Book Review: Hamilton and Me: An Actor’s Journal – Giles Terera

Taking us so far behind the scenes you can smell the greasepaint, Giles Terera’s Hamilton and Me: An Actor’s Journal is a brilliant new book 

“My intention is…to try and show you the how”

I’m not saying I made Giles Terera’s career but I named him Best Actor in a Musical in 2015 for his spell-binding turn in Pure Imagination 🙂 Regardless of that though, there’s no doubting that dude was catapulted into the limelight by Hamilton, adding an Olivier to his fosterIAN award, and deservedly cementing his place in the British theatrical establishment. Throughout his time with the show, he kept a journal which has now been published as Hamilton and Me: An Actor’s Journal.

The relative informality of the journal structure works perfectly in cultivating an immediate sense of intimacy as we slip from audition process to rehearsal rooms to the Victoria Palace Theatre itself. But don’t mistake these for casual observations, the book is jam-packed full of hard-won insights and all kinds of practical advice which works whether you’re a budding thespian or just a bastard, orphan, son of a… Continue reading “Book Review: Hamilton and Me: An Actor’s Journal – Giles Terera”

Book review: Time To Act – Simon Annand

Simon Annand’s Time To Act is a beautiful book of photos capturing actors in the minutes before they go on stage

Tackling the constraints of the pandemic in its own way, Simon Annand’s fantastic new book of photos Time To Act has launched a virtual exhibition of some of the photographs which has now been extended to until Christmas. It’s an ingenious way of sharing some of the hundreds of images from the book and should surely whet the appetite for either just buying it now or putting on your list for Santa to collect soon.

Continue reading “Book review: Time To Act – Simon Annand”

73rd British Academy Film Awards nominations

BAFTA Fellowship
Kathleen Kennedy
Hideo Kojima

Outstanding British Contribution to Cinema
Andy Serkis

Best Film
1917 – Pippa Harris, Callum McDougall, Sam Mendes, and Jayne-Ann Tenggren
The Irishman – Robert De Niro, Jane Rosenthal, Martin Scorsese, and Emma Tillinger Koskoff
Joker – Bradley Cooper, Todd Phillips, and Emma Tillinger Koskoff
Once Upon a Time in Hollywood – David Heyman, Shannon McIntosh, and Quentin Tarantino
Parasite – Bong Joon-ho and Kwak Sin-ae Continue reading “73rd British Academy Film Awards nominations”

Review: The Height of the Storm, Wyndham’s

Such pleasure in watching Jonathan Pryce and Eileen Atkins onstage plus The Height of the Storm at the Wyndham’s Theatre is great for post-show reconstruction of this deconstructed story 

“What would I do without you?
What would become of me without you?”

As Florian Zeller returns to the London stage with his latest play The Height of the Storm, you get something of the sense that British theatre is patting itself on the back saying ‘look, we do do European theatre’. But as with Ivo van Hove’s continued presence here, there’s a risk that familiarity will breed contempt as the risk of employing European theatremakers is mitigated by picking the same ones over and over.

Which is a bit of a long-winded way of saying that, whilst I enjoyed this immensely, I wonder if we’re approaching diminishing returns territory with Zeller. The Father was an extraordinary piece of storytelling in its disorientating structure and The Height of the Storm occupies a similar territory as we join long-married André and Madeleine and their two daughters and try to work out who is alive, who is dead, and just how many mushrooms there are onstage. Continue reading “Review: The Height of the Storm, Wyndham’s”

#CastingbyClowns – I celebrate as Cate Blanchett and Lucy Cohu return to the stage

Such amazing casting news came our way yesterday, with not one but two of my absolute faves returning to the London stage in the coming months. The starrier of the two is Cate Blanchett, who will appear with Stephen Dillane in a brand new play by Martin Crimp’s directed by Katie Mitchell at the National Theatre in January 2019. The play is enigmatically entitled When We Have Sufficiently Tortured Each Other – Twelve Variations on Samuel Richardson’s Pamela. (The torture presumably being the absolute scrum there’ll be to get tickets, as the show is going into the NT’s most intimate space, the Dorfman.)

But matching Blanchett in my personal pantheon in Lucy Cohu, an actor whom I’ve longed admired since she broke my heart in the double whammy of Torchwood – Children of Earth on the TV and Speaking in Tongues on the stage. She’s joining the cast of Florian Zeller’s The Height of the Storm, alongside Anna Madeley and Amanda Drew. And given that the cast already contains the previously announced Jonathan Pryce and Dame Eileen Atkins, this ought to be a good’un. That shows arrives at the Wyndham’s Theatre in October after a brief tour of Richmond, Cambridge and Bath. Continue reading “#CastingbyClowns – I celebrate as Cate Blanchett and Lucy Cohu return to the stage”

23rd Screen Actors Guild Awards nominees

Film
Outstanding Performance by a Male Actor in a Leading Role
Casey Affleck – Manchester by the Sea as Lee Chandler
Andrew Garfield – Hacksaw Ridge as Desmond T. Doss
Ryan Gosling – La La Land as Sebastian Wilder
Viggo Mortensen – Captain Fantastic as Ben Cash
Denzel Washington – Fences as Troy Maxson

Outstanding Performance by a Female Actor in a Leading Role
Amy Adams – Arrival as Dr. Louise Banks
Emily Blunt – The Girl on the Train as Rachel Watson
Natalie Portman – Jackie as Jackie Kennedy
Emma Stone – La La Land as Mia Dolan
Meryl Streep – Florence Foster Jenkins as Florence Foster Jenkins Continue reading “23rd Screen Actors Guild Awards nominees”

The Complete Walk, from the comfort of your sofa #4

“Come now, what masques”

With 37 films to work through and no need to do them all in one weekend as the Complete Walk was originally designed, I’m rather enjoying working my merry way through them at my own pace. First, second and third sets of film can be found here. 

Given how many Dreams I’ve seen this year, it’s a little surprising that A Midsummer Night’s Dream can still surprise me but such is the enduring beauty of the play. Nikki Amuka-Bird and David Caves take on Hippolyta and Theseus in the stately surrounding of Wilton House in the English countryside in Wiltshire, done with a romance here by Rebecca Gatward that is rarely seen these days. The flip to the brilliantly feisty pairing of John Light and Michelle Terry’s Oberon and Titania (from the 2013 Globe version which ranks as myall-time favourite) is vibrant, but it’s gorgeous to go back to the further developing of an unexpected tenderness between two characters who rarely receive it. A snippet of Pearce Quigley‘s Bottom is a bonus but it is Caves and Amuka-Bird who are the bees knees here.

Going to the ruins of Juliet’s Tomb itself (‘twas a room in a monastery) in Verona, and constantly switching with a second location (perhaps said room in a modern setting), Dromgoole’s Romeo and Juliet becomes extraordinarily powerful. Jessie Buckley’s final speech is just heartbreaking, really quite hauntingly affecting. Luke Thompson’s Romeo doesn’t quite hit the same heights but it’s still a beautiful encapsulation of the play.

Re-uniting father and daughter Jonathan and Phoebe Pryce from Jonathan Munby’s achingly moving production at the Globe in 2015, this rendering of The Merchant of Venice has the special opportunity of carrying its main actor from the staged to the filmed version, also by Munby. The swaggering demands of Dominic Mafham’s Antonio give way to the quiet confrontation between Shylock and a soon-to-depart Jessica, given real piquancy by being filmed in The Jewish Ghetto in Venice. Munby then goes for the greatest hits of the play, fitting in the ‘Hath not a Jew eyes’ and then Portia’s ‘quality of mercy’, but it is the subtle interplay between father and daughter in the Venetian half-light that sticks in the mind.