“The whole situation’s been really quite dreadful”
Based on Vera Brittain’s First World War memoir, Testament of Youth hit cinemas in late 2014, perfect timing to capitalise on the rising star of Alicia Vikander whose moment would culminate in winning an Academy Award for The Danish Girl. Her work here in this film is equally spectacular though, directed by James Kent and written by Juliette Towhidi, an elegiac beauty washes through the whole production as Vera’s determination first to study at Oxford and then to help with the war effort plays out.
We first meet Vera in the good company of three good-looking men and as the film progresses, it’s refreshing to see that her journey isn’t defined by them, merely informed. Kit Harington’s poet Roland, Colin Morgan’s shyly besotted Victor, Taron Egerton’s faithful brother (who shares his sister’s eye for a good-looking chap and when it’s Jonny Bailey, who wouldn’t!). And as war plucks each of them from their country idyll, her relationship with each has to bend and reshape. Continue reading “DVD Review: Testament of Youth (2014)”
“This is for a play in the West End?”
Agatha Christie’s And Then There Were None may not have seemed like the most obvious festive programming but Sarah Phelps’ three-part adaptation was an unalloyed success for the BBC. It was a particular surprise for me, as having seen it a couple of times on the stage, most recently in a rather creaky touring production, I wasn’t sure how it could be done well. But Phelps and director Craig Viveiros have managed a remarkable job, transforming the murder mystery into a dark, oppressive psychodrama.
From the off, swooping camera shots (of the Cornish locations standing in for the Devonian Soldier Island) take us out of the dusty drawing room, and haunting flashbacks take perfect advantage of the medium to suggest the oppressive weight of guilt that is being brought to bear here. For those new to the story, a microcosm of English society is invited to an isolated country house, under varying auspices, and once fully assembled, find themselves being picked off one by one by an unknown killer. Continue reading “TV Review: And Then There Were None”
“Let the bedlam begin”
The final play to premiere in Nicholas Hytner’s final season in charge of the National Theatre is Sam Holcroft’s Rules for Living, directed by Marianne Elliott in the Dorfman. Was it a pointed decision to end his reign with a show both written and helmed by a woman, who knows? Either way, it’s always good to see this venue providing such high profile opportunities for the writers it nurtures. Holcroft’s short(ish) Edgar and Annabel played as part of the Double Feature season in 2011 and she was a writer-in-residence here at the NT in 2013, from whence this rather cracking new comedy has emerged.
And boy is it funny, I don’t think I have laughed this thoroughly and consistently at a play in ages. As someone for whom farcical goings-on too often fall flat, I’m often left bemoaning the fact I’m sitting stony-faced in a sea of hilarity (cf. One Man Two Guvnors et al) but for once I was right with them. Holcroft’s set-up has an extended family coming together for Christmas lunch, an event for which Edith has been preparing since January. She’s looking forward to seeing both her sons, Matthew and Adam, and their partners, and they in turn are keen to see their father who has been in the wars recently. Continue reading “Review: Rules for Living, National Theatre”
“An everlasting funeral marches round your heart”
On paper, this latest incarnation of The Crucible at the Old Vic may seem everlasting – early previews hit four hours and with no change to the 7.30pm starting time, it may feel like an endurance test in the making. But settled in at just under 3 hours 30 minutes, Yaël Farber’s production emerges as a slow-burning success, much in the vein of the Streetcar up the road in being utterly unafraid to take its time to build up the requisite atmosphere of horrifying suspicion and fear that renders Arthur Miller’s play a striking and timeless triumph.
And creatively it really is a triumph – Soutra Gilmour utilising the in-the-round setting perfectly whilst Richard Hammarton’s pervasive music and sound wriggle under the skin and Tim Lutkin’s lighting creates as much shadow as it does light, all combining to heighten the increasingly nightmarish scenario as the action snowballs to the terrible climax we know must come. The immediacy and intimacy that comes from being much closer than usual (for the vast majority in this theatre anyway) is almost unbearable but completely justifies keeping the theatre in this configuration for a while longer.
Continue reading “Review: The Crucible, Old Vic”