Marking the month in which he would have turned 90, the Guardian delves into the Harold Pinter chapter of Tristram Kenton’s photo archive:
Photos: Tristram Kenton
Such a brilliant British gay film – I finally get around to watching God’s Own Country
“My country is dead. You can’t throw a rock in most towns without hitting an old lady crying for her children who have gone.”
Of course its taken me months to get round to watching God’s Own Country and of course I loved it utterly and completely. It’s grim up north and there’s nowt so queer as folk, not least Johnny Saxby, single-handedly holding his family’s failing farm together after his father’s stroke. He numbs the pain with blackout drinking sessions in the pub and rough casual sex with any guy who is up for it, but it’s no life, something has to change.
That change comes in the form of Gheorghe, a Romanian farm labourer brought in for the lambing season. His moody dark looks, lovely chunky knit and sheep’s cheese-making ways don’t quite melt Johnny’s heart so much as grip it, yank its pants down and roll in the mud with it. Theirs is a viscerally physical connection, reflecting the hard labour on this unforgiving Yorkshire countryside, and slowly, Gheorghe begins to shift Johnny’s views on the world. Continue reading “Film Review: God’s Own Country (2017)”
“I’m stunned with wonder”
When Rupert Goold first announced the #AlmeidaGreeks season with all its familiar titles, I don’t think anyone could have predicted how genuinely epic a sweep of theatrical innovation it would usher in. From the extraordinary Oresteia to the shattering Bakkhai and Medea, the radical main house programme has been supported by a wide range of supplementary activity, not least the 16 hour, 60+ actor retelling of The Iliad (which can now be viewed in full on the Almeida website).
So it’s only natural that as the season draws to an end, it is bookended by another Homeric extravaganza in The Odyssey, again with 60 odd actors participating in a 12 hour non-stop feat of major storytelling which was live-streamed on t’internet. And conscious of raising the ante, directors Rupert Goold and Robert Icke took us on a literal journey, putting the players in taxicabs, boats, buses, trekking across rooftops and down busy streets to bring Ithaca to Islington as Odysseus winds his way home. Continue reading “Review: The Odyssey, Almeida/Live-stream”
“Have you never been in love?
‘No, too much choice.’”
Now this is a curious thing – released in 2001 but feeling very much a child of the 90s, Born Romantic is a British rom-com written and directed by David Kane, centring on a salsa club in London and the romantic capers of the men and women to attend. It has a highly personable cast – and there’s always fun in seeing familiar faces with a much fresher hue about them – but this is fairly bog-standard, low-budget stuff. It says nothing new about relationships, metropolitan living or indeed anything exciting, it just putters along in a rather inoffensive manner that makes it hard to recommend.
For those who know their US late-night chat-show hosts, there’s still fun in seeing Craig Ferguson in a straight acting role, one of three main “romantics” of the multi-stranded story. His Frankie is a hapless divorcee, still co-habiting with his ex played by Hermione Norris, and struggling to wangle his way into the affections of emotionally distant art restorer Eleanor, the divine Olivia Williams who like everyone else here is treading water. Kane’s writing hits on some interesting points but rarely gets the opportunity to delve beneath the surface as the narrative skips around the numerous other storylines, barely scratching the surface of any. Continue reading “DVD Review: Born Romantic”
Speaking in Tongues is the second play by Australian playwright Andrew Bovell to open in recent months in London, following the Almeida’s production of When The Rain Stops Falling. That play was well-received, rapturously so by yours truly, and this play was made into a film in 2001 called Lantana which happens to be one of my all-time favourite films, so safe to say I was somewhat looking forward to this production opening in the West End at the Duke of York’s theatre.
Ostensibly, this play is centred around the disappearance of a woman and the subsequent police investigation, but in reality it is much more about the fragility of human relationships and the ways in which we betray each other. Nine characters feature in Speaking in Tongues in a tangle of adulterous liaisons, betrayals, unexpected connections, confessions and interviews. These are all presented in a variety of formats which may take the viewer by surprise especially with a big shift as the second half starts, but stick with it as it does all become clear. Continue reading “Review: Speaking in Tongues, Duke of York’s”
This short play by Caryl Churchill ran prior to productions of Phèdre in the Lyttleton Theatre and with cheap ticket prices, proved a welcome addition to the regular programme. Three More Sleepless Nights looks at the fragility of relationships through the eyes of two all-too-human couples in three short acts. I’d viewed this primarily as an opportunity to see some great acting talent, so I was pleasantly surprised to find myself engrossed in the travails of these couples as soon as the curtain had risen.
Ian Hart (eagerly anticipated by me at least in the forthcoming Speaking in Tongues) and Lindsey Coulson have great chemistry in their opening scene as a long-married long-suffering couple, Frank and Margaret, who argue constantly about his drinking and infidelity and her frustrations. They both give as good as they take and the scene is filled with sharply observed overlapping dialogue which was often very funny. Continue reading “Review: Three More Sleepless Nights, National”