It is Sarah Kane’s turn to get the Tristram Kenton treatment from the Guardian’s archive, and what an impressive array of talent that have understandably flocked to this most challenging of playwrights:
Photos: Tristram Kenton
A wryly amusing look at the demands placed on one particular actor during an audition, Tom Edmunds’ Beard is lots of fun indeed – Tim Steed giving some great facial hair work and Oliver Chris and Katie Brayben adding quality as the auditioners.
Continue reading “Short Film Review #61”
“I know how good you are to me. I’m grateful”
An unexpected revisit to Let The Right One In, especially since I’d seen it just three days before but @pcchan1981 had a spare £10 ticket going and so I offered myself up as his last resort, happy indeed to have the chance see it again at the Royal Court, ahead of a rumoured West End transfer (the presence of Bill Kenwright as a co-producer suggesting this isn’t as unlikely as it may seem). Original review is here and I can’t really offer up any new insights rather than to say try your best to see it now as it flows beautifully in the relative intimacy of the Royal Court and the awesome staging of the penultimate scene might get lost in a West End house.
Running time: 2 hours 20 minutes (with interval)
Booking until 21st December
“Would you still like me if I turned out to not be a girl?”
Adapted by Jack Thorne from John Ajvide Lindqvist’s novel and its two subsequent film versions, Let The Right One In could be said to fall into the teen vampire genre that has proved so enduringly popular of late, but that would do a huge disservice to all concerned, not least with this National Theatre of Scotland and Royal Court co-production. As two youngsters neglected by society cling onto each other to avoid falling through the cracks in a snow-swept Swedish town where a serial killer appears to be on the loose, they discover that one is not quite like the other…
Directed by John Tiffany with long-time associate Steven Hoggett by his side, the show produces moment after moment of elegiac beauty interspersed with the harsh brutality of real life which intrudes like jagged breaths of wintry air. Hoggett’s unmistakeable physical language is sparingly but beautifully deployed, the strangeness of situation enhanced through movement and Ólafur Arnalds’ score swoops with plangent intensity, underscoring many of the show’s most powerful sequences. Accompanied by Gareth Fry’s evocative sound design, the production constantly teeters on an anticipatory edge, toying with the film’s horror origins but converting it to a more fitting level of suspense for the stage. Continue reading “Review: Let The Right One In, Royal Court”