“War has always been the handmaiden of progress”
From its opening moments of buttocks and blood (both belonging to an uncredited Hugh Bonneville if that floats your boat), it’s clear that Da Vinci’s Demons is going to have its fun whilst playing fast and loose with the early life of its subject, Florentine polymath Leonardo Da Vinci. Conceived by David S Goyer and a co-production between Starz and BBC Worldwide, it’s a good-natured romp of a drama series much in the mould of Merlin, Atlantis or the lamented Sinbad but perhaps tied a little closer to reality as it dips in and out of the tangled history of the Italian city states.
And it is its historical connections that serves as a main driver for the technological innovations for which Leonardo is famed and which form the ‘issue of the week’ around which most of the episodes hang. So as Da Vinci climbs into bed with the ruling Medici family, he’s sucked into their political machinations whilst battling rival families in Florence and the ever-present threat of the Catholic Church in Rome. Alongside this sits a more fantastical series-long arc about the mystical Book of Leaves and the Sons of Mithras who believe Da Vinci has only just begun to tap into his true power. Continue reading “DVD Review: Da Vinci’s Demons Series 1”
“Am I going to make it?
‘You already know the answer to that question’”
One of the more surprising transfers of the year has to be McQueen’s journey from the St James to the Theatre Royal Haymarket, its commercial success over-riding a (largely) critical drubbing (here’s my original review). The play has been rejigged to insert an interval, rewritten to extend some scenes and add one whole new one, and recast to bring in fosterIAN award winner Carly Bawden for Glee’s Dianna Agron – this last change proving the most effective in altering the show for the better. My full 3 star review for Cheap Theatre TIckets can be read here.
Running time: 2 hours (with interval)
Booking until 7th November
“I came for a dress”
It has barely been five years since fashion designer Alexander McQueen’s death but 2015 has already seen Savage Beauty, a major retrospective of his work, open at the Victoria and Albert Museum and now McQueen, a biographical fantasia by James Phillips which is taking to the catwalk at the St James Theatre. And in keeping with the edgy energy of the runway shows for which he was renowned, this is no straight play but rather a highly theatrical production that tries to capture some of the imaginative artistry that characterised his work.
Model-like dancers strut their stuff on the stage in striking choreography by Christopher Marney, all made up ; fashionistas in exquisite headwear pose nonchalantly around them, a haunting pair of strange twins skip around the fringes and in the middle is Lee, a London lad done good but in serious danger of being overwhelmed by the empire he’s built around him. Into this mix, from the tree in his garden, comes the troubled Dahlia – maybe a girl, maybe a fairytale creature, either way she’s his companion on a night-time odyssey to get her a dress but which also forces them to confront the demons that haunt them both. Continue reading “Review: McQueen, St James Theatre”
“You’re too good for me, that’s the trouble”
I continue to have little to say about the Simon Gray quartet of plays – Japes is the third for me – aside from to point you to how they were described on the website.
“Experience four Simon Gray plays based on the same characters, in the same situation but all telling a different story with opposite conclusions…”
If I cared enough, I would start to investigate trade description law. The last one – Missing Dates – comes next week for me at which point I will try to put down how this whole enterprise has made me feel.
“I don’t mind sharing him with you”
And so back to the downstairs theatre at the Hampstead for round two of Simon Gray’s In the Vale of Health. For me, this is Japes Too – there apparently being no set order in which to see these four plays – after Michael last week, and though I wish I had something to say about Japes Too, I can’t say that I do at this point – it is probably safer to leave it until I’ve seen at least one more.
“I’ve never had a bad review, at least not in the theatre”
A cycle of four interlinked Simon Gray plays might have seemed a curious enterprise for the Hampstead Theatre but it is one that has paid rich dividends before even a curtain had been raised. The run in the downstairs space sold so well that a transfer upstairs to the main house was quickly announced for In the Vale of Health, four plays which feature the same characters in the same situation but making different decisions – Japes, Japes Too, Michael and Missing Dates.
The play that started it all off is Japes but in the mad rush to get the highly bargainous multi-deal that worked out at a fiver a show, all thoughts of scheduling went out of the window and so I’ll be seeing Japes third and the show that started off my experience was Michael, the one that Gray wrote third in the sequence of exploring the potential worlds of these characters. We were told that the plays could be watched in any order though I can’t help but wonder if seeing Japes first might not have been a better idea. Continue reading “Review: In the Vale of Health – Michael, Hampstead Downstairs”
“Men are valued not on what they are, but what they seem to be”
The term ‘all-star cast’ is bandied about quite a bit these days and the more I go to the theatre, the more I realise how subjective a concept it is for me at least. Looking at the performer credits for this Radio 3 production of the Victorian satirical drama Money by Edward Bulwer-Lytton, I went into paroxysms of delight at the names contained within, but chatting later that evening to a group of non-theatre-going friends (for indeed I do still have some!), my excitement was hardly shared.
But for those of you in the know, and I’m counting all you readers of this blog, this is a great collection of actors. Celia Imrie, Roger Allam, Ian McDiarmid, Bertie Carvel, Tom Goodman-Hill, Phoebe Waller-Bridge to name just a few and all directed by the estimable Samuel West, making his radio directorial debut – how could anyone resist. For this version, the play, given a major production by the National Theatre in 1999 which also featured Allam, was recorded on location at Knebworth House which was inherited by Bulwer-Lytton himself just after he wrote this very work in 1840. Continue reading “Review: Money, Radio 3”