“Some things are better left out of the history books”
Have you heard the one where Jesus, the three wise men and Caligula walk into a pub? No? Well it is pretty much the set up for John Wolfson’s curious new play The Inn at Lydda, at least once you’ve thrown John the Baptist and Tiberius Caesar in there as well. An eclectic bit of programming in the candlelit surroundings of the Sam Wanamaker Playhouse, Wolfson has spun his tale from a tidbit in the New Testament Apocrypha and taken it to almost-farcical levels of comedy.
Ailing Roman Emperor Tiberius Caesar has heard of a legendary healer over in Judea and so off he pops to be cured by him, only problem is we’re in the days between the Resurrection and the Ascension. Stopping off at a hostelry in the city of Lydda where this news filters through, their party bumps into Tiberius’ lascivious great-nephew and heir Caligula, plus three weary travellers who have been waiting 33 years to reunite with a man who might just be hiding in a nearby cave. Continue reading “Review: The Inn at Lydda, Sam Wanamaker Playhouse”
Despite no lack of ambition (and a reputed £17 million budget), Beowulf: Return to the Shieldlands proves a sore disappointment
“I was beginning to think you wouldn’t come”
Looking back at my review of Episode 1 of Beowulf: Return to the Shieldlands, there really was a naive hope on my part that this would be something of a success, as ITV lunged for a slice of the epic fantasy TV market. But lawksamercy it hasn’t been good.
Cleaving so closely to the Game of Thrones template (seriously, those opening credits…) does the show no favours at all, as they can’t hope to compete with the meticulousness of the years of George RR Martin’s world-building or the heft of HBO’s cinematic-sized budget. Continue reading “TV Review: Beowulf: Return to the Shieldlands”
“This is not war…”
As with many historical films, it is easy to get caught up in matters of accuracy with To Kill A King’s portrayal of Oliver Cromwell and the puritan movement he led with Thomas Fairfax which ultimately saw the trial and death of King Charles I. The casting of Tim Roth instantly points toward the direction Mike Barker’s film leans in and before even a word is spoken, we’re left in no uncertain terms about the psychopathic tendencies of this interpretation of Cromwell. But written by Jenny Mayhew, the film’s focus is actually on the relationship between the two friends and the strain it faces as they set about rebuilding a nation.
And in that respect I think it is quite a successful piece of work. Roth’s furious intensity as he fights for a republican ideal is tempered by Dougray Scott’s intelligent ambivalence as Fairfax, less inclined to shake up the societal order that is such a major part of his and his family’s life, not least his wife Lady Anne, played excellently by Olivia Williams. The way in which the two are slowly pulled apart as their political ideals are twisted by the realities of negotiating with a recalcitrant Parliament and a manipulative King, active even after his deposition, is compellingly told and engagingly performed. Continue reading “DVD Review: To Kill A King”
“There’s no room for cynicism in the reviewing of art”
One might equally say there’s no room for cynicism in my reviewing of Mike Leigh’s work, such a fan of his oeuvre am I and the laidback, gruff charms of Mr Turner are no exception, confirming the iconic director in the full flush of his prime. Timothy Spall has already been deservedly rewarded for his wonderfully harrumphing performance of the last 10 years of the life of this most famous of painters and it is a compelling portrait, of a man established in his world as a bachelor, a master painter, and later a lover. Leigh’s episodic style fits perfectly into this biographical mode, dipping in and out of his life with the precision of one of Turner’s paintbrushes, colouring in a captivating collage of his later life.
Spall is excellent but around him, the women in his life provide some of the most hauntingly beautiful moments of the film. As Sarah Danby, the mistress and mother of the two daughters he would not recognise, Ruth Sheen is piercingly vivid, her barely contained fury resonating deeply. As Hannah Danby, her niece who was Turner’s long-suffering and long-serving housekeeper, Dorothy Atkinson is painfully brilliant as a woman subjugated and subdued by his wanton sexual advances, the psoriasis that afflicted her, and her deep love for the man. As “self-taught Scotswoman” and scientist Mary Somerville, Lesley Manville near steals the film in a simply beautiful self-contained vignette. Continue reading “Film Review: Mr Turner (2014)”
“Life has dropped you at the bottom of the heap”
For many people, myself included, it is nigh on impossible to approach a film version of stage behemoth Les Misérables with a blank slate. It’s been a mainstay of the musical theatre world since its 1985 London debut – it is most likely the show I have seen the most times throughout my lifetime – and after celebrating its 25th anniversary with an extraordinarily good touring production, has been riding high with a revitalised energy. So Tom Hooper’s film has a lot to contend with in terms of preconceptions, expectations and long-ingrained ideas of how it should be done. And he has attacked it with gusto, aiming to reinvent notions of cinematic musicals by having his actors sing live to camera and bringing his inimitable close-up directorial style to bear thus creating a film which is epic in scale but largely intimate in focus.
In short, I liked it but I didn’t love it. I’m not so sure that Hooper’s take on the piece as a whole is entirely suited to the material, or rather my idea of how best it works. Claude-Michel Schönberg’s score has a sweeping grandeur which is already quasi-cinematic in its scope but Hooper never really embraces it fully as he works in his customary solo shots and close-ups into the numbers so well known as ensemble masterpieces. ‘At The End Of The Day’ and ‘One Day More’ both suffer this fate of being presented as individually sung segments stitched together but for me, the pieces never really added up to more than the sum of their parts to gain the substantial power that they possess on the stage. Continue reading “Film Review: Les Misérables (2012)”
Beasts of the Southern Wild
Life of Pi
Silver Linings Playbook
Zero Dark Thirty
Ben Affleck – Argo
Kathryn Bigelow – Zero Dark Thirty
Tom Hooper – Les Misérables
Ang Lee – Life of Pi
David O. Russell – Silver Linings Playbook
Steven Spielberg – Lincoln Continue reading “18th Critics’ Choice Awards nominees”
“Take honour from me and my life is done”
And so finally it arrives, the culmination of the BBC’s Shakespeare fest in The Hollow Crown, the four history plays from Richard II through to Henry V filmed by some of our most exciting directors and bringing together a simply astounding company of actors of the highest (theatrical) pedigree. Having been spoiled by an excellent Richard II from John Heffernan at the Tobacco Factory, the subsequent Eddie Redmayne-starring production at the Donmar suffered a little by comparison, but the sheer star quality on offer here, directed by Rupert Goold no less, meant there was no way I would be missing it.
Leading the cast as the feckless monarch undone by his own grandiloquence, Ben Whishaw imbues Richard with a capricious feyness – his camp is filled with handsome serving boys, juicy figs and a monkey – and a fateful contempt for the affairs of men. This leads to his downfall as his harsh punishment of cousin Henry Bolingbroke and his unlawful seizing of his family’s land and money provokes a righteous retribution from Bolingbroke, who returns from exile supported by many a nobleman and seizes the throne. As the tide turns against him, Whishaw’s king graduates to a heart-wrenching too-late maturity, as the only life he has ever known (he was crowned aged just 10 after all) slips from his grasp. Goold lays on this transformation a little too thickly with an inescapable religious iconography but plays a masterstroke in having the scene of Richard’s return to England played out on a windy beach, his petulant hopelessness washed away with his name in the sand, Whishaw embracing the text exquisitely. Continue reading “TV Review: The Hollow Crown Part I, Richard II”
“Ian, your input is much appreciated”
There’s something deliciously indulgent about rehearsed readings, especially those connected with the Royal Court that I’ve been able to attend. Frequently held during the working day and peopled with fascinating casts, they offer a different, more relaxed take on theatre but one which can be equally interesting. This time round, the Royal Court have put together a programme called Playwrights’ Playwrights, inviting writers who have worked at the Sloane Square venue to direct some of their favourite plays in rehearsed (albeit only for a day) readings at their adopted West End home, the Duke of York’s. First up was Nick Payne, who chose Kenneth Lonergan’s The Starry Messenger, a play which hasn’t been seen in the UK before.
Centred on the rather gloomy astronomy lecturer Mark and the way his life suddenly changes after a chance encounter with a young mother after one of his classes, Lonergan’s play looks at a quietly normal group of people and how the ripples of the ensuing affair affects all their lives. Mark’s marriage to Angela has stagnated, his son barely talks to him, his colleagues are succeeding professionally where he is not, but meeting Angela changes something fundamental in him. She has her own trials, a single mother balancing work with training to become a nurse, but also finds the potential for some answers to the larger questions in her life in her connection with Ben. Lonergan has a beautiful way with the minutiae of everyday life, teasing out beautiful comedy from the simplest of conversations and interactions but never hiding the sadness that lies at the heart of so many of these characters. Consequently, I pretty much loved this play. Continue reading “Review: The Starry Messenger, Duke of York’s”
“It’s amazing what Parliament will do when they feel guilty”
Charles II: The Power and the Passion was a 2003 BBC miniseries the likes of which I doubt we’ll see again in these times of austerity as it was a sprawlingly lavish costume drama, directed by a young Joe Wright. Covering the life and reign of Charles II, it starts just before his restoration to the throne after the death of Oliver Cromwell and runs right through to his death. Thus as 27 years of history are condensed into 4 hours, liberties and dramatic license is freely taken and this isn’t really the place to be too pernickety about this kind of things.
We follow Charles from his libidinous time in exile on the continent to arriving back in London to be crowned King and to lock horns with Parliament. Charles still believed strongly in the absolute power of the monarchy but the politicians of the day were determined not to surrender any of their new-gained influence and so much struggles ensued as members of his court both grew in influence and fell from favour as everyone jockeys for power and to make sure they’re on the winning side. There is also the matter of the succession as Charles has no legitimate heir, though plenty of illegitimate offspring, and wants his brother named but he is a Catholic. Continue reading “DVD Review: Charles II The Power and the Passion”
“What’s done cannot be undone”
The Everyman Theatre in Liverpool will shortly be closing for an extensive three year renovation programme which will see the building being completely rebuilt to reinvigorate the already sterling work that the Everyman and Playhouse theatres have been doing for the last few years. The final show to be mounted here is a production of Macbeth which features the return of one of its prodigal sons in the title role, David Morrissey, a Liverpudlian by birth who trained at the Everyman Youth Theatre in the early 1980s alongside Ian Hart, Mark McGann and Cathy Tyson.
Originally cast alongside him to play Lady Macbeth was Jemma Redgrave but she had to withdraw due to personal reasons (one hopes that she is ok, that family has suffered enough hardship in recent times) just three weeks before the show was due to open, but fortunately Julia Ford (recently seen in Mogadishu) was able to join the cast and ensure this valedictory telling of ‘the Scottish play’ was able to continue. Continue reading “Review: Macbeth, Everyman Liverpool”