On Chesil Beach proves a most painful watch indeed
“Minor seventh might be better”
Dominic Cooke’s theatrical résumé includes such triumphs as Follies and Ma Rainey’s Black Bottom so a measure of anticipation about his feature film debut was surely not unexpected. But I should have remembered he was also responsible for the challenges of The Low Road and In The Republic of Happiness and for me, it was to this end of the scale that On Chesil Beach tips.
An adaptation of Ian McEwan’s 2007 novella by the man himself, we’re in the world of classic 1960s English sexual repression. New graduates Edward and Florence come together in a theoretically perfect courtship but when they come together disastrously in marriage, their sexual inexperience on their Dorset honeymoon proves utterly and completely life-changing. Continue reading “Film Review: On Chesil Beach (2017)”
“What did you expect?”
After a hugely successful run at the Old Vic, Girl From The North Country transfers to the Noël Coward with the majority of its cast and all of its melancholy soul intact. Seeing Sheila Atim transform ‘Tight Connection To My Heart’ into the most heartfelt of laments was one of my highlights of 2017 and seeing it once again made me feel like it could easily be one of the highlights of 2018 as well.
Her performance is symptomatic of what makes this show so fantastic. The secret weapon in Conor McPherson’s production is the arrangement of the Bob Dylan songs by Simon Hale, an interpretative masterstroke which weaves the music into the very fabric of these people’s lives. (Though whether that makes this a musical remains anyone’s guess.)
Continue reading “Re-review: Girl From The North Country, Noël Coward”
Conor McPherson’s Girl From The North Country was an absolutely glorious thing at the Old Vic this summer and I’m pleased to see that its relatively slow-burning success has translated into a West End transfer. It is also gratifying to see that many of the original cast of this Bob Dylan musical (or play with songs if you’re precious like that) are remaining with the production, especially Shirley Henderson and Sheila Atim, who I suspect we should be looking out for come awards season. Continue reading “Cast for the West End transfer of Girl From The North Country announced”
“There’s something I’ve got to do tonight”
I’m going to call it taking one for the team. Faced with the prospect of Girl From The North Country disappearing into the ether (albeit having left an excellent cast recording behind), I took the plunge and booked myself back into the Old Vic in the show’s final week. So of course, a West End transfer has now been announced, which is great news for something which (spoilers) is likely to figure highly in my end-of-year round-up. It will open at the Noël Coward Theatre in December (casting news still to be announced though) and will be well worth the trip.
Running time: 2 hours 30 minutes (with interval)
Booking until 7th October
The pure quality of the Original London Cast Recording of Girl From The North Country means it is almost as good as the show itself
“And I wait for them to interrupt
Me drinkin’ from my broken cup”
The very notion of a Bob Dylan musical was one about which I couldn’t help but be sceptical but the Old Vic’s Girl From The North Country completely confounded me, emerging as a powerfully moving piece of musical theatre (even if it is determined to label itself a play with songs). And whether that success had been predicted or not, we have been given the gift of a cast recording to tide us over while we queue for returns and/or pray for a West End transfer.
For myself, I’d argue that Bob Dylan songs are best sung by other people anyway, so I should have maybe clocked that this show would be right up my street. And it remains the case here – listening to the original of ‘Tight Connection to My Heart’ suggests nothing of the transcendent beauty that Sheila Atim’s interpretation lends it, the spine-tingling ache in her voice supported with skill and sensitivity by some perfectly arranged backing vocals from the ensemble. Continue reading “Album Review: Girl From The North Country (Original London Cast Recording)”
“Everything’s a little upside down
As a matter of fact the wheels have stopped”
I’m no great fan of Bob Dylan, heretical as it may be to certain elements of the theatre clique. But I don’t mind his songs when they’re sung by other people, so a musical featuring his work seems just the ticket. Or is it a musical? Girl From The North Country comes attached with that most tiresome of sobriquets, ‘a new play by Conor McPherson with music and lyrics by Bob Dylan’, as if musical is a dirty word.
Semantics to one side though, I absolutely adored this. Within a couple of songs I had already made a mental note to work out who to invite when I go again; within three, I had decided who was going to get next year’s Olivier for Best Actress in a Musical (Sheila Atim); by the interval, I was texting all and sundry to get themselves booked in whilst half-decent seats are still available. And all to see a Bob Dylan musical!
Continue reading “Review: Girl From The North Country, Old Vic”