“You don’t know anything about anything, George, and if what they say about the movies is true, you’ll go far”
The end of the silent movie era and the arrival of the talkies has proved fertile ground for many a storyteller, not least Betty Comden and Adolph Green’s immortal Singin’ in the Rain, but Moss Hart and George S. Kaufman’s Once In A Lifetime has a serious claim to being one of the first, premiering as it did in 1930 and its influence is plain to see. It has received major revivals from Trevor Nunn at the RSC (1979) and Edward Hall at the National (2005) and now it is the turn of Richard Jones at the Young Vic, in a production notable for marking the theatrical stage debut of Harry Enfield.
In a new adaptation by Hart’s son Christopher, Once In A Lifetime follows the trials and tribulations of three workaday vaudeville artists from New York who decide to throw in their lot and ship out to Hollywood. With the first ever talking motion picture doing great business, they opt to capitalise on the trend by opening an elocution school to help all those actors who suddenly need to speak on screen but even in its earliest days, the crowded corridors of Tinseltown prove a tough nut to crack with any number of wannabe starlets, studio heads and screenwriters competing for the limelight. Continue reading “Review: Once In A Lifetime, Young Vic”
“Is there no way for men to be, but women must be half-workers?”
Whichever way you cut it, I still find that Cymbeline is a tough play to love and it’s not for a lack of trying on my part. I struggled with it at the Sam Wanamaker earlier this year and I’ll be trying out the RSC’s version once it hits the Barbican later this month. As for now, it’s Matthew Dunster’s turn to have a go at the play, this time outside at the Globe and in keeping with the new regime, the play has been “renamed and reclaimed” as Imogen, as befits the part of Cymbeline’s daughter who has in fact twice as many lines.
Even with Maddy Hill (an unexpectedly moving Titania, among others, in Go People’s A Midsummer Night’s Dream) in the title role and a wonderfully diverse ensemble incorporating a signing deaf actor among others, Imogen remained difficult. For all the contemporary gangland setting (Jonathan McGuinness’ king is now a drug lord), Imogen’s o’er-hasty marriage to the feckless Posthumus (a good Ira Mandela Siobhan) and subsequent devotion to him even as he proves himself to be a righteous cock doesn’t quite fly. That said, the energy in the show is one that proves largely irresistible as sexy shenanigans, modern sounds, and kick-ass choreo combine to memorable effect. Continue reading “Review: Imogen, Shakespeare’s Globe”
“I ain’t on oith and I ain’t in Heaven, get me? I’m in de middel tryin’ to seperate em, takin all de woist punches from bot’ of ’em”
Fans of Bertie Carvel have certainly been rewarded with his recent burst of activity – he starred in Bakkhai at the Almeida, had a major role in BBC drama Doctor Foster and now returns to the theatre to lead this revival of Eugene O’Neill’s play The Hairy Ape. The play is described as a classic expressionist masterpiece and whilst that might be overstating things ever so slightly, it does give a useful pointer to the heightened theatricality of the drama and of Richard Jones’ production. My 4 star review for Cheap Theatre Tickets can be read here.
Running time: 95 minutes (without interval)
Photos: Manuel Harlan
Booking until 21st November
“You don’t need to be thinking about Alice Morgan right now”
By the time that the television series Luther started on BBC1, I was already keen on Ruth Wilson as an actress but the first episode of the first series – which now ranks as one of my all-time favourite pieces of television ever – confirmed her as one of the most exciting people we have working in this country. The show is a high-quality detective drama featuring Idris Elba as DCI John Luther, a member of the Serious Crime Unit, whose unconventional and often controversial methods frequently sets him at odds with his colleagues and his estranged wife who end up paying the price for his uncompromising genius.
Entirely written and created by Neil Cross, there’s a most pleasing continuous feel to the six-part series which combines a ‘story of the week’ format featuring some extremely gory and plain icky crimes with larger story arcs which build to the shockingly climactic finish of Episode 6. Ruth Wilson stars as research scientist Alice Morgan, who is involved in the former in Episode One but soon turns into the latter as a wonderfully twisted kind of relationship builds between her and Luther. It is hard to say much more without revealing too much for those who haven’t seen it – shame on you if you haven’t, go and watch it now! – but the way in which Wilson slowly subverts our expectations in that first hour is nothing short of superlative, the gradual reveal completely compelling, the way she says the word ‘kooky’ deserves an award category of its own. Continue reading “DVD Review: Luther Series 1”