Hampstead Theatre has announced its remaining Main Stage productions for 2021. Stockard Channing and Rebecca Night will perform in the Pulitzer Prize-winning ‘night, Mother by Marsha Norman.This astonishing play, which had its UK premiere at Hampstead Theatre in 1985, will be directed by the theatre’s Artistic Director, Roxana Silbert. ‘night, Mother will run from 22 October until 4 December 2021.
Tamsin Greig will perform in Alan Plater’s raucously funny Peggy For You. Richard Wilson will direct this Olivier-nominated play, which had its world premiere at Hampstead Theatre in 1999. Peggy For You will run from 10 December until 29 January 2022. Continue reading “Round-up of August theatre news”
Motherland continues to excel with this sharp-edged and scabrously funny Christmas special
“What absolute shite are you gonna panic-buy me this year?”
Whether the choice to ignore the pandemic was circumstantial or deliberate, it lends a certain piquancy to many of the scenes of festive revelry in Motherland. For as disastrous as they inevitably turn out to be, social distancing restrictions mean that we could only dream of being that close to that many people with an egg nog in hand.
This Christmas special wisely doesn’t tinker with much as writers Sharon Horgan, Helen Serafinowicz, Holly Walsh and Barunka O’Shaughnessy cleave closely to their successful formula. Anna Maxwell Martin’s perma-harrassed Julia ricochets from domestic chaos to partying mayhem with her best pals Liz and Kevin in hand. Continue reading “TV Review: Motherland Christmas special”
Ben Elton and Kenneth Branagh latter-day Shakespeare biography All Is True is at once precious and poignant
“You spent so long putting words into other people’s mouths, you think it only matters what is said”
A most curious one this, continuing our creative obsession with filling in the biographical gaps in the life of William Shakespeare (cf Shakespeare in Love; Anonymous; Dedication; Will). All Is True is written by Ben Elton, who has (comic) form in the shape of Upstart Crow, the TV show soon to make its own theatrical bow and has as its director, producer and star, one Kenneth Branagh.
In some ways, it is a beautiful film. Branagh eschews a lot of artifical lighting and flickers of candlelight illuminates several interior scenes to gorgeous effect. He also takes pains to find interesting angles for his shots and the opening image of his silhouetted figure against the burning Globe is stunning. And being able to call on the likes of Sir Ian McKellen (the Earl of Southampton) and Dame Judi Dench (Anne Hathaway) to toss off some Shakespeare recital is of course an unalloyed pleasure. Continue reading “Film Review: All Is True (2018)”
Not even Judi Dench can save this irresponsible look at the British colonial legacy, Victoria and Abdul nevertheless takes two Oscar nominations into the ceremony.
“It is imperative that the royal colon receives a little roughage”
AKA The Other V&A. You can see the rationale behind Victoria and Abdul, allowing Dame Judi Dench to reprise her much-loved role from Mrs Brown with another 20 years under her belt. And directed by Stephen Frears from a screenplay by Lee Hall, hopes were reasonably high.
What results though, is a film that indulges in an irresponsible kind of historical revisionism, a refusal to engage with and interrogate the reality of British colonial rule. Hall’s version of Victoria is allowed to be coyly ignorant of the looting of Indian treasure, a champion of diversity too in an improbable twist. Continue reading “Oscar Week Film Review: Victoria and Abdul”
Anna Maxwell Martin shines in funny new sitcom Motherland
“It’s better now I’ve got this nanny…”
Between Father Ted and The IT Crowd (I’ve never seen Black Books), Graham Linehan has quite the sitcom-that-I-love pedigree so I’ve been keen to see what his latest Motherland would bring, after an entertaining pilot aired last year.
Written with Sharon Horgan, Helen Linehan and Holly Walsh, the show follows Anna Maxwell Martin’s perma-harassed Julia as she struggles to deal with her mother declining to help out with childcare and the school run. As she’s caught between the hyper-efficiency of the Alpha mums and the schlubby friendliness available at the opposite end of the scale, it’s a highly entertaining take on working parenthood. Continue reading “TV Review: Motherland (Series 1)”
“The king’s name is a tower of strength”
The Hollow Crown reaches its climax with a solid and occasionally very strong Richard III which once again shimmers with quality and hints of artistic innovation. And for all the lauding of Benedict Cumberbatch’s starring role, it is pleasing to see Dominic Cooke and Ben Power give Sophie Okonedo’s excoriating Margaret of Anjou her due as one of the real pleasures of running these plays together is to trace her complete arc (for she’s the only character to appear in them all) and root her enmity – alongside that of so many others – in something most palpable.
Cooke’s direction also benefits from loosening its representational restraints, Richard III’s monologues and asides make this a different type of play and Cooke responds with a series of interesting choices (though the surfeit of nervy finger-tapping was a touch too much for me) making great use of both gloomy interiors and hauntingly effective exteriors. Playing so many scenes in woodlands was an inspired decision as it leant a real eeriness to proceedings, whether Margaret or Richard bursting from the bushes to disrupt the private mourning of Elizabeth or Anne. Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 3. Richard III”
“I thought you hated all that Royal Court stuff”
I never quite got round to watching My Week With Marilyn when it was released in late 2011: it came out at a busy theatre time (as if there’s any other time for me) and clearly I wasn’t in a particularly cinematic frame of mind as this kind of film would normally be catnip to me with its combination of old-school Hollywood and a British thesp-heavy cast. So I’ve only just gotten round to watching it now and though it clearly contains a performance of exceptional grace and ingenuity in Michelle Williams’ portrayal of Marilyn Monroe, I was surprised at how lightweight the film was as a whole.
Based on two books by Colin Clark, a young man so determined to make a career for himself in the film industry that he managed to wangle his first job as a production assistant on the set of The Prince and the Showgirl, a film directed by and co-starring Lawrence Olivier. But working with such a megastar as Monroe does not prove easy: her personal demons constantly threaten to overwhelm her, exacerbating her already-troubled new third marriage to Arthur Miller, and her over-reliance on her acting coach causes much tension as she ends up delaying the making of the film time and time again. In the midst of all the chaos, she lights upon Clark, who is completely bewitched by his idol, as an emotional crutch and he ends up spending a week escorting her about and providing some light escapism from her life. Continue reading “DVD Review: My Week With Marilyn”
“Four million tennis players in the world, and I’m 119th. But what that really means is this – 118 guys out there are faster, stronger, better and younger.”
It seems most unlikely but I don’t think I’ve ever seen 2004 romcom Wimbledon or if I have, I’ve erased every trace of it from my mind. And as it is that time of year again in SW19, it seemed as good a time as any to load it up for a spot of viewing on a train journey this past weekend. Whilst it is no great shakes as a tennis film or really does much as a ‘com’, it has a sweet charm to it with no small thanks to a likeable Kirsten Dunst as a tennis brat of a heroine and the slightly odd decision to Hugh Grant-ify its leading man Paul Bettany, clearly the only option for a British romcom.
Bettany plays Peter Colt, a Henman-esque figure of a nearly-there British tennis number one whose recent poor form has seen him plummet in the rankings and consider retirement. A chance meeting with upcoming US player Lizzie Bradbury puts a fizz in his step and the swing back in his serve and his wildcard for Wimbledon suddenly looks like an unlikely opportunity to go out in a blaze of glory. With his barely supportive family on the sidelines and Jaime Lannister himself as a hitting partner who looks good in a sauna, it seems Centre Court is beckoning him for one last hurrah. Continue reading “DVD Review: Wimbledon”
“This after all has been a very careful election”
A fascinating experiment from James Graham and Josie Rourke, The Vote was a “play for theatre and television” which after two weeks of performances at the Donmar Warehouse – for which you had to enter a ballot for tickets – aired live on More4 at the very moment that it was set, the night of the UK general election. I wasn’t one of the lucky few in the ballot and am rarely inclined to dayseat (though I know several people who managed it) so I’ve only just got around to catching up with it on All4 (formerly 4OD) where it is on for another couple of weeks.
I’m glad I did get to see it as it is very funny and pulled together an extraordinary cast, the vast majority of whom spend mere moments onstage. Graham’s play focuses on the trials and tribulations of a South London polling station in the 90 minutes before voting closes and though there’s a farcical plot that holds the play together in the larger sense, the real joy comes in the microstories of the various voters who come in to exercise their democratic right as best they see fit. Drunks losing their polling cards, giddy lesbians brandishing selfie sticks, teenagers asking Siri who to vote for, all amusing slices of life are represented by a stellar cast who seem to be having just as much as the audience. Continue reading “TV Review: The Vote, Donmar Warehouse via All4”