What a clunker! Garbage’s brilliant theme song deserved so much better than The World Is Not Enough
“What are you doing here in Kazakhstan”
Right from the off, The World Is Not Enough shows us how frustrating it is going to be as it mixes the solid and the silly. The opening speedboat chase which features London so brilliantly and then ridonkulously moves onto land, blowing up MI5 so effectively and then doing nothing with it as a plot device, offering up a beautiful final scene for Desmond Llewelyn’s Q and then introducing John Cleese as new apprentice R… We won’t mention Goldie, nor his X-ray specs that shows women in their underwear but somehow leaves the men fully dressed…
Directed by Michael Apted, the film really suffers from a nonentity of a storyline. There’s good ideas in here – Robert Carlyle’s Renard had real potential as a cold villain with nothing to lose and getting M out in the field is a great way to have more Judi Dench – but nothing memorable is done with them. I’ve just finished watching and I have already forgotten what plot there was, the focus is just on action-based callbacks to previous Bond films whilst never getting anywhere near as good as any of them. A definite disappointment. Continue reading “Film Review: The World Is Not Enough (1999)”
In which Imperium II: Dictator continues a compelling look at (Roman) politics at the Gielgud Theatre but in which I also feel obliged to point out just how male-heavy Imperium skews
“We are at the mercy of the people of Rome”
Previously on Imperium:
- we enjoyed ourselves
- we struggled to differentiate between the many names beginning with C
- we puzzled at why people wore their togas with one bit draped impractically over a forearm
- we marvelled at how shiny everyone’s leather sandals seemed to be
- and we grieved at how woefully the wonderful Siobhán Redmond was underused, at how indeed the whole production treats women
The second part of this summer’s Roman epic – Imperium II: Dictator – continues much in the same vein as the first. Mike Poulton’s adaptation capturing much of the sweeping vistas of Robert Harris’ Cicero novels, and Richard McCabe excelling as that noble Cicero who increasingly reveals himself as all-too–hubristically-human.
But as we reach the seventh hour of drama in this testosterone-heavy world, you can’t help but feel that the women, both of the time and of this company, are relatively hard done by. Between the male gaze of Harris to Poulton to Doran to McCabe, the relentless focus on the political over the personal doesn’t give us much sense of Cicero the man versus Cicero the politician. Continue reading “Review: Imperium II – Dictator, Gielgud Theatre”
Imperium I: Conspirator is the entertaining first part of the seven hours of a proper Roman epic from the RSC (thankfully with air-con in the Gielgud Theatre)
“Stupid people tend to vote for stupid people”
With the weather as it is, there are worse ways to spend a day in London than in the blissfully air-conditioned Gielgud Theatre. There, you can partake in the near seven hours of the two-part theatrical extravaganza that is Imperium. First seen at the RSC last winter, Mike Poulton’s adaptation of Robert Harris’ Cicero novels have a suitably epic feel to them and, anchored by an excellent lead performance from Richard McCabe, also have a real thrill factor.
The first part – Imperium I: Conspirator – follows Roman consul Cicero’s valiant efforts to defend the republic and the rule of law against rebellion and rivalries. And in the hands of McCabe, his silky rhetoric is a joy to behold as he secures his primacy, relying on political manipulation where necessary. Whether defeating Joe Dixon’s Catiline, trying to outmanoeuvre Nicholas Armfield’s slippery Clodius or pin down the wildly ambitious young buck named Julius Caesar (a superb Peter de Jersey), his actions are gripping. Continue reading “Review: Imperium I – Conspirator, Gielgud Theatre”
“Stop asking silly questions and eat your egg”
If I’d known more about Rebecca before I watched the 1997 television adaptation as part of my Lucy Cohu marathon, I might not have bothered. Not having seen it before or read it, I assumed that her part – the titular role no less – might have had a little more to do in the story but as the story is about the second Mrs De Winter, this wasn’t the case. At all. The first half, 90 minutes in total, featured one brief shot of her eyebrows and one of her hands. The second not much better with tantalising glimpses of parts of her face and a few snatched lines of dialogue (although Wikipedia informs me I’m lucky to even get this!)
Whether intentional or not, this ends up being a rather fabulously camp thing. From Faye Dunaway’s Mrs Van Hopper, hunting for gossip and celebs on the Riviera, to Jonathan Cake’s scene-chewing Jack Favell, to the utter deliciousness of Diana Rigg’s ominously looming Mrs Danvers, it’s all rather gloriously over the top. The May-to-December romance of Charles Dance and Emilia Fox is played very straight and the increasing mystery of exactly what happened to her predecessor does take hold to create a rather compelling latter third which I was entirely gripped by (if not entirely convinced – the new Mrs De Winter is VERY understanding!). Continue reading “DVD: Rebecca (1997)”
“Everywhere they curse the name of Boris”
The instinctive reaction when one hears of a production of a lesser-known work by a well-known writer tends to be one of healthy scepticism, as one waits to find out whether there was a good reason for its relative obscurity. But sometimes there are mitigating circumstances and Alexander Pushkin’s 1825 play Boris Godunov – receiving its first ever professional production in English here at the Swan Theatre – sufficiently provoked the ire of the state censors so that it was 30 years after his death before it was first approved and even then, continued political pressure ensured its limited impact.
The uncensored version was finally translated by Adrian Mitchell, premiered at Princeton in 2007 and selected now by Michael Boyd to mark his swansong as AD at the RSC, as part of the ensemble-led globetrotting A World Elsewhere season. And one can see why the Russian authorities wouldn’t have taken too kindly to Pushkin’s satire, indeed still to this day, as wrapped up in the tale of men lying, cheating and murdering their way to become Tsar in the late 1590s is an excoriating indictment of the Russian ruling elite. And what Boyd teases out in this fast-moving version, is that such autocratic leadership is seemingly endemic in this country and so its resonances play out right up to the current day. Continue reading “Review: Boris Godunov, Swan Theatre”
“It’s me…I don’t know how to be free”
My continued failure to resist booking plays I don’t really fancy but with members of the RSC Ensemble in the, resulted in this trip to the Hampstead Theatre to see Silence, their collaboration with Filter, a company whose work I haven’t really enjoyed in the three shows of theirs that I have seen. And even the assertion that it was the Ensemble members I was keen to see is stretching it a little (although Katy Stephens and Christine Entwisle were both people I wanted to see again) as it was the opportunity of gazing at Jonjo O’Neill and Oliver Dimsdale onstage that finally won me over: as Monica Geller once said, ‘homina homina’.
At its simplest, Silence follows two main narratives as a married couple pursue different paths: Kate travels to Russia to find Alexei, a man with whom she had a passionate affair more than 20 years ago; and her documentary filmmaker husband Michael with a sound technician colleague is investigating a mysterious Met Police unit whom they suspect of committing misdeeds. But this is a far from simple show as we flow seamlessly between both time and place, some scenes overlapping and even being intercut with one another. Continue reading “Review: Silence, RSC at Hampstead Theatre”
“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”