The Royal Shakespeare Company have announced Sonnets in Solitude, a selection of Shakespeare’s sonnets self-recorded by RSC actors while in lockdown.
Many of the actors were working with the RSC at the time of the theatre’s temporary closure on 17 March and have been unable to perform or rehearse since.
RSC Artistic Director Gregory Doran said,
“The sonnets are so intimate, confidential and direct, and watching them being performed in this way captures that immediately. Perhaps after 400 years, the form has finally found its ideal format”.
The RSC will release 90 of the 154 sonnets over the coming weeks which will be available to view via the RSC’s You Tube channel Miles Jupp, Alexandra Gilbreath, Antony Sher, Emma Fielding and Rosie Sheehy are just some of the actors involved in Sonnets in Solitude. Continue reading “News: The RSC launch Sonnets in Solitude”
A quick round-up of the rest of September’s shows
Mary Said What She Said, aka how far I will go for Isabelle Huppert
The Provoked Wife, aka how far I will go for Alexandra Gilbreath
A Doll’s House, aka if we must have more Ibsen, at least it is like this
Falsettos, aka finding the right way, for me, to respond
The Comedy Grotto, aka a sneaky peak at Joseph Morpurgo
The Life I Lead, aka something really rather sweet
Blues in the Night, aka all hail Broadway-bound Sharon D Clarke (and Debbie Kurup, and Clive Rowe too)
Everybody’s Talking About Jamie, aka well why not go again Continue reading “September theatre round-up”
A beautifully sensitive film adaptation of Journey’s End that spares none of its horror
“Smells like liver without the smooth wet look”
In all of the art that has been created around the commemoration of the 100th anniversary of the First World War, it is a shame that this film adaptation of Journey’s End passed by without much fanfare last year. RC Sherriff’s play is a rightfully punishing and pummeling play and Simon Reade’s adaptation loses none of the ferocity and horror of the writing, while adding new layers of disturbing verisimilitude in its staging.
Set in the final months of the First World War in the trenches of northern France, Journey’s End follows C Company as they await orders with an increasing sense of dread. Newly arrived Second Lieutenant Raleigh (Asa Butterfield) has requested the posting as he naively wants to be reunited with former school colleague and family friend Captain Stanhope. But nothing can prepare him for life on the front line, nor the effects of war on his pal. Continue reading “Film Review: Journey’s End (2017)”
A quick whip through Series 2 of The Crown
“History is not made by those who did nothing”
Do I still love The Crown? Yes. Do I still find it a little hard to muster enthusiasm about it until I’m watching it. Absolutely. It remains lavish prestige drama that carries little excitement about it and that’s perhaps inevitable as it trundles through the decades of the second half of the twentieth century, little dramatic surprise can really be sprung.
Instead, the thrills come from the script of Peter Morgan’s fantasia into the emotional life of our monarch, and a production that looks like the multi-millions of dollars that have been spent on it. Oh, and the cream of British acting talent popping in for a scene or two at an astonishingly high rate. Continue reading “TV Review: The Crown, Series 2”
The National Theatre last night hosted its biennial fundraising gala, Up Next, raising over a million pounds to support access to the arts for children and young people across the country. I think they forgot to invite me though… ?
Performances commissioned especially for the event included a new piece by Poet Laureate Carol Ann Duffy, alongside performances by Sir Lenny Henry, Anne-Marie Duff and hundreds of talented young people from across London.
Continue reading “News (and photos): National Theatre gala (plus actors in suits!)”
Somewhat appropriately in the week following International Men’s Day with its theme this year of male suicide, two shows tackling the subject open in London. Ella Hickson’s Boys gets a short revival at the LOST Theatre (read my review of the 2012 Soho Theatre production) and new musical Catch Me, written by Arnoud Breitbarth and Christian Czornyj, slots into the Above the Arts Theatre – I’ll be ‘catching’ it later in the week so watch this space for a review.
Continue reading “Round-up of news and treats and other interesting things”
“Let the bedlam begin”
The final play to premiere in Nicholas Hytner’s final season in charge of the National Theatre is Sam Holcroft’s Rules for Living, directed by Marianne Elliott in the Dorfman. Was it a pointed decision to end his reign with a show both written and helmed by a woman, who knows? Either way, it’s always good to see this venue providing such high profile opportunities for the writers it nurtures. Holcroft’s short(ish) Edgar and Annabel played as part of the Double Feature season in 2011 and she was a writer-in-residence here at the NT in 2013, from whence this rather cracking new comedy has emerged.
And boy is it funny, I don’t think I have laughed this thoroughly and consistently at a play in ages. As someone for whom farcical goings-on too often fall flat, I’m often left bemoaning the fact I’m sitting stony-faced in a sea of hilarity (cf. One Man Two Guvnors et al) but for once I was right with them. Holcroft’s set-up has an extended family coming together for Christmas lunch, an event for which Edith has been preparing since January. She’s looking forward to seeing both her sons, Matthew and Adam, and their partners, and they in turn are keen to see their father who has been in the wars recently. Continue reading “Review: Rules for Living, National Theatre”
“I’m afraid you’re not really the right sort of chap”
Laura Wade’s Posh took the Royal Court by storm in 2010 and then the West End in 2012 with a slightly amended version, each time slipping quite easily into the contemporary political narrative with its skewering of a fictionalised version of the Bullingdon Club, an elite Oxford student dining club that has boasted the likes of David Cameron, George Osborne and Boris Johnson in its ranks. Wade’s intimation is clear, that the reckless and thoughtless behaviour of these men as students is symptomatic of their charmed future political careers as a whole and enclosed in the claustrophobic dining room of a gastropub that they proceed to thoroughly trash, the play had a horrendously compelling energy to it.
Wade has adapted her own play here into The Riot Club and through the determined effort to make it work on screen, it has become quite the different beast. Personally, I wasn’t too keen on it, the changes detracting from the strengths of the story as I saw them, and the realities of making – and casting – a feature film have altered the whole underlying theme. A cast headed by model-handsome men (Sam Claflin, Douglas Booth, Sam Reid, Max Irons etc), most of whom get to ‘learn a lesson’ by the end, takes away from the vileness of their behaviour – it almost feels like director Lone Scherfig is letting them get away with it without ever really showing us the true ugliness of their political and personal prejudices.
Continue reading “DVD Review: The Riot Club”
“All over the country, women are getting less because they’re women”
I thought this would make an appropriate film review for International Women’s Day, it being a celebration of the sewing machinists whose ground-breaking 1968 strike at the Ford Dagenham plant laid the basis for the Equal Pay Act of 1970, enshrining the right of equal pay for equal work. Nigel Cole’s 2010 film, written by William Ivory around the real life events, has been turned into a musical which will be opening at the end of the year, Gemma Arterton taking the lead role under Rupert Goold’s direction, but she has a lot to live up against the glorious Sally Hawkins and what is a rather lovely film.
Made in Dagenham very much fits into the well-established working class Brit flick template – think The Full Monty, Brassed Off, Calendar Girls… – in that it is never particularly challenging, it revels in period cliché and can definitely be described as heart-warming. But also like those films, it does have a little grit at its base, realism (of sorts) is allowed to temper the optimism that drives this huge moment of social change, the individual struggles of these women co-existing with the collective battle to great effect and backed by a super cast, it is frequently moving. Continue reading “DVD Review: Made In Dagenham”
“Even letters don’t want to be sent here”
The term black comedy is often used in reference to Russian works and in the case of A Young Doctor’s Notebook, it is well–earned. A short TV series from 2012 produced by Sky and based on Mikhail Bulgakov’s collection of short stories entitled A Country Doctor’s Notebook, it follows the experiences of a young doctor fresh out of medical school in Moscow and landed with an isolated post deep in the Russian countryside where even the nearest shop is half a day away by coach.
It frames these growing pains of a doctor (Daniel Radcliffe) learning how to deal with the practical, as opposed to the theoretical study at which he excelled, with scenes from 20 years or so in the future, when the doctor (now played by Jon Hamm) has been exposed as a morphine addict and has found his old diary. Hamm’s Doctor then dips in and out of the earlier scenes, interacting solely with his younger self and trying to offer a way through his crises of inexperience. Continue reading “DVD Review: A Young Doctor’s Notebook”