The neglect of Stanley Tucci aside, The Children Act does a decent job of bringing Ian McEwan’s novel to the screen, with Emma Thompson on fine form
“I think it’s my choice
‘I’m afraid the law doesn’t agree'”
The first half of The Children Act is astounding. Family court judge Fiona Maye is utterly devoted to her career, deciding carefully but firmly on the most delicate of ruilngs. But the case of Adam Henry gives her cause, a 17 year old cancer victim whose Jehovah’s Witnesses’ beliefs are leading him to refuse the blood transfusion that could save his life.
As Maye, Emma Thompson makes you feel every inch of the emotional stoicism she has developed in order to rise through the judicial ranks so. There’s admiration sure but also a touch of apprehension – the brittleness with which she interacts with her devoted clerk (Jason Watkins) and the casual callousness with which she takes her long-suffering husband (Stanley Tucci) for granted. Continue reading “Film Review: The Children Act (2017)”
With the eroticism dialled right down, Lady Chatterley’s Lover ends up leaving me disappointed
“I wondered what the hammering was”
From the creator of the likes of Line of Duty, you might have expected something more of a rollicking version of DH Lawrence’s perennial classic Lady Chatterley’s Lover. Or maybe vague memories of the 1994 version with Sean Bean and all the teenage hormones thus provoked linger a little too long… Either way, Jed Mercurio’s adaptation plays out just a little too safely to really inflame any passions.
Everything is present and correct. The core of the story – after her husband is fucked by the First World War, Lady Chatterley gets fucked by the gamekeeper – remains, random bits of artistic license make the literary translation to the televisual medium more effective (as well as inevitably riling up purists), and a photogenic cast led by Holliday Grainger, Richard Madden and James Norton. Continue reading “TV Review: Lady Chatterley’s Lover (2015)”
Blanche and Britney ought to be a winning combination bur Botticelli in the Fire at the Hampstead Theatre is a damp squib
“They’re going to kill you. They’re going to worship you, don’t get me wrong. But they are going to kill you”
I’ve long been a fan of Blanche McIntyre and so appreciate any opportunity to see her direct away from the RSC. Jordan Tanahill’s knowingly chaotic Botticelli in the Fire is full of all kinds of riotous energy and queer representation but for me, it just wasn’t the one.
Running time: 2 hours 30 minutes (with interval)
Photo: Manuel Harlan
Botticelli in the Fire is booking at the Hampstead Theatre until 23rd November
I might have taken a break from reviewing in June, but I didn’t stop going to the theatre – I had too many things already booked in. Here’s some brief thoughts on what I saw.
Betrayal, Harold Pinter
Shit-Faced Shakespeare – Hamlet, Barbican
The Knight of the Burning Pestle, Cheek By Jowl at the Barbican
Somnium, Sadler’s Wells
Les Damnés, Comédie-Française at the Barbican
Vanya and Sonia and Masha and Spike, Theatre Royal Bath
Blithe Spirit, Theatre Royal Bath
The Hunt, Almeida
Present Laughter, Old Vic
Europe, Donmar Warehouse
The Deep Blue Sea, Minerva
Plenty, Chichester Festival Theatre
Pictures of Dorian Gray, Jermyn Street
The Light in the Piazza, Royal Festival Hall
Hair of the Dog, Tristan Bates Continue reading “June theatre round-up”
“The Americans cannot stand it when others take the lead”
What does it take to get peace in the Middle East? Some determined Norwegians and a plate or two of tasty waffles apparently… At a leisurely three hours in length and set around the Oslo Peace Accords, JT Rogers’ Oslo might not on the face of it seem like theatrical gold but it won a Tony on Broadway and such was the confidence in this production that a West End run was booked in to follow its short engagement at the National before a ticket had even been sold.
And it is a confidence that has paid off handsomely. Bartlett Sher’s direction has an epic sweep to its depiction of world affairs but Rogers’ writing shines through its focus on the intimate detail, on the personal struggle, sacrifice and success of the individuals who managed to break the Israeli-Palestinian deadlock and work towards the unimaginable – a lasting peace. History has shown us the reality of that, something acknowledged in a coda here, but it is still thrilling to watch. Continue reading “Review: Oslo, National Theatre”
Outstanding Performance by a Male Actor in a Leading Role
Casey Affleck – Manchester by the Sea as Lee Chandler
Andrew Garfield – Hacksaw Ridge as Desmond T. Doss
Ryan Gosling – La La Land as Sebastian Wilder
Viggo Mortensen – Captain Fantastic as Ben Cash
Denzel Washington – Fences as Troy Maxson
Outstanding Performance by a Female Actor in a Leading Role
Amy Adams – Arrival as Dr. Louise Banks
Emily Blunt – The Girl on the Train as Rachel Watson
Natalie Portman – Jackie as Jackie Kennedy
Emma Stone – La La Land as Mia Dolan
Meryl Streep – Florence Foster Jenkins as Florence Foster Jenkins Continue reading “23rd Screen Actors Guild Awards nominees”
“Everybody’s very very nervous”
The theatrical production of London Road was a major success for the National Theatre, the opening run first extending in the Cottesloe and then being rewarded with a later transfer to the much larger Olivier – I was first blownaway by its originality and then later comforted by its message in the aftermath of the 2011 riots. So the news that director Rufus Norris was making a film adaptation was received with apprehensive anticipation, could this strikingly experimental piece of theatre possibly work on screen.
Writer Alecky Blythe uses a technique whereby she records interviews with people which are then edited into a play but spoken verbatim by the actors, complete with all the ums and aahs and repetitions of natural speech. And in 2006, she went to Ipswich to interview a community rocked by a series of murders, of five women in total, all sex workers, and set about telling a story not of salacious deaths but of a community learning to cleave together in trying times. Oh, and it’s all set to the most innovative of musical scores by Adam Cork, elevating ordinary speech into something quite extraordinary. Continue reading “Film Review: London Road”
As panto season goes full steam ahead, it is the Lyric Hammersmith who make the early running in London with a new version of Jack and the Beanstalk by playwright du jour Tom Wells, who takes over writing duties from Joel Horwood and Morgan Lloyd Malcolm. The pair have established the Lyric as one of the go-to venues for modern panto in the capital, their irreverent humour bringing the classic stories bang up to date and locating them in the borough itself, so that audiences can experience a genuine Merry Hammersmith-mas. That is, if the evil giant in the sky Nostril doesn’t ruin Christmas for everyone by stealing everything good.
And true to form, Wells’ script is full of contemporary and local references: Nando’s, library closures, Lyric Square, Miley Cyrus and the inevitable twerking all make appearances as does a friendly jab at the Hackney Empire’s panto, And the young playwright’s gift for character peeks through with a pairing of a Jack and a Jill you won’t be expecting, Joshua Tonks’ Jill is the kind of bashful young man we’ve come to expect from him and Rochelle Rose’s Jack is a confident and pragmatic hero whose determination seems set to save the day when those pesky magic beans give rise to an impressively green beanstalk. Continue reading “Review: Jack and the Beanstalk, Lyric Hammersmith,”
“I like maths, and I like outer space. And I also like being on my own”
One of the most successful plays of 2012 (and indeed my personal fourth-best play of the year) was the National Theatre’s adaptation of The Curious Incident of the Dog in the Night-time so it was little surprise to hear that it would transfer into the West End, albeit a little belatedly. So from the immersive in-the-round staging of the Cottesloe, it has now graduated to the much larger proscenium of the Apollo but where one might argue it has lost a little something of what made it so intimately special first time round, the transfer expands the physical and visual language of Marianne Elliott’s production to great effect to create something even more theatrical.
Mark Haddon’s novel was inescapable as it rose to cult status and it is impressive that Simon Stephens’ adaptation manages to create something new, albeit entirely recognisable, out of the story. I still remain unconvinced by the touch of meta-business of the characters putting on a play of the story that is largely narrated by Niamh Cusack’s achingly kind Siobhan, but otherwise it is a sensitive and witty re-telling of the tale of Christopher Boone, a teenager who sees the world in an entirely different way to many of us and who is swept up in a personal odyssey spearheaded by his discovery of the body of his neighbour’s dog with a garden fork through him. Continue reading “Re-review: The Curious Incident of the Dog in the Night-time, Apollo Theatre”
“Let me feel how thy pulses beat”
Joe Hill-Gibbins’ raucous production of The Changeling first played the intimate Maria studio at the Young Vic earlier this year and encouraged by its success there, it has now transferred into the main theatre to provide a Gothic pre-Christmas treat. Middleton and Rowley’s Jacobean tragedy which spirals around spoilt rich girl Beatrice-Joanna’s schemes with her malevolent lackey De Flores has been mostly recast, just two people return, but its intense atmosphere, playful spirit and copious quantities of jelly, jam and trifle remain.
Sinéad Matthews takes on the role of wilful Beatrice-Joanna, determined to replace the man to which she finds herself engaged with the ones she has the hots for, and willing to do anything to get Zubin Varla’s disfigured De Flores to carry out her dastardly wishes. It’s a fascinating casting choice, the melancholy musicality of Matthews’ voice initially seems a difficult fit but the contrast of her doll-like frame against the wiry masculinity of Varla becomes highly effective as she attempts to manipulate all around her, forced to use her intelligence and wiles to ensure that Harry Hadden-Paton’s appealing Alsemero ends up with her. Continue reading “Re-review: The Changeling , Young Vic”