The drama around All the Money in the World proves more interesting than the film, if I’m honest.
“We look like you, but we’re not like you”
Perhaps unfairly, All the Money in the World will be more famous for events around it rather than for the film itself. For at the heart of the #MeToo maelstrom, director Ridley Scott took the decision to remove and recast Kevin Spacey out of a major supporting role barely a month before it was due to open.
Christopher Plummer stepped into the shoes of John Paul Getty at the last minute, delivered in nine days of reshoots and has been rewarded with an Oscar nomination for his pains. The result though. is a rather uneven film in which his performance seems at odds with those around him. Continue reading “Oscar Week Film Review: All the Money in the World”
“You might put me in prison but let me tell you this: you can’t judge me unless you’ve had it done to you.”
Blimey, I knew Unforgotten was good (here’s my Episode 1 review, and my Series 1 review) but I wasn’t expecting it to be this soul-shatteringly excellent. More fool me I suppose, Nicola Walker is a god among mortals and her presence alone is reliably proving a harbinger of excellence, but allied to Chris Lang’s scorching writing, it’s hard to imagine that we’ll see much better television than this before the year is out.
That it managed this by using elements that have been seen recently (historical child sex abuse as per Line of Duty; the Strangers on a Train twist featured in Silent Witness just last month) and imbuing them with a compelling freshness is impressive enough, but the way in which it revealed this at the mid-point of the series and yet still had hooks and surprises aplenty to keep me gripped right until the bitterly haunting end. Continue reading “TV Review: Unforgotten Series 2”
“I bear no malice to the people I abuse”
Sparkling reinterpretations of 18th century comedies have become something of an annual treat from Jessica Swale’s Red Handed Theatre company and following on from the delights of the Celia Imrie-starring The Rivals
, the remounting of Hannah Cowley’s The Belle’s Stratagem
and last year’s excellent The Busy Body
, it is now the turn of Sheridan’s The School for Scandal
to be primped and preened in their deliciously inimitable style. So for those as yet uninitiated to their ways, prepare for witty musical interludes and warmly embracing audience interaction as a vivacious ensemble romp through this comedy of manners.
Led by the machinations of the vicious-tongued Lady Sneerwell – Belinda Lang in epically glam form – Sheridan’s plot winds through a portion of the higher echelons of London society and exposes the gossip-fuelled hypocrisy at the heart of it. Lady Sneerwell wants others to suffer the loss of reputation she has; Sir Peter Teazle is concerned about the flightiness of his flirtatious younger wife; Sir Oliver Surface wants to test the mettle of his two nephews who stand to inherit his vast fortune; and above all, everyone wants to be the first to tell the juiciest pieces of gossip with the most salacious details.
It is these scenes which glitter the best – Michael Bryher’s Sir Benjamin Backbite and Buffy Davis’ Mrs Candour delight in outdoing each other with the latest tidbits and Kirsty Besterman’s Lady Teazle gives as good as she gets, even as she sees the effect of the ridicule on her husband, a battered if not quite elderly enough Daniel Gosling. But there’s much fun too with the errant nephews. Harry Kerr’s ruffled and raffish Charles can’t hide his innate goodness even at the heights of his carousing, and Tom Berish’s Joseph is just excellent as the seductively handsome one that everyone likes, little suspecting his most devious nature.
The production is always light-hearted and fun – a trick with a book is particularly well played, the programme is a work of genius and Fi Russell’s costumes are a bejewelled array of lush fabric – but there’s also a sureness to Swale’s direction as she constantly refines and sharpens her approach. Laura Forrest-Hay once again contributes original music rather than pastiches of pop songs, the portrait gallery ditty and the raucous lark in the park number add to the general feel of a delightful romp, unafraid to play it to the back of the (admittedly intimate) Park Theatre but crucially never takes itself too seriously.
Running time: 2 hours 20 minutes (with interval)
Booking until 7th July
“It’s the bright young people over again, only they never were bright and now they’re not even young”
After the Dance is one of Terence Rattigan’s lesser-performed plays; its less-than-stellar original reception due to its unfortunate timing, opening in 1939 as it did, meant it was a relative commercial failure. Rattigan’s personal antipathy to the piece because of this led to the play being excluded from anthologies of his work and it is only really after his death that it has been considerably re-appraised and now considered one of his masterpieces (according to the National Theatre website anyway!).
A cast of 25, under Thea Sharrock’s direction, tell the story of a group of wealthy London socialites, and their hanger-ons, as they set about the business of partying and just generally having a right rollicking good old time. The year is 1938 though, and these are the people who survived the horrors of the Great War, bright young things of the 20s unwilling to let go of the illusions of their youth even as the world tumbles towards another major conflict. At the centre of pile of empties are the Scott-Fowlers, Joan and David the ultimate party couple who got married for kicks and giggles yet find themselves 12 years later still together. Continue reading “Review: After the Dance, National Theatre”