I wanted to like Mike Leigh’s Peterloo, I really did…
“You must be famished coming all the way from Wigan”
I’ve been a big fan of Mike Leigh’s film work, since discovering it in the last decade or so, and loved his last film Mr Turner. So news of his return to period drama, albeit through his idiosyncratic process, in Peterloo was a plus for me. The reality though is an epic that proved a real slog for me, even boring by the end. Continue reading “Film Review: Peterloo (2018)”
Opera North’s production does nothing to address the inherent problems of Kiss Me, Kate and thus feels like a relic of the past
“The overture is about to start,
You cross your fingers and hold your heart”
Revivals speak a lot to where an organisation sees itself. With its heady combination of Shakespearean drama and Cole Porter’s musical wit, Kiss Me, Kate has all the air of a sure bet about it and indeed, Jo Davies first mounted this production for Opera North in 2015, this revival of that revival being directed here by Ed Goggin as it opens here at the Coliseum.
But for all its familiarity, and that inherent bankability, it feels a problematic choice to stage. In a contemporary Britain, in a society switched onto #MeToo, even the sexual politics of something as notionally fatuous as Love Island are being newly parsed and much of what has long been considered acceptable, or tolerated due to ‘classic’ status, is rightly being reassessed. Continue reading “Review: Kiss Me, Kate, London Coliseum”
“Do I look like an effing equine expert?”
The theatrical behemoth that is War Horse shows no signs of flagging (or ending up as a Tesco burger just yet…) but as someone who is easily freaked out by puppets and isn’t particularly keen on horses, its charms have eluded me somewhat. I was taken to see the show for my birthday in 2011 after declaring it was the only way I would ever see it (review here) and from the awkwardly placed cheap seats in the side circle, it was a difficult place from which to try and challenge my preconceptions. Surprisingly for me though, it was the actual play I had the biggest problem with rather than the puppets.
But when the opportunity presented itself to go again with a friend who had never seen the show before, I couldn’t resist the temptation to revisit the show and revisit my opinion with something less of the original baggage I went with. And with this somewhat different mindset and also aided by far superior seats, I did find myself enjoying it far more than I had anticipated. Indeed I welled up more than during the film of Les Misérables, leaving me questioning just who I’ve turned into! Continue reading “Re-review: War Horse, New London Theatre”
I have long struggled with Chekhov, I’ve never really seen the attraction or seen a production that made me understand why he is so well regarded as a dramatist. So when the Donmar Warehouse announced a hugely star-studded season of plays to be performed in the West End, at the Wyndhams Theatre, my heart sank a little bit to see that the first play was Ivanov, by none other than Anton Chekhov. But in a new version by Tom Stoppard, directed by Michael Grandage and featuring the return to the London stage of Kenneth Branagh, this emerged as a production that might actually have convinced me that people are onto something here!
The key to my enjoyment here was all about the humour that is threaded throughout the evening so that the dour tragedy that is something of a trademark is leavened with something else and introduces a wider palette of emotion so that the ‘tragedy’ becomes well, more tragic for being contrasted with something else on offer. So Ivanov, seeking escape from his TB-ridden wife whom he no longer loves, rocks up at the neighbours’ house on a regular basis despite owing them money and a daughter there who has designs on him. When discovered together, society turns it disapproving eye on him but it turns out there’s a far harsher critic in Ivanov himself. Continue reading “Review: Ivanov, Wyndham’s Theatre”