54 years is quite the wait for a sequel but Mary Poppins Returns is full of nostalgic sweetness and charm
“Are you sure this is quite safe?
‘Not in the slightest. Ready!'”
54 years is quite the wait for a sequel but the sweetness and charm with which Mary Poppins Returns lands on our screens makes it pretty much worth it. It’s a film that does more than wrap you up in a warm blanket of nostalgia, it tucks you in, throws another log on the fire and makes you a steaming hot chocolate (no marshmallows though!).
Set 30 years after the much cherished original, the story (by David Magee, Rob Marshall and John DeLuca based off of PL Travers’s original tales) sees us rejoin Cherry Tree Lane where the adult Michael Banks (Ben Whishaw) lives with his young family (Pixie Davies, Nathaniel Saleh and Joel Dawson). But much like the other long-held sequel of the year, a sadness fills the house for a mother has died. And Michael’s artistic inclinations and part-time job at the bank aren’t bringing in enough to keep them from repossession. Who could possibly save the day…? Continue reading “Film Review: Mary Poppins Returns (2018)”
“There’s nowt so queer as folk”
Only about a week behind schedule, I wanted to round up my thoughts about the National’s Queer Theatre season – links to the reviews of the 5 readings I attended below the cut – and try a formulate a bit of a response to this piece by Alice Saville for Exeunt which rather took aim at the season alongside the Old Vic’s Queers (also I just want to point out too that there are two writers of colour involved – Tarell Alvin McCraney and Keith Jarrett). As a member of the ‘majority’ within this minority, I tread warily and aim to do sowith love and respect.
It feels important to recognise what the NT (and the Old Vic) were trying to achieve though. Queer Theatre looked “at how theatre has charted the LGBT+ experience through a series of rehearsed readings, exhibitions, talks and screenings” and if only one looked at lesbian women, two of the readings were written by women. Several of the post-show discussions at the NT talked specifically about this issue but in acknowledging it, also quite rightly pointed out that there just isn’t the historical body of work to draw from when it comes to wider LGBT+ representation. That’s where the talks and screenings came into their own, able to provide some of that alternative focus. Continue reading “Queer Theatre – a round-up”
#2 in the National Theatre’s Queer Theatre season of rehearsed readings
Where one night can leave you legendary
Or a subsidiary”
The world has changed just a little in the decade or so since Tarell Alvin McCraney wrote Wig Out. McCraney is now an Oscar-winning writer after the phenomenal success of Moonlight (based on one of his unproduced plays) and RuPaul has dragged drag into the mainstream by its charisma, uniqueness, nerve and talent. So to see the play now is an entirely different prospect than its 2008 production at the Royal Court and an interesting example of how cultural touchstones shift.
Wig Out feels intimately connected to Paris Is Burning (if you’ve not seen it, to Netflix with you now) in its focus on ball culture in the black and Latino gay communities of New York and we get to see it fully turned out as the House of Light take on their rivals in the House of Diabolique. The ball scene is an unalloyed pleasure as outré performance follows outré performance (Craig Stein and Kobna Holdbrook-Smith took the honours for the night) and really make you want to see a fully fledged production.
Continue reading “Review: Queer Theatre – Wig Out, National Theatre”
“The hot whore of celebrity”
Jon Snow is dead. Isn’t he? I suspect there’ll be a twist in the tail as far as the newly started sixth series of Game of Thrones is concerned but for the meantime, Kit Harington is alive and kicking his way through this raucous reinvention of Christopher Marlowe’s Doctor Faustus for The Jamie Lloyd Theatre Company.
My 3 star review for Cheap Theatre Tickets can be read here. And my little preview piece from a couple of weeks ago is here.
Running time: 2 hours 20 minutes (with interval)
Photo: Marc Brenner
Booking until 25th June
“Hell is within”
(As are production spoilers)
As Jamie Lloyd’s Doctor Faustus is currently previewing but doesn’t open officially until 25th April, I’d get in trouble with the Devil herself (and possibly Mary Berry) for publishing a full review. So here’s a little amuse-bouche for you Continue reading “(P)review: Doctor Faustus, Duke of York’s Theatre”
“It’s your choice to play happy families”
Produced, written and directed by Leon Lopez, Soft Lad is a newly released Brit flick that takes a look at gay life in contemporary Liverpool. Twenty-two year old dancer David seems to have a bright future ahead of him having just been accepted to a prestigious dance school but a secret affair with an older man threatens to derail everything for him and those around him. For the man he’s been sleeping with for two years just happens to be his sister’s husband Jules.
David may be out but trapped in this toxic relationship (the highlight of which appears to be dirty weekends in Lake District), has barely explored his sexuality and when Jules reacts negatively to the prospect of him moving on, a trip to a gay club leads to a one night stand with the more experienced Sam. Their lustful encounter soon moves to a deeper connection, enraging Jules further but no-one is prepared for the revelations that spill during a climactic, abortive dinner party at his sister’s. Continue reading “DVD Review: Soft Lad”
Tania Emery’s Working Lunge may only be short but it is perfectly formed as two men try to out-do each other in order to win a job from Jacqueline Boatswain’s boss. All I will say is that I love anything that uses Daniel Crossley to his full advantage – give it a whirl!
Continue reading “Short Film Review #41”
It’s been a little while since I’ve watched any short films but I had a few link sent to me last week so I thought I’d cast my ever-beady eye over them to see what treasures might be unearthed. As ever, click on the ‘film’ tag to see more short films.
First up was Babysitting, written by Lucan Toh and Sam Hoare and also directed by the latter, but most attractive for its cast including Romola Garai, Dan Stevens and Imogen Stubbs. And from its opening shots of a bedraggled Garai and a super-glam Stubbs, it is rather a bundle of subversive fun. There’s a bit of a twist to the title that I won’t reveal here but it is one that sends Garai’s Maggie on a bit of a journey, where she bumps into arrogant ex Spencer, Stevens in fine West London toff mode and her priorities are pulled skewiff as old feelings rise to the surface. The pair are well-matched and amusingly styled and if the film as a whole comes across as a little slight, it is highly entertaining. Continue reading “Short Film Review #9”
“It’s just relief to suspend my disbelief”
It feels a bit like I’m cursed when it comes to Ghost the Musical. I booked it at the beginning of the year to see the original cast before they went to Broadway and Sharon D Clarke injured herself so I missed her and this time round, eager to see Mark Evans’ acting and musical talent / damn fine abs *delete as appropriate, we arrived at the theatre to find his understudy was on. It is not the end of the world when that happens of course but it is sometimes a disappointment when one is looking forward to seeing a particular person (though it helps that there’s videos like this to fall back on) and as it turned out, when I saw the name of the understudy – Spencer O’Brien – I was actually quite pleased as he is someone I have great residual affection for as he was in the cast of the superlative Salad Days the Christmas before last.
And though my feelings about the show were decidedly mixed when I saw it last – review here – I’d listened to the soundtrack quite a bit since then and discovered that it really is a grower. I really like a good proportion of it and so was quite happy to revisit the show, with the bonus of a new cast and a companion that had not seen it before, and in the end I found that I actually enjoyed it much more. The key for me and the soundtrack helped immensely here, is to think of it as a chamber musical, a small intimate piece essentially for four characters, and let the rest simply glide by in a rush of neon light and slow-motion walking. Continue reading “Re-review: Ghost the musical, Piccadilly Theatre”
“It’s not just about Fela, it’s about you”
FELA! is the annoyingly capitalised and punctuated show that enters the world of Nigerian musician and political activist Fela Anikulapo-Kuti and through a blend of dance, theatre and music, it takes a highly atmospheric journey through a crucial part of his life and it arrives at the National Theatre on the back of a much-lauded run on Broadway. The book is by Jim Lewis and Bill T Jones, the latter of whom is also the choreographer, but it uses the music and lyrics of Kuti’s own Afrobeat style to celebrate his life with some additional lyrics by Jim Lewis and music by Aaron Johnson and Jordan McLean to pull it altogether into this production. This is a review of a preview so all usual caveats apply and ticket prices for this show really are not cheap, booking this performance meant I got a £44 seat for £24.50 and I make no apologies for that.
The show is set in the summer of 1978 in Lagos, the then capital, at the Shrine, Kuti’s personal nightclub and sanctuary against a government whose corrupt and oppressive practices he has fought against both as a lyricist and an activist. Fela is giving one last concert before leaving the country due to the stresses of living under this regime, the opportunities offered to him elsewhere as a musician of increasing renown and as a grieving son, his mother Funmilayo Anikulapo-Kuti a noted activist herself having been thrown to her death in an attack on their premises six months previously.
It doesn’t so much start as slide into action. The amazing 12 man band (who sound fabulous throughout) are playing from the moment the doors open in the theatre and slowly dancers appear from the wings and the aisles, chatting with audience members, with themselves, throwing shapes and warming up for a good ten minutes before anything actually happens. It is a neat introduction into what becomes a frenetic evening of sensory overload. Continue reading “Review: FELA! National Theatre”