Ian McKellen and Helen Mirren team up for the entertainingly twisty film The Good Liar
“It seems like you’ve had quite a past”
Adapted by Jeffrey Hatcher from the novel of the same name by Nicholas Searle, The Good Liar marks the first time that British institutions Ian McKellen and Helen Mirren have worked together on screen. And when these two are onscreen together, this is a corking film.
With a twinkle in his eye, McKellen’s Roy is trawling the dating apps and lights upon the widowed Betty (Mirren). soon setting a date. They connect over martinis and bond over not necessarily being who they said they were online but as we discover Roy is a lifelong conman, it’s clear his eyes are set on her not inconsiderable means. Continue reading “Film Review: The Good Liar (2019)”
Glenda Jackson is brittle and brutal in the excellent Elizabeth is Missing
“How about some Vera Lynn?”
True story, I’ve read Emma Healey’s novel Elizabeth is Missing and can’t remember anything about it, how’s that for dramatic irony… So Andrea Gibb’s adaptation for the television, directed by Aisling Walsh, held layers of mystery for me, as this murder mystery framed through the lens of dementia intersected with my own hazy recollections of what I thought was slowly coming back to me.
That murder mystery element is the driving narrative force across the two timelines of the drama. Grandmother Maud is trying to find out what has happened to her gardening pal Elizabeth who has vanished, but she’s haunted by memories of the disappearance of her sister Sukey 70 years ago and hampered by the onset of Alzheimer’s which is ravaging her life and her independence. Continue reading “TV Review: Elizabeth is Missing”
“It is the flow of information from one institution to another”
Helen Mirren took home the Academy Award in 2006 for her portrayal of Queen Elizabeth II in Peter Morgan’s film The Queen, so it was perhaps a bit of a surprise that her reprisal of the role was announced to take place on the stage of the Gielgud Theatre in The Audience, a new play written by Morgan and directed by Stephen Daldry. The Audience centres on the custom for the reigning monarch to meet their Prime Minister every week at Buckingham Palace, a meeting which is held in complete privacy, and it is this that Morgan has seized upon. The play has just started previews and opens officially on 5th March.
He imagines how some of these audiences might have gone, with strong political characters and epochal events of the second half of the twentieth century passing through and the Queen being the only constant, though not unchanging. There have been 12 Prime Ministers during the Queen’s reign so far, 8 are featured here and even some of those are just fleeting appearances. But Morgan’s selectiveness and use of a non-chronological ordering pays huge dividends in the development of the play and of the Queen as a dramatic character. Continue reading “Review: The Audience, Gielgud”
“What do you mean when you say it has meaning now?”
One of the things I love most about blogging is the honesty with which it allows one to write. So much ‘official’ theatre reviewing (as in for a publication) is predicated on the basis of a perceived authority, on the acceptance of received truths, which due to space constraints are rarely articulated. But I’m not bound by any that here and so I can say I honestly don’t get what all the fuss is about Simon Russell Beale – I’ve yet to see him myself, in a performance that is worthy of being named one of our greatest ever actors – and likewise, I can say that I’m not sure that I get Caryl Churchill as a playwright. I don’t doubt or challenge her position as one of the UK’s most influential playwrights or her impact on contemporary theatre but rather, in the six plays of hers that I have seen, I haven’t had that kind of epiphany that made me stop in my tracks and say ‘this is amazing theatre’.
I’m constantly educating myself theatrically though and that’s where the informality of a blog – my theatrical education in progress if you will – comes into its own, tracing how my opinions can change (I’ve learned to love Chekhov) or not (I still dislike Ibsen, in the main). Thus I happily took the opportunity to see Love and Information, a new Churchill play at the Royal Court, her first since 2009’s controversy-baiting Seven Jewish Children, not least because it features an ensemble cast of extremely high quality. Continue reading “Review: Love and Information, Royal Court”