So much play casting news!
Mike Bartlett’s political comedy The 47th opens at the Old Vic on 29th March. Joining the previously announced Bertie Carvel as Donald Trump, Tamara Tunie as Kamala Harris and Lydia Wilson as Ivanka Trump will be James Cooney as Charlie Takahashi, James Garnon as Ted Cruz, Richard Hansell as Steve Richetti, Oscar Lloyd as Donald Junior, Jenni Maitland as Heidi Cruz, Freddie Meredith as Eric Trump, Ben Onwukwe as Barack Obama, Cherrelle Skeete as Tina Flournoy, Ami Tredrea as Rosie Takahashi and Simon Williams as Joe Biden, with all other parts played by the company.
Directed by Rupert Goold, with set design by Miriam Buether, costume design by Evie Gurney, lighting by Neil Austin, sound by Tony Gayle, original music and sound score by Adam Cork, video by Ash J Woodward, movement by Lynne Page, wigs, hair and make-up by Richard Mawbey, casting by Jessica Ronane CDG, US casting by Jim Carnahan, voice by Joel Trill and dialect by Brett Tyne. Continue reading “Plays update for March”
Emma Stone and Emma Thompson have lots of fun in the entertaining Cruella, which is only just a little bit too long
“Darling, if I’m going to need to repeat myself a lot, this isn’t going to work out”
There’s something a little curious about a film that simultaneously wants to highlight one of cinema’s most iconic villains yet also neuter her most defining attributes. So we can rest assured that no dalmatians are harmed in the telling of this story (or presumably making of this movie) nor is there a cigarette holder to be seen. So what’s left for Cruella to do?
A fair amount as it turns out. Craig Gillespie’s film finds an origin tale for her in 1970s London (story by Aline Brosh McKenna, Kelly Marcel, and Steve Zissis), locating her at the vanguard of the nascent punk movement (or at least a Disneyfied version of it). It’s a nifty move that forefronts her creative endeavours, whilst adding to a notorious canon of fashion geniuses gone ‘woo-hoo’. Continue reading “Film Review: Cruella (2021)”
Lia Williams is all kinds of caustic brilliance in conspiracy thriller The Capture
“Accepting you can rarely see the whole picture is part of the job”
I’m working my way through the TV shows I can watch on my free trials on various services, which has lead me to The Capture which aired on BBC1 in late 2019 and somehow completely passed me by. This is particularly egregious since it features Lia Williams the kind of amazing top boss role that makes you wonder why she isn’t better known.
Created, written and directed by Ben Chanan, The Capture takes place in a surveillance state that not too long ago would have been described as a near-future dystopia but now, is just London on a Tuesday. In a society that closely monitors CCTV, so much of justice depends on the reliability of those camera image. But what happens when that confidence is eroded? Continue reading “TV Review: The Capture”
Johnny English, Johnny English Reborn and Johnny English Strikes Again prove ideal brainless festive watching
“I’ve been dropped into the Kalahari Desert carrying nothing more than a toothbrush and a packet of sherbet lemons”
I don’t believe in any of my pleasures being guilty, if something makes you smile then who is anyone else to dictate whether that’s acceptable? The Johhny English film trilogy – Johnny English (2003), Johnny English Reborn (2011), and Johnny English Strikes Again (2018) – holds a special place in my heart (well, the first two do) as they formed the backdrop to a couple of great family holidays and several of the funnier lines have snuck into the family vernacular.
Written by Neal Purvis, Robert Wade and William Davies and directed by Peter Howitt, Johnny English is an amusing entry into the series. Rowan Atkinson’s English is a hapless MI7 employee whose bumbling sees their top agent accidentally killed and then all their other agents massacred in a bomb at his funeral. As the sole agent left, he has to thwart a plot to steal the Crown Jewels and decipher John Malkovich’s comedy villain French accent. Continue reading “Film review: the Johnny English trilogy”
Armando Iannucci’s rollicking adaptation of The Personal History of David Copperfield is huge amounts of fun to watch
“You can’t complain about a nice bit of kipper”
You might not have picked a Charles Dickens adaptation for an Armando Iannucci big screen feature but evidenced in The Personal History of David Copperfield, it’s a pretty darn fantastic match. It’s a rollicking romp through the story, absolutely refreshed by this treatment as its warm comedy is sprinkled with notes of ruminative reflection on class and identity and just a touch of satirical bite. And by employing a truly diverse and talented ensemble, there’s something special here.
For all the magnificence of Tilda Swinton’s Betsey Trotwood (truly exceptional), Peter Capaldi’s Mr Micawber and Ben Whishaw’s malevolent Uriah Heep, the real joy in the casting comes from the opportunities now given. Nikki Amuka-Bird is fantastic as the starched Mrs Steerforth, the kind of role she just hasn’t gotten to play before; so too Benedict Wong as Wickfield, it’s great to see such talent stretch their acting muscle this way, and so well too. Continue reading “Film Review: The Personal History of David Copperfield (2019)”
The latest venue to announce the opening of their digital archive in order to satisfy our theatrical cravings is the Hampstead Theatre who, in partnership with The Guardian will re-release the live stream recordings of Mike Bartlett’s Wild, Beth Steel’s Wonderland and Howard Brenton’s Drawing the Line for free.
Available to watch on theguardian.com and hampsteadtheatre.com, the three productions will be made available, on demand, over three consecutive weeks as part of the theatre’s #HampsteadTheatreAtHome series and the first of these – Wild – is available now. And once you’ve watched it, take a look at the ways you can support the Hampstead Theatre here. Continue reading “News: #HampsteadTheatreAtHome launches this week”
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)”
Episodes, in order of preference
World Enough and Time
The Doctor Falls
The Eaters of Light
Empress of Mars
The Pyramid at the End of the World
The Lie of the Land
Top 5 guest spots
1 David Suchet’s Landlord was as perfectly written a character as befits one of our more superior actors
2 Regular readers will know I’m a big fan of Kieran Bew and his astronaut in Oxygen was no exception
3 Nicholas Burns‘ malevolent Sutcliffe was a delightfully Dickensian villain
4 Another theatrical delight of mine is Anthony Calf, impressive as the pseudo-Victorian Godsacre
5 Rebecca Benson’s young Pict impressively led The Eaters of Light from the front, a perfect vessel for Rona Munro’s vision
Michelle Gomez’s Missy has been a brilliant breath of fresh air and whilst her decision to follow Moffat and Capaldi out the door is understandable, it isn’t any less disappointing. And perhaps the timey-wimeyness of the circumstances around her passing mean that maybe this isn’t the last we see of her…
Most wasted guest actor
I don’t what I expected from the reliably excellent Samantha Spiro in Doctor Who but I didn’t get it from her part in The Doctor Falls.
Gay agenda rating
With Bill onboard, A+!
“A man’s life’s no more than to say ‘one’”
One of the main problems with the countless thinkpieces about the filming of live theatre is that they are almost always written by people who have ample opportunity to see the plays live. To talk about losing the innately unique quality of theatre unfolding before you is all too easy when you’re seeing shows pretty much every day of the week; when your own opportunities to see theatre, especially the bigger productions that tend to get filmed, are limited due to any kind of accessibility concern, it becomes a whole ‘nother ball
Which is a slight digression from how I intended to start this, by saying that I wonder how much of a difference it makes if you’ve seen a production live and then on screen. I’ve not done the double, as it were, on many plays, I’ve tended just to use DVD as a way to catch up on things I missed and so was a little hesitant about whether to include Sarah Frankcom’s production of Hamlet for the Royal Exchange in this collection. But boy am I glad I did, for I enjoyed immensely, possibly even more than I did at the theatre. Continue reading “DVD Review: Hamlet (2014)”