“It’s brilliant not to be me”
On my way to Bristol to see Filter take on Macbeth, I thought I would take the opportunity to watch What You Will, a mockumentary that follows an innovative theatre company as they put on a touring production of Twelfth Night. It comes off a little like the behind-the-scenes episode of Acorn Antiques as actors play actors who are in turn acting, so Ferdy Roberts plays a guy called Greg who plays Malvolio in the show – it’s a disarming and discombobulating approach which never quite settles in my opinion.
This devised approach clearly has great appeal for the Filter company and the way they work but it is hard not to think that it overcomplicates the matter somewhat. For when it just plays out, it is really very amusing. The trials of a touring theatre company – the precious egos, the heavy drinking, the thwarted ambitions, the strained relationships, the poor ticket sales, the last minute crises, all are played out as they travel the country touring their show professionally but barely holding it together personally. Continue reading “DVD Review: What You Will”
“We found Shakespeare tough at school”
What a brilliant little film – tucked away on BBC4 but fortunately on the iPlayer for another few days yet, Muse of Fire: A Shakespearean Road Movie is a one hour documentary by actors Giles Terera and Dan Poole exploring the Bard’s reputation for being difficult to understand. This they do by speaking to an astonishing array of people including “ten Oscar nominees, five Oscar winners, one dame, seven knights” along with some of our greatest actors – it’s one of the most impressive roll-calls you’ll see all year (at least until the NT’s 50th bash next week…) – and some regular people too, from estate agents Cambridge to baffled students.
This extraordinary depth of collaboration is at once the strength and the weakness of the film. We get such a wide range of insights from luminaries such as Ian McKellen, Fiona Shaw, Michael Gambon, Judi Dench and Derek Jacobi but there’s only time for snippets, the glorious Frances Barber is seen briefly at the beginning never to reappear and the list of credits at the end show all sorts who haven’t made the final cut. There’s so much fascinating stuff that must have been left on the cutting room floor that one can’t help but be a little frustrated – can we get a director’s cut?! Continue reading “TV Review: Muse of Fire”
Best Costume Design in a New Production of a Play or Musical
Mark Thompson – Charlie and the Chocolate Factory
Ann Roth – The Book of Mormon
David Woodhead – Titanic Continue reading “2013 BroadwayWorld UK Awards Shortlist”
|Best Actress in a Play||Kate O’Flynn, Lungs||Laurie Metcalf, Long Day’s Journey Into Night||Hattie Morahan, A Doll’s House
Helen McCrory, Last of the Haussmans
Cate Blanchett, Big and Small
Sally Hawkins, Constellations
|Best Actor in a Play||Luke Treadaway, The Curious Incident of the Dog in the Night-time||Rafe Spall, Constellations||Billy Carter, Someone Who’ll Watch Over Me
David Suchet, Long Day’s Journey Into Night
Hugh Ross, A Life
Dominic Rowan, A Doll’s House
|Best Supporting Actress in a Play||Niamh Cusack, The Curious Incident of the Dog in the Night-time||Laura Howard, Lost in Yonkers||Ruth Sheen, In Basildon
Nicola Walker, The Curious Incident of the Dog in the Night-time
Katie Brayben, A Midsummer Night’s Dream (Open Air)
Fenella Woolgar, Hedda Gabler
|Best Supporting Actor in a Play||Paul Chahidi, Twelfth Night (Globe)||Charles Edwards, This House||Robin Soans, Someone Who’ll Watch Over Me
Rory Kinnear, Last of the Haussmans
Cyril Nri, Julius Caesar
Olly Alexander, Mercury Fur
|Best Actress in a Musical||Carly Bawden, My Fair Lady||Janie Dee, Hello, Dolly!||Caroline O’Connor, Gypsy
Anna Francolini, Victor/Victoria
Rosalie Craig, Ragtime
Jenna Russell, Merrily We Roll Along
|Best Actor in a Musical||Simon Russell Beale, Privates on Parade||Mark Umbers, Merrily We Roll Along||Richard Dempsey, Victor/Victoria
Julian Ovenden, Finding Neverland
Will Young, Cabaret
Dominic West, My Fair Lady
|Best Supporting Actress in a Musical||Clare Foster, Merrily We Roll Along||Bonnie Langford, 9 to 5||Josefina Gabrielle, Merrily We Roll Along
Debbie Kurup, The Bodyguard
Helena Blackman, A Winter’s Tale
Laura Pitt-Pulford, Hello, Dolly!
|Best Supporting Actor in a Musical||Michael Xavier, Hello, Dolly!||Damian Humbley, Merrily We Roll Along||Alistair Brookshaw, A Winter’s Tale
Stuart Matthew Price, Sweet Smell of Success
Ben Kavanagh, Boy Meets Boy
Oliver Boot, Finding Neverland
Best Actor in a Play
Luke Treadaway, The Curious Incident of the Dog in the Night-time
I imagine Treadaway will be appearing in many award list, both of bloggers and more official awarding bodies, but sometimes the hype is just correct. It’s all the more impressive given that the condition from which his protagonist suffers is never actually named, yet in his hands it doesn’t matter a single jot as the play becomes about a journey through someone else’s eyes, a uniquely different take on life and one which is a genuine pleasure to discover and watch. See it when it transfers.
Honourable mention: Rafe Spall, Constellations
Although my abiding memory of the play is weeping like a buffoon at the end, a close second is the proposal scene(s) in which Spall played and replayed a pre-prepared speech with varying degrees of success as far as the character was concerned, but always superbly affecting to watch and so very easy to connect with.
Best Actor in a Musical
Simon Russell Beale, Privates on Parade
I’ve already taken a bit of stick for this as we’re in ‘play with songs’ territory but to my mind, Privates… is closer to a musical than a play, some of the songs are actually narrative-driven and it’s my blog so my rules. In any case, this was the first time that I came close to actually seeing why people rate Russell Beale so much with a performance that felt essentially so very true in every single aspect.
Honourable mention: Mark Umbers, Merrily We Roll Along
An ineffably charming onstage presence, Umbers was perfectly cast as the central figure whose journey from appealing dreamer to jaded sell-out is the heart of the show and told in reverse, it provided the ideal showcase for his considerable acting skill alongside a powerful voice.
“Men are so decent, such regular chaps”
‘Tis a truth that ought to be universally acknowledged that some of the best musicals in Britain are being produced outside of London. Places like Chichester Festival Theatre and Leicester Curve are regularly coming up with the goods, but one of the most reliable of regional theatres has been Sheffield’s Crucible and under Daniel Evans’ stewardship, their Christmas shows have become absolute must-sees. Last year’s Company was sensational, the year before Me and My Girl blew me away and this year, Lerner and Loewe’s all-time classic My Fair Lady gets a long awaited revival and it is a show I have never seen before on stage.
One of the lovely things about seeing well-known songs in their original context is that it can refocus the lyrical meaning. For me this was most apparent in the utterly gorgeous rendition of ‘I Could Have Danced All Night’ by Carly Bawden – rather than the grand set-piece I think I was expecting, it’s an understated exhalation of wonderment at the evening just passed and Bawden is gorgeous in it. The large-scale numbers do come though: ‘Get Me To The Church On Time’ is delivered with the highly charismatic Martyn Ellis at the front and soon turns into a cracking fest of tap-dancing; ‘With A Little Bit of Luck’ has a subtler but no less impressive appeal; and ‘Wouldn’t It Be Loverly’s’ hopeful charm had me at ‘ello. Continue reading “Review: My Fair Lady, Crucible”
Released at the end of last year, The Awakening seemed to sink without trace a little. I’m not the best judge of things given how little time I end up with to see films, but I would have thought a film that starred Rebecca Hall, Dominic West and Imelda Staunton would be a surefire hit. In any case, its general spookiness and delving into the realm of the supernatural makes it a good fit for inclusion here.
Nick Murphy’s film is set in 1921, a shell-shocked England still learning how to recover from the devastating impact of the Great War. Rebecca Hall plays a rather witty anti-Yvette Fielding figure named Florence Cathcart, a very modern sceptic who is a published author on the debunking of supernatural hoaxes. After a great opening sequence in which a séance is exposed for the nonsense it really is, she is visited by Dominic West’s Robert Mallory, a schoolteacher who wants her to come and investigate some spooky goings-on at his isolated boarding school. Yet in finding trying to a rational answer, she uncovers a deeper, more personal mystery which is far from easily explained. Continue reading “DVD Review: The Awakening”
“I’m not entirely sure what love is”
Despite being prepared for all kinds of brouhaha with the specially instituted booking system for The River, Jez Butterworth’s new play upstairs at the Royal Court – tickets only available on the day of performance, 30 in person and the rest online – when it came to it, I only had to refresh the website twice at 9am to get my tickets (I recommend logging into your account first) so hopefully, it may be less of a trial than might be currently considered. Butterworth’s last play here was the behemoth that became Jerusalem (and yes, I am one of the few people that wasn’t much of a fan…) but I did enjoy his more intimate Parlour Song for the Almeida and so expectations were at a nicely manageable level.
Which is always a good place to be, especially when it enables one to fully appreciate a play free from too much baggage. For The River is a piece of gorgeously sensitive writing, utterly beguiling in its subtle deconstruction of the way we conduct ourselves in relationships -the facades erected, the lies told, the declarations made, the pasts conveniently ignored. An introspective look at what it means to be intimate with someone and the importance of honesty in conjunction with that, it combines the highly naturalistic world realised by Ultz with the almost magical, poetic language of Butterworth which swims with unknowing purpose, occasionally catching the light beautifully like the sea trout in the story, negotiating the swells of the river back to its spawning ground. Continue reading “Review: The River, Royal Court”
“Dirt is the enemy”
Breaking the Mould was a 2009 TV movie for BBC4, starring Denis Lawson and Dominic West, about the development of penicillin for use as a medicine. It occupies that strange ground of fictionalised reality, in that it is based on real people and events but contains invented scenes “for the purposes of the narrative”. Added to that is a rather tight timeframe of 80 minutes in which the story is told, which results in a rather lightweight affair, which is nonetheless intermittently entertaining.
Starting in 1938, after beginning with one of those annoying flash-forwards to the end of the story, the film focuses on a group of scientists at the Dunn School of Pathology in Oxford, led by Australian Howard Florey. Aided by the German Ernst Chain and the English Norman Heatley, he was preoccupied creation of a stable form of penicillin that could be developed for medical use, following Fleming’s initial discovery of its antibacterial properties. Against the antipathy of the scientific community and the hardship imposed by the declaration of WWII, their determination to succeed eventually led to one of the most significant discoveries of the century, although it doesn’t always necessarily feel like it here. Continue reading “DVD Review: Breaking the Mould – The Story of Penicillin”