|Photo: Gage Skidmore
All The President’s Men? is a singular theatrical experience for the politically engaged on 24 April, 7.30pm at the Vaudeville Theatre.
A staged reading edited and directed by Nicolas Kent and presented by the National Theatre, London and The Public Theater, New York, it features scenes from the U.S. Senate’s Confirmation Hearings
In January, one week before the president’s inauguration a fierce fight erupted in the Senate between Republicans and Democrats over the confirmation of the key figures for President Trump’s cabinet. These four powerful men lead the Trump administration’s policy on Russia, the Middle East, Iran and North Korea, on human rights worldwide, on the Paris Climate control agreement, as well as on the civil rights and the health of millions of Americans. Continue reading “Casting announced for All The President’s Men?”
“It’s the Middle East Shlomo, enemies is what you make”
Only by chance did I find out that The Honourable Woman was leaving Netflix at the end of this month, so I quickly took the opportunity to catch up with Hugo Blick’s political spy thriller and as is so often the case with these things, was left wondering how I could have taken this long to watch it.
Political intrigue and personal drama coming from kidnapped children, suspicious suicides and betrayals ranging from old blood feuds to intra-familial conflict set the scene immediately for a typically dense and complex story from Blick, centred on a refreshingly new take on the Israeli-Palestinian conflict and the seeming impossibility of finding a solution when the wounds of the past are still felt so keenly and deeply. Continue reading “TV Review: The Honourable Woman”
“Ethan, you’re not making any sense”
Emmanuelle Béart probably wouldn’t thank me for selecting this particular movie to represent her but as I scrolled down the rest of the cast list, I could scarcely believe that both Kristin Scott Thomas and Vanessa Redgrave were in this film – it being so long since I first saw it that I remember nothing of it – that I couldn’t resist revisiting it. A remake of the 70s TV show helmed by Brian De Palma and led by Tom Cruise, Mission: Impossible has since become a highly successful franchise, though this first film hasn’t really stood up to the test of time.
It is actually quite amusing to watch, not least because it is nearly 20 years old now and nothing dates quite so quickly as a movie that does hi-tech. The 90s version of the internet is hilarious as is the technological chatter, and the email client that is used is as quaint as anything. Special effects look laboured (those glasses…!) and the climactic big sequence is simply daft – a helicopter chasing a Eurostar train through the Channel Tunnel? (although granted, such ridiculousness is a Hollywood staple in such big-budget action films). Continue reading “DVD Review: Mission Impossible”
There’s something special about being allowed to take part in something unique and though Unusual Unions actually took place twice on the same day, it still counts as a one off in my book. Part of the Royal Court’s convention-busting The Big Idea stream of work, this was a collection of 5 short plays all responding to the ideas raised by Abi Morgan in her main house show The Mistress Contract, taking place in unexpected nooks and crannies of the theatre in wonderfully small groups.
From dressing rooms to stairwells, the space under the stage to meeting rooms with a view, it was a brilliant way of exploring a building which isn’t normally so open (Wilton’s Music Hall’s promenade version of Edmond fulfilled a similar purpose). And even if the subject matter seemed to veer off what one might have expected, given the sexual nature of Morgan’s play, it was still compelling stuff looking at the ways in which we connect (or not) with those around us. Continue reading “Review: Unusual Unions, Royal Court”
“Be careful Anna, of the dark forces of the human mind”
I knew I liked Tara Fitzgerald’s voice, but I hadn’t realised I loved it. Listening to the radio play Second Body that featured her in a starring role was a genuine auditory pleasure which made me want to track down illegal ways of recording it off the iPlayer so that I could listen to it over again. Trevor Preston’s swirlingly dark drama centres on Fitzgerald’s Anna, a successful artist but one driven by haunting and disturbing visions and as she seeks to put together some of her work for a big new exhibition, a worrying prophecy of a death stalks her subconscious.
Toby Swift’s production brings a wonderfully surreal quality to Anna’s experiences, full of textured sound effects and evocative atmosphere, and so as the stuff of her dreams starts to invade her waking life, we’re never quite sure how real any of it is – whether she is possessed of some supernatural gift or if actually, her artistic temperament masks some signs of mental illness. Fitzgerald’s honeyed tones constantly keep us guessing as her voice glides like velvet through the twists and turns as friends, agents and colleagues gather round to try and guide her through these troubled times. Continue reading “Radio Review: Second Body + Art and Gadg, Radio 4”
Having loved the adaptation of Edith Wharton’s Ethan Frome that I listened to last week, my anticipation for The Jinx Element was quite high and that’s always a dangerous place to be. Sadly, my expectations weren’t really met by this radio play by Stephen Wakelam which told the story of Wharton’s affair with younger journalist Morton Fullerton, this being (part of at least) the inspiration for the story behind Ethan Frome. Told through the eyes of her friend Henry James, we see the impact of the liaison on the 47 year-old Wharton, on her stale marriage to Teddy Wharton and the creative impulses that it released in her.
But for whatever reason, it just didn’t click with me. In truth, it came across as a rather dull effort to me – the narrative device is one which I’m never sure about as it does mean that there’s a lot of reportage rather than action and it’s not always the most entertaining. It was nice to hear Fenella Woolgar as Wharton again though her performance was a little too restrained for my liking, and the same went for Patrick Baladi’s Morton and Allan Corduner’s Henry James – just too much reserve all around.
“50 hard boiled eggs…in an hour”
A random fact about me is that I am terrible when it comes to having seen classic movies. It’s a constant source of amusement in pub conversations as people can’t quite believe the list of films I’ve never seen but for whatever reason, I’ve never really been particularly minded to watching them. Consequently I have a pile of unopened DVDs* that people keep giving me as presents or loans that are, honestly, on the list of things I will one day get round to watching.
This convoluted beginning should therefore present you with no surprise when I then say that I have never seen the film of Cool Hand Luke, a stage version of which has now started previewing in the Aldwych Theatre. Adapted for the stage by Emma Reeves, from the original novel by Donn Pearce, the story revolves around Luke Jackson, a WWII vet left unsupported on his return to the US and forced into desperate measures, soon ends up in a Florida prison camp. There, he soon becomes a legend with his fellow chain gang inmates with his nonchalant swagger, his impervious refusal to be broken by the guards and his constant prison escapes. Continue reading “Review: Cool Hand Luke, Aldwych”
“This is the first time we’ve had a high school massacre in Monteiro”
The first of what will now be three revivals of their own productions in 2011, Vernon God Little returns to the Young Vic having launched Colin Morgan (more familiar as BBC1’s Merlin these days) in his debut role whilst still at drama school. This time, it is Joseph Drake who takes on the title role, fresh out of the Bristol Old Vic theatre school. This is a review of the preview performance on Tuesday 1st February.
Vernon God Little is an adaptation by Tanya Ronder of DBC Pierre’s Booker Prize-winning novel, telling the story of Vernon Gregory Little, a fifteen year old boy trapped deep in small-town Texas. When his best friend snaps and carries out a school shooting leaving sixteen dead, the rapacious television media coverage encourages the public in the search for someone to blame and their gaze lands on Vernon. Things then worse for him as opportunistic people seize their own chances for a glory at his expense and then they get a whole lot worse. Continue reading “Review: Vernon God Little, Young Vic”
“This is a war to end war, we do it for peace”
The final show to take place in the main theatre at the Arcola’s current premises on Arcola Street in Dalston, The Cradle Will Rock also marks the 10th anniversary of the theatre founded by Artistic Director Mehmet Ergen which will be moving just down the road to the Colourworks building and opening there with a new Rebecca Lenkiewicz play about Joseph Turner in the New Year. With book, music and lyrics by American Mark Blitzstein, the musical is set in a fictional town, Steeltown, USA and concerns the wide rifts between workers and the wealthy at a time when millions were unemployed: in this case it is the union struggles of the interwar period and 1937, though there’s much resonance in the material of the nefarious influence of those in positions of power on the average citizen that echo through to today.
Events take place as a liberty committee made up of the great and good of this particular town are arrested by a confused rookie cop on the very evening that the workers in the steel plant are voting whether to unionise themselves, that committee having set out to stop the vote. But as a series of vignettes play out, we come to see how each of the town’s leaders have fallen under the corrupt influence of the steel magnate Mr Mister with only a previous few people able to withstand the pressure and fight for what they believe is right and fair. Continue reading “Review: The Cradle Will Rock, Arcola Theatre”
Marking my first visit to the National Theatre since moving to London, His Girl Friday is a play which has been adapted by John Guare from 2 sources: the 1928 play The Front Page by Ben Hecht and Charles MacArthur and the 1940 film adaptation His Girl Friday by Howard Hawks which inverted the gender of the lead protagonist. Thus a madcap romantic element to this story of energetic newshound Hildy Johnson and her editor (and ex-husband) Walter Burns who will stop at nothing to stop her impending wedding to another man. In the midst of all of this is the scoop of the century which Hildy cannot resist as she revels in the world of cutthroat journalism.
As the central couple, Zoë Wanamaker and Alex Jennings were simply fabulous, the electricity between them just crackles with suppressed sexual energy as it is clear that this couple really does belong together and their fights full of whip-sharp wisecracks and putdowns are a joy to watch as the intersection of their professional and personal relationships makes for a whole lotta farcical fun and they are both excellent at showing how dog-eat-dog their world is. Continue reading “Review: His Girl Friday, National Theatre”