Jonathan Coe’s novel What A Carve Up! is adapted brilliantly into a gripping online play with an excellent lead performance from Alfred Enoch
“Who even reads novels at this point, they’re just an irrelevance”
As the shadow of another lockdown looms, What A Carve Up! shines as an example of what lemonade can be made from those particular kind of lemons. Produced collaboratively by The Barn Theatre, Lawrence Batley Theatre and New Wolsey Theatre and written specifically by Henry Filloux-Bennett for online delivery, this is exciting hybrid thinking.
Based on the novel by Jonathan Coe, Filloux-Bennett and director Tamara Harvey have done a remarkable job here. Covid restrictions aside, it would never have been the most straightforward piece to adapt but reflecting the book’s postmodern structure, this play interleaves multiple layers to build up not just a murder mystery but a damning commentary on the state of the world. Continue reading “Review: What A Carve Up!”
The Barn Theatre in Cirencester, the Lawrence Batley Theatre in Huddersfield and the New Wolsey Theatre in Ipswich have today announced the full cast for the digital world premiere of Henry Filloux-Bennett’s online play What A Carve Up!, based on Jonathan Coe’s critically acclaimed satirical novel.
Transferring stage productions onto film is something fraught with difficulties as the magic of live performance never really survives the change of medium, so something else, something slightly different has to be striven for. Trevor Nunn’s King Learfor the RSC – originated in Stratford in 2007 then toured the world before a West End season in rep with The Seagull – which stars Ian McKellen in the title role is not a filmed performance on stage, but nor is it a reconceived enhanced film version. Instead, it was filmed rather simply at Pinewood Studios, at the end of the tour, so it has the feel of a piece of theatre rather than of film, with the added bonus of being able to see the acting up close.
And what a bonus it is. McKellen is simply outstanding here. Jacobi’s Lear for the Donmar was my first ever and I couldn’t imagine it ever being bettered, Greg Hicks’ recent RSC one was just different, but this is such an incredibly visceral performance, full of anger and rage and bewilderment that is highly affecting even on screen – what it must have been like live I can’t imagine, but the camera captures every single nervy tic and nuanced touch that must have been missed in some of the larger theatres. And facing up against him is Frances Barber as Goneril in what must be one of the performances of her lifetime. She is just astounding, all kinds of manipulative, Machiavellian evil as she plots her way through the play, but almost justifiably so as the fierce tragedy carved on her face as her father curses her indicates the troubled history between father and daughter. This is the type of performance that makes you wish the sisters were featured much more in the play. Monica Dolan’s Regan is also tremendously strong, a more nervous, unhinged energy that plays out maliciously as she caresses the text languorously and Romola Garai’s Cordelia is beautifully spoken and extremely moving. Continue reading “DVD Review: RSC’s King Lear”