One of the joys of seeing so much theatre in London is that sense of seeing any number of actors at the beginning of their careers and Tristram Kenton has been doing that for years now. Here’s just some of those big names as whippersnappers on the British stage:
Photos: Tristram Kenton
There’s something perhaps a bit perverse in some of the strongest episodes of new Who emerging from the series which (arguably) had the weakest companion. Freema Agyeman was ill-served by writing that couldn’t let her be a companion in her own right, as opposed to the-one-in-Rose’s-shadow, and consequently never felt entirely comfortable in the TARDIS.
Series 3 has real highs and certain lows – the introduction of Doctor-lite episodes (to ease the production schedules) produced the inventive wonder that was Blink (and further proved Steven Moffat’s genius), the unashamed grab for the heartstrings was perfectly realised in the Human Nature / The Family of Blood double-header, and the re-introduction of one of the Doctor’s most enduring foes was well-judged. That said, we also had the inevitable return of the Daleks who already feel like they’re in danger of over-exposure.
Continue reading “Countdown to new Who: Doctor Who Series 3”
“I can’t handle another book right now”
Quite the coup for the Rose Kingston this, not just in John Malkovich’s London debut as a director but in the English language premiere of Zach Helm’s 2006 play Good Canary. The two go hand in hand though, Malkovich having previously helmed its opening run in France (as Le Bon Canari) and then its subsequent production in Mexico (El Buen Canario), a clear affinity for the material bringing him back time and again.
The play is a hard-hitting, at times searing, examination of mental illness and how they intersect both with the creative process and the reality of being a woman in the contemporary USA. On top of the world after great notices for his first novel, Harry Lloyd’s Jack is mulling over a big bucks offer for the next but his wife Annie, Freya Mavor, is self-medicating her mental health with a hefty speed addiction and neither are clear what impact such a change might have on their lives. Continue reading “Review: Good Canary, Rose Theatre Kingston”
“By the thrice-beshitten shroud of Lazarus”
Peter Straughan’s adaptation of Hilary Mantel’s Booker Prize-winning Wolf Hall and Bring Up The Bodies into a six-part TV serial has no right to be this good but somehow, it manages the extraordinary feat of being genuinely excellent. I didn’t watch it at the time and so caught up with its complexities and nuances over a binge-watch at Christmas. And though I’m no real fan of his acting on stage, there’s no doubting the titanic performance of Mark Rylance as the almighty Thomas Cromwell.
Mantel charts the rise of this lowly-born blacksmith’s boy through service as lawyer to Cardinal Wolsey (a brilliant Jonathan Pryce) to the heights of the Tudor court as Henry VII’s (Damian Lewis on fine form) chief fixer, predominantly in the matter of securing the dissolution of his marriage to Katherine of Aragon to enable him to wed Anne Boleyn. Rylance really is very good, subtler than he is onstage as he negotiates the world of ‘gentlemen’ – in which he is constantly underestimated – from the sidelines, wielding increasing amounts of power, though with it fewer and fewer scruples. Continue reading “DVD Review: Wolf Hall”
“The drug is the key”
Written and directed by Justin Trefgarne, British sci-fi flick Narcopolis marks his major directing debut and on a limited budget, especially for this genre, it very much looks the part. Set in a dystopian near-future where drugs are no longer illegal but a black market still flourishes, hard-bitten cop Frank Grieves finds himself drawn into a dark mystery when he’s called onto a job. And as the dead bodies, estranged families, corporate conspiracies and mind-bending narcotics pile up, this complex case proves a tough one for Frank to crack.
With Elliot Cowan in the lead role, it should be little surprise that Narcopolis appealed to me but I do like a good sci-fi film and without a huge amount of money to spend, Trefgarne’s focus has clearly been on richly defined character interaction and it pays off. Amongst others, Cowan’s grizzled former addict has to deal with the boss he accidentally shot in the face (a wry Robert Bathurst), his adoring but neglected son (a sweet Louis Trefgarne) and mysterious woman Eva Gray (Elodie Yung) who holds many of the secrets needed to expose the truth. Continue reading “DVD Review: Narcopolis”
Linda Bassett for Visitors at The Bush and the Arcola Theatre
Laura Jane Matthewson for Dogfight at Southwark Playhouse
Shannon Tarbet for The Edge Of Our Bodies at The Gate
Best Supporting Female
Leila Crerar for Martine at Finborough Theatre
Vicki Lee Taylor for Carousel at Arcola Theatre
Thea Jo Wolfe for Singing In The Rain at Upstairs At The Gatehouse
Patrick O’Kane for Quietly at Soho Theatre
Harry Lloyd for Notes From Underground at The Print Room, Coronet
Robin Soans For Visitors at the Bush and Arcola Theatre Continue reading “2015 Offie Award Finalists”
“One simple, elegant equation to explain everything”
Alongside The Imitation Game, The Theory of Everything offers a double whammy of Oscar-baiting, British-biopicing filmic goodness – Benedict Cumberwhatsit’s Alan Turing and Eddie Redmayne’s Stephen Hawking seem dead certs for Academy Award nominations alongside their respective films – and for my money, it is the latter has the edge on the Cumbersnatch-starring film as something slightly less Hollywoodised and thus more interesting. That’s not to say that James Marsh’s The Theory of Everything is all rough edges – it is based on Jane Wilde Hawking’s memoir of her marriage after all and both she and Hawking have ‘blessed’ the film – but it is a complex love story that doesn’t shy away from too much challenge.
The focus of the film is in fact the relationship and marriage between physicist Stephen and Jane Wilde, his contemporary at Cambridge University where she studied literature, and the severe pressure that it came under after his diagnosis with motor neurone disease and then his increasing fame as his discoveries broke exciting fresh ground. Redmayne’s physical performance as Hawking is undoubtedly astounding as his condition worsens but there’s something deeper there too that comes across later on, in the merest flicker of the lips and glints in the eye that come before the synthesised voicebox kicks in, an enigmatic level of emotion that we never get to truly discover and that is entirely beguiling.
Continue reading “Film Review: The Theory of Everything”
“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”
“You’re not going to like this”
Well, you might. If a healthy dose of Franco-Russian existential angst is your thing, or the chance to see Harry Lloyd deliver a wonderfully intense 70 minute-long monologue at very close quarters tickles your fancy, then Notes From Underground could well be for you. Equally, if cramped and uncomfortable seating irks (and at these prices, it really ought to), then the hour of angst you experience might very well be your own.
The Print Room has recently relocated to the atmospheric but abandoned Coronet cinema in Notting Hill and this one-man show, adapted by Lloyd and French director Gérald Garutti from Dostoyevsky’s novella, is the debut show in these new surroundings. The building is clearly a work in progress and clearly has much potential, not least in its rich history not only as a former picturehouse but a theatre too, so one might be inclined to forgive a little discomfort on the derrière. Continue reading “Review: Notes From Underground, Print Room”
Sean Bean – Accused: “Tracie’s Story” (BBC One)
Derek Jacobi – Last Tango in Halifax (BBC One)
Toby Jones – The Girl (BBC Two)
Ben Whishaw – Richard II: “The Hollow Crown” (BBC Two)
Rebecca Hall – Parade’s End (BBC Two)
Sienna Miller – The Girl (BBC Two)
Anne Reid – Last Tango in Halifax (BBC One)
Sheridan Smith – Mrs Biggs (ITV) Continue reading “2013 British Academy Television Awards nominations”