A gay dementia weepie ought to leave me distraught but despite the presence of Colin Firth and Stanley Tucci, Supernova leaves me cold
“Can you tell that its gotten worse?”
Harry Macqueen’s Supernova clearly had designs on a whole suite of award nominations but overlooked as it was, it has popped up on cinema schedules as an early summer oddity very much in the shadow of The Father. And though it seems tailor-made to tug on the tearducts of voters and audiences alike, I found it surprisingly unaffecting (and I cry at a lot!).
Stanley Tucci and Colin Firth play Tusker and Sam, an irascible but well-suited couple who’ve been together for nigh on 20 years. Tusker’s a novelist and Sam’s a musician but the former’s diagnosis of early-onset dementia has thrown their future into disarray. And as they journey to the Lake District to connect with family and friends, it becomes clear just how much. Continue reading “Film Review: Supernova (2020)”
Despite a mostly good cast, Tulip Fever proves a punishingly dull film – not even self-isolation should drive you to this one
“Amsterdam was captivated by a flower”
The signs weren’t good. Tulip Fever was filmed in 2014 but was pushed and pulled around the schedules before it finally surfaced in 2017, notorious producer Harvey Weinstein clearly hoping that some post-production magic would win over reluctant test audiences. Safe to say though, such an amount of chopping and changing does no-one any favours as Justin Chadwick’s film remains punishingly dull.
Based on Deborah Moggach’s book, with screenplay by Moggach and Tom Stoppard, the story (mainly) centres on Sophia, an orphan whisked out of convent life by a wealthy merchant who wants her essentially as a brood mare, But things ain’t clicking in the bedroom, so Sophia tumbles into an affair with the artist her husband has commissioned to do their portrait. And competing for screentime, tulip mania has hit the Netherlands. Continue reading “Lockdown film review: Tulip Fever (2017)”
Any opportunity to see Lesley Manville on stage should be taken but The Visit or The Old Lady Comes to Call proves close to a trial at the National Theatre
“We’re alive now only in the sense that moss and lichen are alive”
There’s no two ways about it – Tony Kushner’s new version of Friedrich Dürrenmatt’s 1956 The Visit or The Old Lady Comes to Call is a punishing evening on the buttocks. Thank the Lord (or the donors) for the relative comfort of the seating at the National Theatre but unless you’re a fan of Lesley Manville (and what right-thinking individual isn’t), it could well prove punishing on your patience too.
Manville really is superb. She’s Claire Zachanassian, the richest woman in the world who has returned to her dilapidated hometown with an intriguing proposition for the townsfolk. She’ll donate an incredible, life-changing amount of money for everyone if they’ll carry out a brutal act of vengeance on the man whose actions forced her to leave the place as a pregnant teenager. And she rises to the challenge, displaying a mesmerising stage presence that is startling in its power. Continue reading “Review: The Visit or The Old Lady Comes to Call, National Theatre”
I look ahead to some of the 2020 shows exciting me most with an emphasis away from the West End, looking mostly instead at the London fringe and across the UK
Sure, there’s all sorts of big ticket shows coming to London in 2020 (with big ticket prices too to go with their big names), like Sunday in the Park with George with Jake Gyllenhaal, Sister Act with Whoopi Goldberg, A Doll’s House with Jessica Chastain. But there’s so much more to discover if you venture away from Shaftesbury Avenue…
1 The Glass Menagerie, Odéon–Théâtre de l’Europe at the Barbican
Not that I want to be predictable at all but Isabelle Huppert! Acting in French! Right in front of you! I understand that van Hove-fatigue might be setting in for people but only a FOOL would pass up the chance to see one of our greatest living actors. A FOOL!
2 The Glass Menagerie, Royal Exchange
And if you wanted to do a direct compare and contrast, Atri Banerjee’s revival for the Royal Exchange will be worth checking out too for an alternative perspective.
3 The Wicker Husband, Watermill
Even before Benjamin Button tore my heart apart, I was excited for the arrival of this new musical by Rhys Jennings and Darren Clark but now, the bar has been raised even higher. And the gorgeous intimacy of the Watermill feels like a perfect fit.
4 Children of Nora, Internationaal Theater Amsterdam
Me: “I don’t need any more Ibsen in my life”
Also me: Robert Icke revisiting the world of A Doll’s House through the eyes of the next generation? Yes please.
5 Romantics Anonymous, Bristol Old Vic
I don’t think I thought this delicious Koomin and Dimond musical would ever actually return, so this short run in the UK ahead of a US tour feels like a real blessing. Now where did I put my badge? Continue reading “20 shows to look forward to in 2020”
Jessie Buckley and Josh O’Connor headline a new production of Romeo and Juliet, while Callum Scott Howells and Rosie Sheehy star in Gary Owen’s Romeo and Julie, among other big news from the National Theatre
Simon Godwin returns to the National Theatre to direct Shakespeare’s ROMEO & JULIET following his critically-acclaimed productions of Antony and Cleopatra and Twelfth Night in the Olivier Theatre. Set in modern Italy in a world where Catholic and secular values clash, Jessie Buckley (Wild Rose, Judy) and Josh O’Connor (The Crown, God’s Own Country) play the two young lovers who strive to transcend a world of violence and corruption. Fisayo Akinade (The Antipodes, Barber Shop Chronicles) is cast as Mercutio. The production will open in the Olivier Theatre in August 2020.
Set and costume design by Soutra Gilmour, lighting design by Lucy Carter, composition by Michael Bruce and sound design by Christopher Shutt. Continue reading “News: new productions and casting updates for the National Theatre”
I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in August.
Joseph and the Amazing Technicolor Dreamcoat, aka the Sheridan Smith show
Queen of the Mist, aka the surprisingly affecting one
Appropriate, aka all hail Monica Dolan
Waitress, aka ZZZZZZZOMGGGGG STUNT CASTING oh wait, Joe Suggs hasn’t started yet
The Doctor, aka all hail Juliet Stevenson
A Very Expensive Poison, aka it was a preview so I shouldn’t say anything
Blues in the Night, aka all hail Broadway-bound Sharon D Clarke (and Debbie Kurup, and Clive Rowe too)
The Night of the Iguana, aka justice for Skyler Continue reading “August theatre round-up”
Ivo van Hove’s take on All About Eve ticks all my boxes at the Noël Coward Theatre, great work from Gillian Anderson, Lily James and a stellar Monica Dolan
“I’ll admit I may have seen better days, but I’m still not to be had for the price of a cocktail, like a salted peanut”
This isn’t the production to change people’s mind about Ivo van Hove. His style is so thoroughly ingrained, his team of collaborators so deeply embedded, that you couldn’t play a drinking game watching one of his shows and stay standing. Live video feed, drink! Backstage people wandering round, drink! A moody slow rise, drink! But what you also get is an amazing calibre of actor throwing themselves headlong into the work, ever-innovative ways of using theatrical space, and the kind of emotional intensity that remains rare. Drink drink drink!
Now that we’re comfortably sloshed, I can tell you that I loved All About Eve (and I only had one G&T, honest). You’ll have to look elsewhere for critiques on how good an adaptation of Joseph L Mankiewicz’s film of the same name and Mary Orr’s play The Wisdom of Eve it is, I ain’t seen either and wanted to go into this sight unseen. What I can talk about is the startling insight offered by the actress’s-eye view, projected onto screens from a camera built into a dressing room mirror. About Gillian Anderson’s titanic performance. About Sheila Reid’s welcome return to the stage. About Monica fucking Dolan. Continue reading “Review: All About Eve, Noël Coward Theatre”
So much to keep on top of – pics from All About Eve, videos from Waitress, foodie secrets from Gingerline and casting news from Emilia
We’re just three weeks away from All About Eve starting previews and these rehearsal pics ought to whet anyone’s appetite.
And more importantly if you’ve not booked yet, details have been released about day seats and a front row lottery – this will definitely not be one to miss.
Day Seats: Available in person at the Box Office from 10am on a first come, first served basis. Maximum x2 per person. Limited availability. £25.00 per ticket.
Front Row Lottery: In partnership with Today Tix. More information on how to enter will be announced on the All About Eve social media channels from Friday 25 January 2019. Maximum x2 per person. £25.00 per ticket. Continue reading “Some goodies for a cold January Thursday”
The best TV show you haven’t heard about? Harlots just might be it!
“When the time comes, I hope your quim splits”
I suppose that it is good that we have so many more options for good television to be made these days. The flipside to that is that it can be harder to keep track of it all. Harlots is fricking fantastic, a hugely enjoyable and high quality drama but airing on ITV Encore (and Hulu in the US), it has languished in the doldrums of the unfairly unheralded.
A glance at the castlist shows you how much of a waste this is. Samantha Morton and Lesley Manville at the head, Jessica Brown Findlay, Hugh Skinner and Dorothy Atkinson among the supporting, Fenella Woolgar, Danny Sapani and Kate Fleetwood popping up now and again too. This is luxury stuff and yet criminally few know about it. Continue reading “TV Review: Harlots Series 1”
“I’m mad as hell, and I’m not going to take this anymore”
With Network, Lee Hall’s adaptation of Paddy Chayefsky’s 1976 film, Ivo van Hove re-asserts his place as one of the premier theatremakers working, anywhere. A satire that managed to predict just how powerful a tool populist anger can be when leveraged effectively, it is transformed into the immersive bustle of a TV studio, that of UBS Evening News where old hack Howard Beale – a transcendent performance by Bryan Cranston – has been handed his notice. Though initially appearing to accept it with good grace, he causes an almighty media stir when he declares, on air, that he’s going to kill himself, triggering a most unlikely rebirth as a truth-spilling ‘prophet’.
And as ever, van Hove and designer Jan Versweyveld challenge our notions of theatrical space and how it is used. An onstage restaurant puts (some) audience members right in the thick of the action, the fourth wall gets well and truly shattered, and the use of live video and big screens forces us into the role of active observers – as Beale goes live on air, do you watch Cranston himself, do you watch him onscreen, do you watch the team observing him from the producers’ box…the multiplicity of perspectives reminds us how easy it is to manipulate media, how there can always be other sides to the story. Continue reading “Review: Network, National Theatre”