I mean, just look at this absolute treasure trove of theatrical talent!
I’m off to listen to Patsy Ferran read Tom Wells, and Gabby Wong read Alexi Kaye Campbell, and Sarah Niles read Winsome Pinnock and…and…
Or to give it its true title, Ruth Wilson in His Dark Materials, the BBC scores big with Jack Thorne’s crafty and considered adaptation
“They speak of a child who is destined to bring the end of destiny”
There was never really any chance that I wouldn’t like His Dark Materials but as Series 1 draws to a close, I’m still amazed by how much I loved it. Given the complexity of Philip Pullman’s world-building as written, Jack Thorne’s adaptation of the first novel Northern Lights cleverly opted to tread its own path, moving revels and plot points here and there, plus weaving in elements of The Subtle Knife (the second) to wrongfoot and thrill anyone who thought they knew what they were expecting. With some stonking production design and top-notch VFX bringing the daemons (and more) to life, it has been simply fantastic (read my thoughts on episode 1 here).
Dafne Keen has been a revelation as Lyra Belacqua, the girl on whom so much rests in a world not so different from our own. So adult in so many ways as she battles everything to save her friend Roger (Lewin Lloyd – heartbreakingkly good), she’s also touchingly young in others (especially where Pan – voiced so well by Kit Connor- is concerned), as her understanding of the world can’t help but be coloured by her comparative inexperience, buffeted by devastating waves of parental ineptitude and cruelty. Revelations about those parents, about the mysterious substance Dust too, underline the sophistication of the writing here,never once looking down at its audience,no matter their age. Continue reading “TV Review: His Dark Materials Series 1”
“’Tis the time’s plague when madmen lead the blind”
Though no spring chicken myself, I’m not quite the right age to be truly excited about Oscar winning actress-turned politician-turned actress again Glenda Jackson’s return to the stage. I was more intrigued than truly excited when she was announced in the title role of Deborah Warner’s King Lear for the Old Vic for though I’m well aware of who she is, her film and TV credits never broke through into what I was watching either back then or since. (Feel free to recommend her must-see performances – I’ll add them to the list of things I’ll get round to watching one day.)
But I’m always here for casting decisions that shake the established order somewhat and with Celia Imrie, Jane Horrocks and Rhys Ifans in the cast too, there was no chance I wouldn’t go see this. Full disclosure though, I went to the final £10 preview so treat this review how you will. For it is simultaneously an effortful and frustratingly vague production that never truly convinces of the attempted scope of its artistic vision. Fortunately, this often-times ephemeral and occasionally perplexing Lear is anchored by a striking performance from Jackson. Continue reading “Review: King Lear, Old Vic”
“After all this time?”
aka the one that wraps it all up, and pisses it away with a ridiculous epilogue
“I appreciate the thought, honestly. But given that we were almost killed by a couple of Death Eaters a few minutes ago…”
aka the one with a road trip (and a superfluous extra part)
“Just because you’ve got the emotional range of a teaspoon…”
aka the one that should have launched Helen McCrory into the stratosphere as Bellatrix
“A little louder please, and very clearly. Rid-di-kulus”
aka the one that is actually really good
“Now, Harry you must know all about Muggles, tell me, what exactly is the function of a rubber duck?”
aka the one that’s just a bit too long
“What do they think they’re doing, keeping a thing like that locked up in a school?”
aka the one where they’re just so young!
“You’re so far back in the closet, you’re in Narnia”
For someone who really isn’t a fan of puppets, I do see an awful lot of shows with them in. But I should clarify that I’m OK with more muppety types (hence loving Avenue Q and more recently The Lorax) and so I reckoned I’d be safe with the latest Broadway import to hit the West End – Hand To God. But whether its Avenue Q meets The Book of Mormon or Sesame Street meets The Exorcist, depending on which poster you read, its firmly adult nature is in no doubt.
Harry Melling’s Jason is a young man grieving his father. His religious mother, Janie Dee’s Margery, has pressganged him into joining a church group but when he helps out with their puppet show, the consequences for all concerned are most extreme. As the sock puppet companion he creates, Tyrone, quickly becomes a conduit for all of Jason’s repressed teenage emotions, whether lust for Jemima Rooper’s downbeat Jessica or retaliation towards Kevin Mains’ bullying Timothy, the puppet takes on a manic life of its own. Continue reading “Review: Hand To God, Vaudeville Theatre”