With Katie Brayben in the lead cast and a cameo from Sinéad Matthews, A Serial Killer’s Guide to Life has many a visceral treat
“Next stop, inner serenity”
Released digitally earlier this year, A Serial Killer’s Guide to Life is the kind of spunky indie Brit-flick you’d be more than happy to watch of an evening, without necessarily having deliberately searched it out. The debut long-form feature from writer/director Staten Cousins Roe, it’s the kind of short but sharp black comedy that could well find it building cult status.
Stuck in a dead-end life and living with her over-bearing mother, Lou seeks refuge in listening to various self-help gurus but it isn’t until she attends a seminar and meets the alluring life coach Val IRL that things start to change for her. This journey of self-discovery is not your usual fare though, as Val encourages Lou to take no shit as they scythe their way though the wellness industry that has popped up in the Sussex countryside. Continue reading “Film Review: A Serial Killer’s Guide to Life (2019)”
Moralising, heteronormative rubbish. Bohemian Rhapsody really serves its nominal subject very poorly indeed.
“No-one knows what Queen means because it doesn’t mean one thing”
Most everything you need to know about Bohemian Rhapsody is contained within the fact that Brian May and Roger Taylor were engaged as consultants on the film, intimately connected enough to be able to steer the direction of the movie in the way that they wanted. And so any hope of an independently-minded biography of queer icon Freddie Mercury disappeared behind a PG-friendly hagiography of Queen.
In some ways, it doesn’t matter. The film scored huge commercial, if not critical, success, snagging 4 Academy Awards along the way, but it still doesn’t make it right. How are you going to put your name to a film that is filled with inaccuracies? Because those inaccuracies put yourself in a better light, allowing you to show that you were tolerant of Mercury’s sexual proclivities and later AIDS diagnosis but that you were a finger-wagging Cassandra at his pursuit of a life outwith the heteronormative. Continue reading “Film Review: Bohemian Rhapsody (2018)”
No amount of prosthetics can stop this from being my…Darkest Hour
“The deadly danger here is this romantic fantasy of fighting to the end”
Eesh. The world already has too many Churchill films, never mind the fact that two big ones were released in the same year (Brian Cox’s Churchill was the lower profile one here). And for me, there’s nothing here in Joe Wright’s direction or Anthony McCarten’s writing that merits the retread over much-covered ground.
That is not the prevailing opinion obviously, as the film’s seven Oscar nominations testify, but it is what it is. No amount of latex makes Gary Oldman’s performance palatable (and isn’t it odd that he’s getting such acclaim for a role in which he is unrecognisable), and it is a crime in the ways in which the likes of Patsy Ferran and Faye Marsay are under-utilised, nay wasted. Continue reading “Oscar Week Film Review: Darkest Hour”
“I shall not look upon his like again”
My lack of willpower when it comes to theatre is infamous, even more so on the rare occasions when I get invited to be someone’s plus one, with the responsibility of filing my own review lifted from the shoulders for once. Thus I found myself at the Harold Pinter for the transfer of the Almeida’s Hamlet, a production I enjoyed immensely on the two occasions I saw it in North London and whose charms I wasn’t entirely sure would translate to the larger theatre here.
Those fears were largely unfounded – the scale of the intimate family drama that Robert Icke has fashioned from Shakespeare’s ever-present tragedy amplifies effectively, and Andrew Scott’s deeply conversational style still resonates strongly (in the stalls at least) through the familiar verse, finding new readings and meanings. If I’m brutally honest, I don’t think I gained too much from this repeat viewing but that’s just my rarified position – it is still a thrilling piece of theatre and it’s a thrill to see it in the West End.
Running time: 3 hours 35 minutes (with 2 intervals)
Booking until 2nd September, Juliet Stevenson leaves the company on 1st July when she is replaced by Derbhle Crotty
“There is nothing either good or bad, but thinking makes it so”
The enduring image of Robert Icke’s Hamlet is family – the repeated motif of group of three cleaving together haunts the production as much as Hamlet’s father himself. From the instant and intense bond established between Polonius, Ophelia and Laertes, Icke makes striking emotional sense of the respective grief and ferocity of the latter two, powerfully played by Jessica Brown Findlay and Luke Thompson against Peter Wight’s twinkling charm as their father.
And Icke also gives the tragic visual of Andrew Scott’s Hamlet trying to rebuild his original family unit, joining hands with his mother and the ghost of his father in the midst of the closet scene, willing Juliet Stevenson’s Gertrude to see what he sees, to put things back the way they used to be. And in a stunning montage for the final scene, these trios reform, emphasising the innate happiness of one and the deep tragedy of the other. It is deeply, deeply felt. Continue reading “Review: Hamlet, Almeida Theatre”
2017 is only just over a week away now and the reviewing diary is already filling up! All sorts of headline-grabbing West End shows have already been announced (The Glass Menagerie, Who’s Afraid Of Virginia Woolf, Don Juan In Soho, The Goat, Or Who Is Sylvia) and the National look to continue a sensational year with another (Twelfth Night, Consent, the heaven-sent Angels in America), so this list is looking a little further afield to the London fringe and some of the UK theatres I hope to get to throughout the year.
After hearing Elizabeth Newman speak passionately on a panel discussion about women’s theatre, I kinda have a big (intellectual) crush on her, so I’m very keen to see her tackle a new adaptation by Deborah McAndrew of the classic Anne Bronte novel in a theatre that is very close to my heart.
Continue reading “20 shows to look forward to in 2017”
“I’m stunned with wonder”
When Rupert Goold first announced the #AlmeidaGreeks season with all its familiar titles, I don’t think anyone could have predicted how genuinely epic a sweep of theatrical innovation it would usher in. From the extraordinary Oresteia to the shattering Bakkhai and Medea, the radical main house programme has been supported by a wide range of supplementary activity, not least the 16 hour, 60+ actor retelling of The Iliad (which can now be viewed in full on the Almeida website).
So it’s only natural that as the season draws to an end, it is bookended by another Homeric extravaganza in The Odyssey, again with 60 odd actors participating in a 12 hour non-stop feat of major storytelling which was live-streamed on t’internet. And conscious of raising the ante, directors Rupert Goold and Robert Icke took us on a literal journey, putting the players in taxicabs, boats, buses, trekking across rooftops and down busy streets to bring Ithaca to Islington as Odysseus winds his way home. Continue reading “Review: The Odyssey, Almeida/Live-stream”
“You can’t kill me
I can’t ever die”
After three weeks away, all my initial thoughts were on a cosy night in catching up on the first two episodes of The Great British Bake-off and I couldn’t imagine anything changing my mind – how wrong could I be! When the Almeida first announced their durational performance of Homer’s Iliad, it sounded like a madcap plan, a morning ‘til night affair in association with the British Museum and featuring over 60 actors – the only thing stopping me from booking was it being the last day of my holiday!
But fortunately, the good folk of the Almeida decided to livestream the whole shebang – all 16 hours and 18,255 lines of it – so that people could dip in and out to their heart’s content as well as attending at the British Museum for free during the daytime. I switched on at about 8pm as Bertie Carvel started his section, intending just to sample its wares but sure enough, I was there until the bitter end around 1am, having been sucked into its unique brilliance and unable to miss a minute more of it. Continue reading “Review: The Iliad Online, Almeida/Live-stream”
“This cannot be a place where the woman is less important”
There was no chance I wasn’t going to book for Robert Icke’s Oresteia again, I came out of it first time round quite sure that I’d seen one of the shows of the year and on second viewing, I am still firmly of that view. My original review can be read here and there isn’t too much more to be said aside from reiterating wow, wow, wow – how exciting it would be if this heralded just a handful more productions looking towards Europe for their inspiration and succeeding so thrillingly.
So the gauntlet has been laid for the Oresteias yet to come – at the Globe and at Manchester’s HOME, but also for the rest of the Greeks season. Bakkhai may already be sold out with Medea to follow and the anticipation could not be higher.
Running time: 3 hours 40 minutes
Photo: Manuel Harlan
Booking until 18th July, sold out but returns possible and well worth queuing for
“There isn’t one true version. There isn’t. There isn’t one story — a line of truth that stretches start to end.”
I saw Robert Icke’s extraordinary new version of Oresteia on the same day that I watched episode 9 of series 5 of Game of Thrones [here be spoilers] and gods alive, that was a brutal day of dead children. It was also a day of some sensational acting – Stephen Dillane and Tara Fitzgerald both doing excellent work in the North, and Angus Wright and Lia Williams in blistering form in North London in the first show of the Almeida’s Greeks season which on this evidence, looks set to be a thrilling highlight of the year.
Described as an adaptation by Icke of Aeschylus’ trilogy of plays detailing the fall of the House of Atreus, the reality feels more all-encompassing, a transfiguration of the drama(s) into something genuinely new that really examines the nature of Greek tragedies in light of contemporary theatre. Appropriately, Ivo van Hove was in the audience having spoken on a panel discussion earlier in the day, and it was clear to see that Icke is in part paying homage to the Belgian with influences both specific and more general clear to see in the direction here.
Continue reading “Review: Oresteia, Almeida Theatre”