26th Screen Actors Guild Awards winners

Film
Outstanding Performance by a Male Actor in a Leading Role
Joaquin Phoenix – Joker as Arthur Fleck / Joker
Christian Bale – Ford v Ferrari as Ken Miles
Leonardo DiCaprio – Once Upon a Time in Hollywood as Rick Dalton
Adam Driver – Marriage Story as Charlie Barber
Taron Egerton – Rocketman as Elton John

Outstanding Performance by a Female Actor in a Leading Role
Renée Zellweger – Judy as Judy Garland
Cynthia Erivo – Harriet as Harriet Tubman
Scarlett Johansson – Marriage Story as Nicole Barber
Lupita Nyong’o – Us as Adelaide Wilson / Red
Charlize Theron – Bombshell as Megyn Kelly Continue reading “26th Screen Actors Guild Awards winners”

TV Review: The Crown Series 3

Series 3 of The Crown sees new actors in across the board but Olivia Colman is sadly no Claire Foy. Helena Bonham Carter rocks though

“Sometimes duty requires one to put personal feelings…
‘And frivolity”
…aside”

Doing little to dispel rumours that she isn’t a Time Lord, The Crown takes its cues from Doctor Who as Series 3 sees the Queen regenerate from Claire Foy to Olivia Colman. And not just that, the whole cast of main players has been replaced as this new company will take us through the next couple of series. It’s a clever move, considering the spain of history that the show takes but it is also a little sad to lose such excellent performances as Vanessa Kirby’s Princess Margaret, Victoria Hamilton’s Queen Mum, Alex Jennings and Lia Williams as Edward and Wallis and of course, Foy’s exceptional work.     

Series 3 then, takes us from 1964 to 1977, featuring such notable events as the Aberfan tragedy, the moon landing and the arrival of Camilla in Charles’ life. And with its many millions and pick of the white acting talent in this country, it remains eminently watchable. That said, something has shifted for me and it just doesn’t feel as effective as the first two seasons. A large element of this is the way series creator and main writer Peter Morgan has structured the show, choosing to maintain a massive ensemble of recurring characters but keeping the focus, and turnover, of episodes relentlessly tight. Continue reading “TV Review: The Crown Series 3”

26th Screen Actors Guild Awards nominees

Film
Outstanding Performance by a Male Actor in a Leading Role
Christian Bale – Ford v Ferrari as Ken Miles
Leonardo DiCaprio – Once Upon a Time in Hollywood as Rick Dalton
Adam Driver – Marriage Story as Charlie Barber
Taron Egerton – Rocketman as Elton John
Joaquin Phoenix – Joker as Arthur Fleck / Joker

Outstanding Performance by a Female Actor in a Leading Role
Cynthia Erivo – Harriet as Harriet Tubman
Scarlett Johansson – Marriage Story as Nicole Barber
Lupita Nyong’o – Us as Adelaide Wilson / Red
Charlize Theron – Bombshell as Megyn Kelly
Renée Zellweger – Judy as Judy Garland Continue reading “26th Screen Actors Guild Awards nominees”

TV Review: The Crown, Series 3 Episodes 1-3

The Crown returns with Olivia Colman and Tobias Menzies at the helm, and Helena Bonham Carter stealing the show

“Everyone at the Post Office is delighted with the new profile”

Gotta get those hits…who knows how far behind I am, given I’m 9 hours ahead of the UK at the moment, but I thought I’d jot down my initial thoughts on the first three episodes of series 3 of The Crown (all written by Peter Morgan and directed by Benjamin Caron), as Netflix kindly offered them up as holiday entertainment. (And since I’m away, I’ve been a little insulated from all the Prince Andrew drama, which from over here almost feels like a random bit of guerilla marketing).

  • I wonder if I have a little hangover from just how good Claire Foy was, but I’m 100% feeling Olivia Colman in the role yet. She doesn’t seem quite as subsumed into the character, in the way that Foy’s every minutely detailed movement seemed to be. That said, there’s some scorching moments when Jason Watkins’ Harold Wilson dares to suggest her response to the Aberfan tragedy is lacking.
  • The excellent Tobias Menzies hasn’t really had enough screen time yet to have his Prince Philip make an impact, though I’ve every faith.
  • The casting of Helena Bonham Carter as Princess Margaret is inspired, the extravagance of the character is perfectly suited to her but she’s bringing a real depth at the same time. 
  • And I have to say I miss Matthew Goode’s hugely erotic insouciance as Antony Armstrong-Jones, Ben Daniels’ much more wearied take hasn’t quite ticked my boxes yet.

Elsewhere, the headlong rush through the years means that we’re doomed to the smallest contributions from some excellent actors – Samuel West’s Anthony Blunt and Angus Wright’s MI5 bod were gone too soon, though I live in hope of more from Penny Downie’s Duchess of Gloucester, Aden Gillett as Richard Crossman and Sinéad Matthews as Marcia Williams (seriously, her accent is a thing of pure beauty).

And given the budget is allegedly in the many millions, it certainly looks a treat once again. From glistening palatial lushness to agonisingly destroyed villages, these are fully realised worlds no matter how short a space of time we end up spending in them. Caron’s direction also makes room for a more uncomplicated cinematic as well though, choosing iconic visual to close out each episode – the regal silhouette, juxtapositions of Margarets old and new, the children playing. This is a Crown that has lost none of its lustre.

Photo: Sophie Mutevelian

Review: The Bay at Nice, Menier Chocolate Factory

Penelope Wilton almost, almost, makes it worth seeing a David Hare play with The Bay at Nice at the Menier Chocolate Factory

“I know what life is and what it cannot be”

Oh, British theatre and your ongoing obsession with David Hare. I’ve never really got it, never had that experience with one of his plays that made me go ‘oh that’s what they’re talking about’. Indeed, I only really booked for The Bay at Nice for the opportunity to see the Great British wonder that is Penelope Wilton in the intimacy of the Menier Chocolate Factory.

And such is her exceptional talent, that she almost makes this an unmissable event. Her Valentina Nrovka is a strikingly captivating presence, a former pupil of Matisse called to authenticate a painting that might be one of his. Having left post-war Paris for revolutionary Russia, her artistic career has taken a back seat and motherhood has not proved anywhere near as fulfilling. Continue reading “Review: The Bay at Nice, Menier Chocolate Factory”

Album Review: Dirty Dancing (2006 London Cast Recording)

“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.

 

Too-hot-to-re-review: Hamlet, Harold Pinter

“I shall not look upon his like again”

My lack of willpower when it comes to theatre is infamous, even more so on the rare occasions when I get invited to be someone’s plus one, with the responsibility of filing my own review lifted from the shoulders for once. Thus I found myself at the Harold Pinter for the transfer of the Almeida’s Hamlet, a production I enjoyed immensely on the two occasions I saw it in North London and whose charms I wasn’t entirely sure would translate to the larger theatre here. 

Those fears were largely unfounded – the scale of the intimate family drama that Robert Icke has fashioned from Shakespeare’s ever-present tragedy amplifies effectively, and Andrew Scott’s deeply conversational style still resonates strongly (in the stalls at least) through the familiar verse, finding new readings and meanings. If I’m brutally honest, I don’t think I gained too much from this repeat viewing but that’s just my rarified position – it is still a thrilling piece of theatre and it’s a thrill to see it in the West End.

Running time: 3 hours 35 minutes (with 2 intervals)
Booking until 2nd September, Juliet Stevenson leaves the company on 1st July when she is replaced by Derbhle Crotty

The Almeida’s Hamlet transfers to the Harold Pinter

“Most fair return of greetings and desires”

As follows many a sold out run with a high-profile cast, Almeida Associate Director Robert Icke’s new production of Hamlet transfers to the West End for a strictly limited season this summer (read my review here) from 9th June to 2nd September.

Starring BAFTA and Olivier Award winner Andrew Scott (Sherlock, Birdland, Cock, Pride) as the Danish Prince, Hamlet is brought to the stage by the critically acclaimed and multi-award winning creative team behind 1984 and Oresteia. And in further excellent news, the entire cast is making the trip to the West End (although Juliet Stevenson only until 1st July, no news yet on who might step into Gertrude’s shoes). Continue reading “The Almeida’s Hamlet transfers to the Harold Pinter”

Review: Hamlet, Almeida Theatre

“There is nothing either good or bad, but thinking makes it so” 

The enduring image of Robert Icke’s Hamlet is family – the repeated motif of group of three cleaving together haunts the production as much as Hamlet’s father himself. From the instant and intense bond established between Polonius, Ophelia and Laertes, Icke makes striking emotional sense of the respective grief and ferocity of the latter two, powerfully played by Jessica Brown Findlay and Luke Thompson against Peter Wight’s twinkling charm as their father.

And Icke also gives the tragic visual of Andrew Scott’s Hamlet trying to rebuild his original family unit, joining hands with his mother and the ghost of his father in the midst of the closet scene, willing Juliet Stevenson’s Gertrude to see what he sees, to put things back the way they used to be. And in a stunning montage for the final scene, these trios reform, emphasising the innate happiness of one and the deep tragedy of the other. It is deeply, deeply felt. Continue reading “Review: Hamlet, Almeida Theatre”

20 shows to look forward to in 2017

2017 is only just over a week away now and the reviewing diary is already filling up! All sorts of headline-grabbing West End shows have already been announced (The Glass Menagerie, Who’s Afraid Of Virginia Woolf, Don Juan In Soho, The Goat, Or Who Is Sylvia) and the National look to continue a sensational year with another (Twelfth Night, Consent, the heaven-sent Angels in America), so this list is looking a little further afield to the London fringe and some of the UK theatres I hope to get to throughout the year.


The Tenant of Wildfell Hall, Bolton Octagon

After hearing Elizabeth Newman speak passionately on a panel discussion about women’s theatre, I kinda have a big (intellectual) crush on her, so I’m very keen to see her tackle a new adaptation by Deborah McAndrew of the classic Anne Bronte novel in a theatre that is very close to my heart.
Continue reading “20 shows to look forward to in 2017”