A strongly cast production of A Day in the Death of Joe Egg proves a fitting tribute to Peter Nichols at the Trafalgar Studios
“I tend to raise my voice when I’m helping people”
Just a quickie as we’re nearly at the end of the run for A Day in the Death of Joe Egg, revived at the Trafalgar Studios by Simon Evans. This production might be sold on the star wattage of its leads Toby Stephens and Claire Skinner but for me, its real power comes in the casting of Storme Toolis as the titular Joe Egg, the first disabled actor to be cast in the role.
Its significant because the character of Joe is disabled herself, requiring constant supervision, the realities of which are starting to show on the marriage between Bri and Sheila. Evans embraces an arch vaudevillean style to let this fighting couple let us know what they’re thinking, to give us insight into the coping mechanisms necessary to give their daughter the best life she can have. Continue reading “Review: A Day in the Death of Joe Egg, Trafalgar Studios”
Frankenstein gets taken around the block one more time at the Royal Exchange in Manchester – Sun readers need not apply
“What can stop the determined heart and resolved will of man?”
It may have been 200 years since the publication of Mary Shelley’s magnum opus but let’s face it, no-one has ever needed an excuse to stage it before. A programme note for April De Angelis’ new version of Frankenstein for the Royal Exchange suggests there have been well over 50 adaptations and so there’s a job to make yours be the one to stand out.
Directed skillfully by Matthew Xia, De Angelis’ main superficial difference is to play up the storytelling device that frames the novel, using Captain Walton’s discovery of a bedraggled Victor Frankenstein on his expedition to the North Pole to be the mechanism through which scarcely believable events are described. And it’s a format that offers much potential – in emphasising the parallels (or differences) between the two, in exploring the role of an unreliable narrator, in making this version stand out. Continue reading “Review: Frankenstein, Royal Exchange”
“When that I was a little boy”
Even with the best of intentions, it can be a little too easy to forget that there’s more to LGBT+ than just the G. Representations of gay men are increasingly common in our theatres but pickings are slim if we look towards the lesbian, bi, and transgender characters and stories. So it’s interesting to see directors turning to Shakespeare, and specifically Twelfth Night, to address that in a couple of high profile productions this year. Simon Godwin shifted the nature of Malvolio’s illicit passion by casting Tamsin Greig as Malvolia, and now Jo Davies has moved along the acronym by casting transgender performer, writer and activist Kate O’Donnell as Feste at the Royal Exchange.
And far from any suggestion of a gimmick, it’s a deeply sensitive, nuanced take on the role that breathes a real sense of contemporary life into the show. Her experience on the cabaret circuit shows in the ease with which she entertains her audience, whether onstage with the text or bantering off-book with the stalls crowd in the interval, but as funny as she is, there’s a depth to her stage presence too. An extra-textual moment where she clocks the cross-dressed Viola in the dark with a hint of recognition, the gorgeous melancholy with which the resonance of her final song grabs you – “when I came to man’s estate…”, this is the verse sprung to life anew. Continue reading “Review: Twelfth Night, Royal Exchange”
“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)”
“War has always been the handmaiden of progress”
From its opening moments of buttocks and blood (both belonging to an uncredited Hugh Bonneville if that floats your boat), it’s clear that Da Vinci’s Demons is going to have its fun whilst playing fast and loose with the early life of its subject, Florentine polymath Leonardo Da Vinci. Conceived by David S Goyer and a co-production between Starz and BBC Worldwide, it’s a good-natured romp of a drama series much in the mould of Merlin, Atlantis or the lamented Sinbad but perhaps tied a little closer to reality as it dips in and out of the tangled history of the Italian city states.
And it is its historical connections that serves as a main driver for the technological innovations for which Leonardo is famed and which form the ‘issue of the week’ around which most of the episodes hang. So as Da Vinci climbs into bed with the ruling Medici family, he’s sucked into their political machinations whilst battling rival families in Florence and the ever-present threat of the Catholic Church in Rome. Alongside this sits a more fantastical series-long arc about the mystical Book of Leaves and the Sons of Mithras who believe Da Vinci has only just begun to tap into his true power. Continue reading “DVD Review: Da Vinci’s Demons Series 1”
“No mistake no mister no missed her no mist no miss no”
As my dear Aunty Mary used to say, by the crin! Sarah Frankcom’s production of Caryl Churchill’s The Skriker is a properly gobsmacking piece of work, the kind of theatre that leaves you reeling from its sheer audacity, its free-wheeling inventiveness and a general sense of what-the-fuckery. Maxine Peake’s acting career has been far too varied for a peak to ever be declared (though for me, Twinkle ftw) but it is hard to imagine her any more hauntingly, viscerally, intense than she is here, wrapping every sinew of her body around the often bafflingly complex wordplay and utterly owning it with an authoritative otherworldliness.
There’s a plot. Kind of. Though it is literally, and physically, hard to follow. Frankcom has lavished huge amounts of creativity onto the show and empowered her creatives to be daring, so that it becomes akin to an art installation in how densely visual it becomes. Imogen Knight’s choreography haunts every scene as an ensemble of 12 keep a strange and kinetic energy coursing through the theatre, Jack Knowles’ artistically inspired lighting playfully pulls the perspective one way then the other, and Lizzie Clachan’s reinvention of the physical space of the auditorium has to be seen to really be believed (book the stalls, seriously) as it rewrites the rules of engagement. Continue reading “Review: The Skriker, Royal Exchange”
“I’m afraid you’re not really the right sort of chap”
Laura Wade’s Posh took the Royal Court by storm in 2010 and then the West End in 2012 with a slightly amended version, each time slipping quite easily into the contemporary political narrative with its skewering of a fictionalised version of the Bullingdon Club, an elite Oxford student dining club that has boasted the likes of David Cameron, George Osborne and Boris Johnson in its ranks. Wade’s intimation is clear, that the reckless and thoughtless behaviour of these men as students is symptomatic of their charmed future political careers as a whole and enclosed in the claustrophobic dining room of a gastropub that they proceed to thoroughly trash, the play had a horrendously compelling energy to it.
Wade has adapted her own play here into The Riot Club and through the determined effort to make it work on screen, it has become quite the different beast. Personally, I wasn’t too keen on it, the changes detracting from the strengths of the story as I saw them, and the realities of making – and casting – a feature film have altered the whole underlying theme. A cast headed by model-handsome men (Sam Claflin, Douglas Booth, Sam Reid, Max Irons etc), most of whom get to ‘learn a lesson’ by the end, takes away from the vileness of their behaviour – it almost feels like director Lone Scherfig is letting them get away with it without ever really showing us the true ugliness of their political and personal prejudices.
Continue reading “DVD Review: The Riot Club”
“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”
“What art thou, thou idle ceremony?”
Early days for the final instalment in Michael Grandage’s season at the Noël Coward and another return to Shakespeare. But the Jude Law-starring Henry V did little to entertain, not helped by an abortive start which meant the opening scenes had to be replayed, with a production that is full of Acting with a capital A but little sense of theatrical vibrancy. Truth be told, I think I’m done with the play for a while – last year saw a slew of adaptations, some more successful than others, and so it doesn’t feel like a necessary addition to our stages (though I appreciate not everyone will be in quite the same position.)
Part of the problem is soon apparent with the sneaking suspicion that we’ve been here before. Longtime collaborator Christopher Oram’s distressed wood set recalls the Donmar’s Lear, the throne as icon imagery their Richard II. Ashley Zhangazha’s Chorus arrives onstage in modern dress (with what looks suspiciously like a Viva Forever t-shirt) but this is a red herring as the play is performed in classic dress, although Law’s soldier King is frequently attired in some distractingly tight-fitting trouser-wear. Continue reading “Review: Henry V, Noël Coward Theatre”
“I’m not interested in your perfect functions”
It is often the case with lesser performed works by well-known playwrights that there’s a reason why they don’t occupy the same place in the canon, and so it was with this production of Tennessee Williams’ 1957 play Orpheus Descending which I managed to squeeze into the end of a hectic work trip to Manchester. It is unmistakeably his work: elements like the oppressive heat of the Deep South, repressed passion and a mismatched couple are present and correct. But there’s also a lugubrious pace and a patchwork quilt of superfluous supporting characters which helps to explain its relative obscurity.
Lady Torrance is an unhappily married Mississippi store-owner whose head is well and truly turned with the arrival of handsome young drifter Val. He’s escaping his past but finds himself in the most stifling kind of narrow-minded community as they react against him. At the same time though, he offers the potential of a way out for Lady who dares to dream of a more liberated future, but the constraints of her present circumstances and the ever-powerful echoes of the horrific past mean nothing is easy. Continue reading “Review: Orpheus Descending, Royal Exchange”