The first couple of episodes of Julian Fellowes’ latest TV series Belgravia are quite frankly an embarrassment
“How strange that we should be having a ball when we are on the brink of war”
Who knows what hold Julian Fellowes has over the British cultural industries as once again, another major commission comes through for this painfully lazy of writers. I should have resisted Belgravia but with a cast that includes Harriet Walter, Tara Fitzgerald and Saskia Reeves, not to mention Penny Layden and Adam James, curiosity got the better of me and by the crin, I wish it hadn’t. Lucy Mangan puts it scathingly well in her review for the Guardian and I couldn’t have put it any better. Avoid like the, well, plague.
“Do I sense a wider deeper sense of wonder and mayhem?”
I have a great sense of affection for Will Eno’s Oh, the Humanity and Other Good Intentions for a previous production at the Soho Theatre introduced me to the glorious talents of Lucy Ellinson. So this production at the Tabard Theatre, the debut show for the End of Moving Walkway company, was something I was keen to fit into the diary, not least because director Paul Lichtenstern has flipped the script in terms of casting a company of nine rather than having three actors covering multiple roles.
It’s a collection of five short plays that at their simplest, touch on the randomness and ordinariness of life and all its ups and downs. Connected by a (scarcely needed) directorial innovation that sees the action play out in Andy Edwards’ photography studio-like set design, Eno’s writing revels in dense wordplay as many of his characters struggle to deal with the situations in which they find themselves – a demanding press conference, the aftermath of a plane crash, emotional crises – and the cumulative effect can occasionally become a little wearing. Continue reading “Review: Oh, the Humanity and Other Good Intentions, Tabard”
“I know what you’re thinking, you’ve seen it all before…”
Much like we all carry our own sense of humour with us, we all too have our own individual fears and dreads. Which means we don’t all find the same things funny (I barely laughed in One Man, Two Guvnors for example) and, as Hallowe’en fast approaches, it makes it difficult to guarantee that something is scary for everyone. A proliferation of shows across London are all determined to send shivers down our spine, but none can have been so initially successful as Theatre of the Damned’s The Horror! The Horror! which sold out its run at Wilton’s Music Hall before it had even started.
As the main hall is being renovated, this Victorian-era promenade show takes place in the shadowy spaces and ramshackle rooms upstairs at Wilton’s and takes the form of a sneak preview of the new season of work from A.S. Brownlow & Company, a group of performers whose acts have all taken something of a gruesome turn. From saucy singers provoking mysterious men to vengeful magicians bitterly resisting the arrival of the future, a cabaret of the grisly and ghastly emerges from the ghosts of the past. And there are puppies. Oh, the puppies. Continue reading “Review: The Horror! The Horror!, Wilton’s Music Hall”