Against a barrage of bad reviews, I tried to give Cats a fair hearing. There may have been wine involved…
“I remember the time I knew what happiness was”
I wanted to like Cats, honest. But…but…everytime you look at a detail in this unexpected horror film, there’s something ungainly or odd that distracts you inordinately:
the scale of the damn thing. The mind boggles as the cats change from being tiny compared to railway tracks to almost human-sized at Nelson’s Column, bringing almost any object into screen ends up pulling focus as you try and work out wtf is going on
why do some of them wear shoes (the ‘street’ cats in trainers, TSwift in heels…?) and of those who don’t, what’s with the toes
in fact the whole anthropomorphic thing. There’s cleavage and six packs but no genitals or anuses. You wouldn’t think it would bother you so much but there’s so many lingering shots of these places…!
the dancing cockroaches in danger of being eaten. Whyyyyyyyy?!
it’s rather amusing that pretty much every reaction shot of Dench is her looking aghast, we know how you feel Judi
An unfortunate waste of talent all-round I’m afraid.
54 years is quite the wait for a sequel but Mary Poppins Returns is full of nostalgic sweetness and charm
“Are you sure this is quite safe? ‘Not in the slightest. Ready!'”
54 years is quite the wait for a sequel but the sweetness and charm with which Mary Poppins Returnslands on our screens makes it pretty much worth it. It’s a film that does more than wrap you up in a warm blanket of nostalgia, it tucks you in, throws another log on the fire and makes you a steaming hot chocolate (no marshmallows though!).
Set 30 years after the much cherished original, the story (by David Magee, Rob Marshall and John DeLuca based off of PL Travers’s original tales) sees us rejoin Cherry Tree Lane where the adult Michael Banks (Ben Whishaw) lives with his young family (Pixie Davies, Nathaniel Saleh and Joel Dawson). But much like the other long-held sequel of the year, a sadness fills the house for a mother has died. And Michael’s artistic inclinations and part-time job at the bank aren’t bringing in enough to keep them from repossession. Who could possibly save the day…? Continue reading “Film Review: Mary Poppins Returns (2018)”
It’s not been a hot minute since I last saw Hamilton so just take a look at my original review for the deets.
Running time: 2 hours 35 minutes (with interval) Booking note – keep your eyes open for returns, of which there have been quite a few. And check your browsers, the Ticketmaster site is most temperamental with the likes of Opera, Firefox and Chrome in my experience, Microsoft’s Edge has been most reliable for me
It’s here! Hamilton finally arrives in the West End and lights up the newly refurbished Victoria Palace Theatre for the ages
“A bunch of revolutionary manumission abolitionists,
Give me a position, show me where the ammunition is”
Change doesn’t just happen, it has to be ushered in by visionaries determined to shake up the status quo to allow the rest of us to shuffle in in their wake. This is true of many things but particularly when it comes to diversity in our theatres, which makes it pleasing that this first production of Hamiltonoutside of the US has maintained its commitment to multiracial casting in its depiction of the travails of ill-fated Founding Father Alexander Hamilton.
“Perhaps the greatest risk any of us will ever take is to be seen as we really are”
Who knew what the world needed was a live-action version of Cinderelladirected by Kenneth Branagh. It oughtn’t be as good as it is but somehow the fusion of Disney magic and folktale wonder comes together most effectively, thoroughly traditional in its outlook yet somehow still feeling fresh. Chris Weitz’s screenplay is based on Charles Perrault’s Cendrillon but both he and Branagh take lots of inspiration from the Disney version of the story too and the resulting confection is really rather bibbity-bobbity-beguiling.
There’s a cleverness too about what it does in spinning new details like giving us a reason that her step-family don’t recognise her at the ball and weaving much humour into the magic spells that get her to said ball. Ella herself is well pitched by Lily James, not quite too perfect to be true but still hugely appealing. It’s no wonder Richard Madden’s Prince Charming tumbles instantly for her (and she for him, those breeches…those boots!) and their chemistry is palpable, one can see why Branagh has cast them as Juliet and Romeo in his upcoming theatre residency in London. Continue reading “DVD Review: Cinderella”
I wasn’t the hugest fan of Miss Saigon first time round as my review from then clearly attests but I’m never one to be entirely closed-minded (though it may not often seem that way…) so when the opportunity to take a friend who had not previously been popped up, I made a return visit to the Prince Edward Theatre. The show is still basking in the glow of recently winning 9 What’s On Stage awards and it is clear that it is attracting a younger and atypically passionate crowd (for a West End show at least).
That passion cuts both ways though as the overexcited group behind us couldn’t hold back from the flash photography and the young woman in front of me was less enthused than the rest of her party and spent most of the show on Facebook. It makes for a different kind of theatre experience when you’re having to do battle with that kind of behaviour but given my continued lack of engagement with the storyline of this particular musical theatre behemoth, it was as much a distraction for me as anything. Continue reading “Re-review: Miss Saigon, Prince Edward Theatre”
“Hey Joe, try taking a little excursion
You’ll feel good from a little perversion”
There’s a real generational split when it comes to Miss Saigon – a contemporary of such 80s mega-musicals as Phantom and Les Mis, it has comparatively fallen by the wayside in terms of longevity nor has its score really attained the status of a bona fide classic. So there’s a group of people familiar with the show ready and waiting to make comparisons between the original and this major revival at the Prince Edward Theatre, and then there’s the rest of us – me included – for whom this is a new experience.
And as is often the case when expectations have been pumped sky-high (“Box office records broken on the first day!” “The greatest musical ever?!” “Watch out for the helicopter…”), it isn’t immediately clear what all the fuss is about. Claude-Michel Schönberg and Alain Boublil’s book is basically Madame Butterfly redux but transplanted to the Vietnam war as GI Chris is loved long-time by Kim, their love then forced apart by the US defeat in Saigon and a reunion, of sorts, organised once he finally discovers that he left more than his heart with Kim that evening… Continue reading “Review: Miss Saigon, Prince Edward Theatre”