Sam Mendes’ 1917 is undoubtedly an technically excellent film but the focus on format ends up detracting from the depth of the storytelling
“You’ll be wanking again in no time!
There’s no doubting the technical audacity of Sam Mendes’ 1917. With its ostensibly one-shot, real-time structure (with necessary caveats that it is neither), it is a bravura piece of film-making that elevates this movie from just your average Oscar-baity war flick (cf Dunkirk).
It is clearly a labour of love for Mendes, who directed, co-wrote (with Krysty Wilson-Cairns) and produced 1917, and whose grandfather’s own war experiences inspired the film. And its driving force, following 2 British soldiers tasked with delivering a vital message beyond enemy lines. Continue reading “Film Review: 1917 (2019)”
Pilot Theatre’s touring production of Brighton Rock is visually arresting, beautifully staged and very well acted.
“How do you know what’s right and what’s wrong?”
Where else to see Graham Greene’s classic Brighton Rock than in the beautiful surroundings of the Theatre Royal Brighton, with the sound of seagulls and smell of fish suppers lingering on the air just outside. And Pilot Theatre and York Theatre Royal’s touring production makes for a gorgeously theatrical treat as it probes deep into the darkness under the pier.
Esther Richardson’s production has a striking physicality to it, utterly eyecatching but careful not to overly glamourise this noirish world. Case in point – the opening murder may be stylishly staged as sharp-suited gangsters operate as a sinuous ensemble to ensnare and execute. But Jennifer Jackson’s movement has them rocking queasily back and forth as they move in, an ugliness that stops them from ever seeming too cool. Continue reading “Review: Brighton Rock, Theatre Royal Brighton”
Pilot Theatre and York Theatre Royal are delighted to announce full casting for their forthcoming touring production of Bryony Lavery’s new adaptation of Graham Greene’s iconic novel Brighton Rock.
Continue reading “Full casting announced for Bryony Lavery’s new adaptation of Brighton Rock”
“I want to live vividly”
There’s something rather apposite about the rush to label Denise Gough’s performance in People, Places and Things as the greatest since Mark Rylance’s in Jerusalem, as as heretical as it may be to say it, I was no real fan of the latter. And whilst there is a huge amount to admire in Gough’s epic efforts in a behemoth of a role, my reaction to the play on seeing it a second time was magnify what I felt were its flaws, leaving me bemused at the number of 5 star notices and hyperbole-filled writing.
My original review can be found here and in its new home at the Wyndham’s, I felt much the same. Duncan Macmillan’s writing lapses towards the painfully poetic far too often when trying to engage with the realities of addiction and it still feels baggy, the group scenes linger past their welcome and the repetitiveness goes too far, a fair bit could be cut and nothing lost. But what do I do know? It fascinates me endlessly when I end up outside the zeitgeist this way and interestingly for me, no-one else’s reviews have convinced me of what I’m apparently missing. Still, I’d recommend you go along to make up your mind and to see what should be, by any rights, the ascendance of Denise Gough to a well-deserved star status.
Running time: 2 hours 25 minutes (with interval)
Booking until 18th June
“You can’t do karaoke unless you’re part of the group”
Oh expectation, you fickle thing – so easily built up and yet so easily dashed. Headlong’s last visit to the National Theatre saw Lucy Prebble’s The Effect brought to powerfully moving life and recently revived so devastatingly effectively in Sheffield, it was still fresh in my mind. So perhaps foolishly, Duncan MacMillan’s People, Places and Things had a lot to live up in my mind but sometimes that’s what happens when you’re a theatre addict – you just have admit that you’re powerless over theatre and that your life has become unmanageable.
Entering a 12-step program is all well and good but how to identify the exact nature of the wrongs, defects of character and shortcomings that help on the way to recovery? How to make amends to the people who have been harmed? Here’s where this tortured analogy will die a death as I can’t make it work, and it is turning out a little harsh against this production. That said, I really wasn’t a fan despite some sterling work from Denise Gough and spotted at least three people making a run for it before we broke for the interval. Continue reading “Review: People, Places and Things, National Theatre”