“Wanna cry, wanna croon,
wanna laugh like a loon”
Suspension of disbelief is par for the course with musical theatre, especially the type of obscure revivals that the Union Theatre specialises in, and Finian’s Rainbow is no exception in that respect. A leprechaun who is slowly turning into a human, a twinkle-eyed Irishman determined to grow a forest of gold, a mute girl who communicates solely through the medium of dance…this is unabashed hokum of the top order, but the sincerity of Phil Willmott’s sterling production makes it a genuine delight.
For what it’s worth, the plot concerns the twinkle-eyed Irishman Finian McLonegan’s efforts to make his fortune in the Deep South having borrowed a crock of gold from a leprechaun and marry off his granddaughter Sharon in the process. The community of tobacco pickers where they end up welcome them and their money with open arms but a corrupt and racist senator has other plans for the land on which they toil, putting their future in peril. E.Y. Harburg and Fred Saidy’s book contains much more dry humour than you might expect though, jabs about immigration and bankers showing how little things have changed in many respects. Continue reading “Review: Finian’s Rainbow, Union Theatre”
For many people, myself included, it is nigh on impossible to approach a film version of stage behemoth Les Misérables with a blank slate. It’s been a mainstay of the musical theatre world since its 1985 London debut – it is most likely the show I have seen the most times throughout my lifetime – and after celebrating its 25th anniversary with an extraordinarily good touring production, has been riding high with a revitalised energy. So Tom Hooper’s film has a lot to contend with in terms of preconceptions, expectations and long-ingrained ideas of how it should be done. And he has attacked it with gusto, aiming to reinvent notions of cinematic musicals by having his actors sing live to camera and bringing his inimitable close-up directorial style to bear thus creating a film which is epic in scale but largely intimate in focus.
In short, I liked it but I didn’t love it. I’m not so sure that Hooper’s take on the piece as a whole is entirely suited to the material, or rather my idea of how best it works. Claude-Michel Schönberg’s score has a sweeping grandeur which is already quasi-cinematic in its scope but Hooper never really embraces it fully as he works in his customary solo shots and close-ups into the numbers so well known as ensemble masterpieces. ‘At The End Of The Day’ and ‘One Day More’ both suffer this fate of being presented as individually sung segments stitched together but for me, the pieces never really added up to more than the sum of their parts to gain the substantial power that they possess on the stage. Continue reading “Film Review: Les Misérables (2012)”
Beasts of the Southern Wild
Life of Pi
Silver Linings Playbook
Zero Dark Thirty
Ben Affleck – Argo
Kathryn Bigelow – Zero Dark Thirty
Tom Hooper – Les Misérables
Ang Lee – Life of Pi
David O. Russell – Silver Linings Playbook
Steven Spielberg – Lincoln Continue reading “18th Critics’ Choice Awards nominees”