The drama around All the Money in the World proves more interesting than the film, if I’m honest.
“We look like you, but we’re not like you”
Perhaps unfairly, All the Money in the World will be more famous for events around it rather than for the film itself. For at the heart of the #MeToo maelstrom, director Ridley Scott took the decision to remove and recast Kevin Spacey out of a major supporting role barely a month before it was due to open.
Christopher Plummer stepped into the shoes of John Paul Getty at the last minute, delivered in nine days of reshoots and has been rewarded with an Oscar nomination for his pains. The result though. is a rather uneven film in which his performance seems at odds with those around him. Continue reading “Oscar Week Film Review: All the Money in the World”
“We’re a dying breed”
Obviously, the choice to stage David Mamet’s ode to toxic masculinity Glengarry Glen Ross was made long before the hashtag #MeToo shattered the blinkers of anyone unaware of what men have been getting away with. But it feels indicative of a theatrical culture that has reflected and reinforced a societal imbalance – all-male plays, written by men, directed by men, lauded by prize ceremonies and thus easy targets (and safer bets) for revivals, a self-perpetuating loop that doesn’t seem to even be coming close to stopping.
And why should it, one might argue. Sam Yates’ production is astutely cast and tightly wound as it visits the world of Chicago real estate. Firstly through a set of short duologues in a Chinese restaurant in which we variously meet a set of salesmen and discover their place in the pecking order. And then after the interval, they’re all brought together in their office (an impressive almighty set change from Chiara Stephenson) which has been broken into and where all the frustrations and feelings they’ve been bottling up now come tumbling free. Continue reading “Review: Glengarry Glen Ross, Playhouse”
“Time to come back, the past is the past”
Our appetite for dark crime dramas is seemingly insatiable but it is helped by the quality of programming that is now being sourced from a wide range of countries. One such drama that is closer to home than most is the Welsh-language police procedural Y Gwyll, which is also broadcast in a bilingual English and Welsh format as Hinterland. The 5 part second series of feature-length episodes has just been released on DVD by Nordic Noir and Beyond.
Labelled as part of the Celtic Noir movement, it is interesting to try and locate Hinterland in the televisual landscape and it does fall naturally somewhere in the North Sea – the influence of the all-conquering Scandi-crimewave is certainly there, as are hints of something more homegrown – as reductive as comparisons are, I’d say this is a cross between the Icelandic Trapped and bleak West Yorkshire of Happy Valley. Continue reading “Review: Y Gwyll / Hinterland Series 2”
“You’ve more chance of survival if you stay put”
Paul Miller’s subtle reinvention of the Orange Tree continues apace with Deborah Bruce’s The Distance, an exploration of a more complex side to parenting and friendship that is challenged when one of their group suddenly returns from Australia. Bea emigrated there to get married and have two beautiful kids but she’s turned up on best friend Kate’s Sussex doorstep alone and with their other good friend Alex also there to lend support, they to sort out Bea’s life for her, little suspecting what it is that Bea has actually done. Truth be told, I wasn’t the hugest fan of Bruce’s first play Godchild which premiered downstairs at Hampstead last year but the chance to see Helen Baxendale return to the stage tempted me over to Richmond.
There’s much to appreciate in the amusing and frank way Bruce depicts how parenthood, and different experiences thereof, affects the tight bonds of friendship. The ease with which Baxendale’s Bea, Clare Lawrence-Moody’s Kate and Emma Beattie’s Alex interact with each other is brilliantly portrayed as they bicker and banter and nurture and natter – their lives don’t stop because of Bea’s dilemma, it just has to fit into the tumble of jigsaw pieces that makes up the hustle and bustle of everyday living and so gets added to the ever-growing list of things that need to get sorted. The inclusion of the London riots is a canny move here, not as a focal point for the play but just a backdrop of a world still spinning. Continue reading “Review: The Distance, Orange Tree Theatre”
“I am that he, that poor unfortunate he”
As You Like It is one of those plays that I find hard to get too excited about since I feel like I’ve seen it a hundred times. And Maria Aberg’s production for the RSC came with the additional baggage of over-enthusiastic acclaim from certain quarters that usually leave me sceptical but when in Newcastle the same week as the RSC… As suspected, the Laura Marling soundtrack riled me, its folks stylings seeming somewhat faux for a reason I can’t really articulate without resorting to calling it smug. But in Pippa Nixon, it has a truly excellent Rosalind.
Set in a Glastonbury-inspired Forest of Arden, Nixon is startling as a genuinely androgynous figure once transformed, making the scenes with Alex Waldmann’s Orlando a thrilling experience in its gender-questioning ardour. And she’s a compelling presence throughout whether battling her fierce father or coaching her would-be lover in the school of romance. It all builds into a touching finale of nuptial bliss, which eventually wore down most of my scepticism, but I’m not entirely convinced that the setting works so well elsewhere. Continue reading “Review: As You Like It, RSC at Theatre Royal Newcastle”
“Brevity is the soul of wit”
I can’t say I wasn’t warned… Work has seen me up in the north-east for a few days this month and so coinciding with the RSC’s short residency at the Theatre Royal in Newcastle which sees one of their ensembles putting on the three shows from their bit of the summer season. And I’d been told that their Hamlet was a difficult beast but I wasn’t quite prepared for quite how awful I would find it.
David Farr’s modern(ish) take eschews star casting for the integrity of this ensemble, giving Jonathan Slinger the opportunity to take on this most celebrated of roles, but it is a chance they take so thoroughly by the horns with Slinger’s determination to put his own stamp thereon, it never feels real or organic, just a strained effort to be different. And at 3 hours 40 minutes, it is a lot to bear. Continue reading “Review: Hamlet, RSC at Theatre Royal Newcastle”
“If love be rough with you, be rough with love”
So having managed to stand through King Lear and partake of a lovely dinner, the evening saw a second visit to Rupert Goold’s highly entertaining Romeo & Juliet. I haven’t got a huge amount to say about this that I didn’t already say in my original review, it really is as fresh and exciting an interpretation of this play that you will ever see, it feels like it could have been written yesterday, so persuasive is the pulsing heart of this production with its innovative immediacy.
I’d actually decided not to see the show again when it came to the Roundhouse in the winter as I thought I didn’t want my happy memories of seeing it at the Courtyard to be affected. But talking to people who did go persuaded me it might be a good thing and I am so glad that I did go again as I felt the production has matured into something richer and stronger. And knowing what the directorial flourishes were meant that I was able to focus more elsewhere, on the subtleties, the little touches that passed me by and enjoying the sheer quality of the performances, especially from the great seats we forked out for, on the front row of the circle facing the stage. Continue reading “Re-review: Romeo & Juliet, Royal Shakespeare Theatre”
“Though I am not naturally honest, I am so sometimes by chance”
Sometimes quite a difficult play to pull off due to the disparate nature of its two main strands, The Winter’s Tale remains a popular choice for the RSC and this production, part of the Roundhouse season, was originally seen in Stratford in 2009. Starting off in the highly ordered Sicilia, Leontes rules with a tight discipline, ill-equipped to deal with the warm emotion of his wife Hermione. Playing the genial hostess to their friend Polixenes, King of Bohemia, rouses a terrible jealousy in Leontes though and charging them with adultery, he sets in train a terrible set of events that hugely alter his life. Much of the second half takes place 16 years later in Bohemia with events much advanced, but we eventually return to Sicilia to revisit Leontes and his court for the final denouement.
David Farr’s production is superbly mounted and works as a timely reminder that even the greatest of men can be undone by a moment of frailty and the echoing impact of the emotions and decisions of those in power throughout the rest of society. It is one of Shakespeare’s most impressionistic plays, there’s perhaps more suspension of disbelief necessary than usual in here, but it works as a tale of human nature and the rewards for those who are faithful and loyal throughout and this production manages to balance the two sides well, provoking huge emotional depths especially in a beautiful rendition of the ending but also raising spirits and laughs aplenty. Continue reading “Review: The Winter’s Tale, RSC at the Roundhouse”
“…the fearful passage of their death-mark’d love”
Rupert Goold’s production of Romeo and Juliet at the Courtyard in Stratford marks his first foray there since 2006, now he’s an Associate Director and directs a well-established ensemble here at the RSC in tale of a Montague and Capulet whose love for each other in a hostile world defies a long-held bloody family feud with the most tragic of consequences.
Mariah Gale and Sam Troughton may seem like unconventional casting, but they work perfectly together as Juliet and Romeo. She’s a sulky teenager, rebelling at the marital fait accompli presented to her by her overbearing father (a terrifyingly chilling Richard Katz); he’s a hooded brooding soul, initially almost nerdily obsessed with Rosaline, both alone in their respective tribes but their first meeting awakens something deep inside of both of them and their chemistry together is just electric. He comes to life, dancing jigs of ecstatic joy, and she becomes alive to the possibilities of romantic and indeed sexual fulfilment. We never forget though that their’s is a tragic story, and Gale in particular is painfully strong in displaying the deepening realisation that their situation is not one that is tenable. Continue reading “Review: Romeo and Juliet, Courtyard Theatre Stratford”