be said
Here at Kellerman’s you gladdened, stomach, heart and head”
Would that Kellermans was able to gladden anyone who has bought this cast recording of Dirty Dancing… This album is a bizarre hodge-podge of original songs from the film in their original recorded versions combined with studio recordings of tracks from the musical adaptation, onto which audience noise has been spliced to give the impression of ‘liveness’. And the result is about as good as you might imagine such a thing to be.
“Tale as old as time”
It’s taken me a little time to get round to writing this review, which is rarely a good sign, as I was struggling for anything entirely constructive to say about this film. The 1991 animated Beauty and the Beast was Disney close to its best but these days, nothing is left alone if it has even the merest hint of cash cow about it. So it has previously hit the stage as a musical and following the success of Kenneth Branagh’s Cinderella, it now has a cinematic live-action remake.
Which is all fine and good but just because you can do something doesn’t mean you should. And at no point does Bill Condon’s film ever convince us that the world needed this version of Beauty and the Beast, there’s rarely any sense of it bringing something new and insightful to the story. Plus the contortions it (and star Emma Watson) has had to make to try and convince of its feminist credentials scarcely seem worth it in the final analysis. Continue reading “Film Review: Beauty and the Beast (2017)”
“I may exaggerate beyond all sense and reason”
The third of the Spanish Golden Age plays for me was Punishment without Revenge – El Castigo sin Venganza – another Lope de Vega play but rather than the (not so) comic stylings of green breeches, this is a straight up tragedy and consequently emerges as the strongest of the lot. In the court of the Duke of Ferrara, an illicit passion builds up between the Duke’s bastard son Federico and Cassandra the Duchess of Mantua, the woman he is sent to collect to be a bride for his father. They submit to their urges when the Duke leaves for battle but on his return, the abuse to his honour must be avenged.
William Hoyland is excellent as the vituperative Duke, possessed of a deadly charm with the most vicious edges with some striking speechifying; Nick Barber’s handsome Federico pairs well with Frances McNamee’s Cassandra (a nice casting touch as they also portray lovers in another of the plays) as they pursue their doomed love in spite of the threat it poses to them; and even a lighter side is allowed to shine through the court shenanigans in the form of Simon Scardifield’s manservant and the blustering courtiers of Chris Andrew Mellon and Jim Bywater. Continue reading “Review: Punishment without Revenge, Arcola Theatre”
“She is as thick as potato mash”
The remit of the Spanish Golden Age rep season, a co-production between Arcola Theatre, the Ustinov Studio, Theatre Royal Bath, and the Belgrade Theatre in Coventry, is to bring to light three rarely performed plays from what they term “the last unopened treasure chest of world drama”. But whilst the academic interest of delving into this cultural period is undoubtable, the quality of the drama uncovered feels variable.
Lope de Vega’s A Lady of Little Sense, or La Dama Boba from 1613, is a romantic comedy whose tales of the arranged marriages of two sisters recalls The Taming of the Shrew. Wealthy businessman Don Octavio has two beautiful daughters to marry off but the educated Nise has an arrogance to match her intelligence and her sister Finea is as dopey as they come – the suitors that come to take their hands thus have to decide the lesser of two evils. Continue reading “Review: A Lady of Little Sense, Arcola Theatre”
“What’s your disguise for?”
The signs were there, I just chose not to see them. The main one being that the author of Don Gil of the Green Breechesor Don Gil de las Calzas Verdes was Tirso de Molina, who also wrote Damned By Despair, otherwise known as one of the biggest car crashes at the National in a goodly while. But I didn’t investigate too much – I allowed myself to be seduced by the notion of an ensemble performing new translations of three neglected plays from the Spanish Golden Age and the murmurings of good reviews from Bath where they opened last year.
But suffice to say that Don Gil did not do it for me. A broad cross-dressing comedy of sledgehammer subtlety, one can identify some similarities with Shakespeare’s Twelfth Night which preceded this play by about a decade, but what is more notable is the poor comparison that it makes. The plot twists endlessly and mindlessly through a set of baffling contrivances and clearly cognisant of this, Tirso de Molina has one character or another recap just where we’re at at the beginning of what feels like every scene, there’s nothing but exposition and it is still clear as mud. Continue reading “Review: Don Gil of the Green Breeches, Arcola Theatre”
“Make yourself ready in your cabin for the mischance of the hours”
Very occasionally I see a play which saps the life of my desire to write about all the shows that I see. Good ones are great, bad ones are fine as they often provoke much thought and opinion, but some are just so crushingly dull that they simply inspire nothing. Trevor Nunn’s production of The Tempest at the Theatre Royal Haymarket was such a play and what is worse, I already knew that that would be my response to it due to the feedback from people who had already gone. Fortunately, I was gifted the ticket for services rendered so there was no financial cost but things can tax you severely in other ways.
Mainly it is due to the extreme lack of pace, the play is stretched out laboriously over more than three hours for no discernible reason than to fill time, there’s no reason contained within the interpretation that justifies this lack of speed and it becomes painfully obvious that we’re in for the long haul from the outset with precious few sparks of life animating events onstage. As Prospero, Ralph Fiennes was actually better than I was anticipating, the sole beneficiary of my lowered expectations, with a vocal performance that was colourful and commanding. Continue reading “Review: The Tempest, Theatre Royal Haymarket”
“There must have been a moment, at the beginning, when we could have said ‘no’”
Tom Stoppard’s play Rosencrantz and Guildenstern are Dead makes the leap from Chichester to the Theatre Royal Haymarket to continue the Trevor Nunn season there. For its premise, it takes these two minor characters from Hamlet and inverts the perspective of the show so that we see the events of Shakespeare’s play but from their utterly bewildered eyes. As they try to make sense of their lives and what is happening to them and around them, scenes from Hamlet play out and matters of destiny, mortality and the meaning of existence perused and debated.
Tim Curry was forced to withdraw from the Chichester run during rehearsals – Chris Andrew Mellon continuing to act up in his stead – but Nunn’s canniest casting is in reuniting original History Boys Samuel Barnett and Jamie Parker in the title roles. The pair exchange huge amounts of great banter, insistently rhythmic at times but differentiated too, as Barnett’s quavering Rosencrantz edges closer to panic whilst feeling his way around the uncertainty that dominates their existence and Parker’s Guildenstern maintains a stiffer resolve. Continue reading “Review: Rosencrantz and Guildenstern are Dead, Theatre Royal Haymarket”
When it was first announced that John Barrowman would be taking one of the lead roles in La Cage au Folles, many, including myself, instantly called this a crazy decision. Having seen this show twice already with different casts, and it remaining one of my favourite things I have seen on the stage this year, I had my doubts about this particular casting decision but when a family delegation (including 3 major Barrowman fangirls) expressed their interest in coming down to see the show, tickets were booked.
The obvious criticism is that John Barrowman is too young and good-looking to play Albin, especially given the actors who have played the role here previously, but by casting an equally younger-looking and handsome Simon Burke as his lover, this production has been cleverly reconceived. Instead of being a meditation on a drag queen at the end of his career, the focus here is more on Albin’s insecurities about his relationship with Georges, the comment about not being able to play Salome any longer becomes more of a bitchy aside than a sad statement of truth. There has been a considerable injection of raunchiness into this production, with some very suggestive croissant eating that was dangerously close to the bone (fnarr fnarr) for a family show. However this more overt sexuality played very convincingly with the younger coupling and led to some hilarious scenes. Continue reading “Re-review: La Cage aux Folles, Playhouse”