The only real pleasure in this TV version of Four Weddings and a Funeral is hearing Alex Jennings say “Yes, I suppose you were somewhat of a basic bitch” with a straight face
“You’re insane and watch too much TV”
This lockdown has seen me sign up to too many free trials on various online TV services and so I’ve been ripping through some of the shows newly on offer to me. Over on STARZPLAY, first up for me was the TV adaptation of Four Weddings and a Funeralwhich I’m not sure if I ever knew actually existed until now.
Created by Mindy Kaling and Matt Warburton and airing in the US in the summer of 2019, the show is an inexplicable riff on Richard Curtis’ 1994 film. Ultimately it is nothing like the film, which is probably for the best, emerging instead as a ridonkulous Jilly Cooper-esque rom-com in a fantastical version of London (and beyond). Continue reading “TV Review: Four Weddings and a Funeral”
Clarissa, wife of a diplomat, is adept at spinning tales of adventure but when a murder takes place in her own drawing room she finds live drama much harder to cope with.
Desperate to dispose of the body before her husband arrives with an important politician, she enlists the help of her guests. Hilarity ensues when they are interrupted by the arrival of wry detective, Inspector Lord.
Starring: Nari Blair-Mangat | Nick Blakeley | Brian Bovell | Richard Clifford | Adam Gillen | Jessica Hynes | Sir Derek Jacobi | Matthew Kelley | Gerard McCarthy | Helen Monks | Gloria Onitiri | Stephanie Siadatan
An unhappy game of romantic follow-the-leader explodes into murder one weekend at The Hollow, home of Sir Henry and Lucy Angkatell. Dr. Cristow, the Harley Street lothario, is at the centre of the trouble when, assembled in one place, we find his dull but devoted wife Gerda, his mistress and prominent sculptor Henrietta, and his former lover and Hollywood film star Veronica. As the list of romantic associations grows so does the list of potential suspects when someone is shot dead.
Nearly everyone has a motive but only one of them did the deed.
Starring: Samantha Bond | Simon Callow | James Dreyfus | Kathryn Drysdale | Richard Fleeshman | Beth Granville | Angela Griffin | Laura Haddock | Tom Hughes | Adam James | Valentine Olukoga | Nina Sosanya | Nia Towle
An album review of Joel Harper-Jackson’s So What Happens Now? and inspired by Marry Me A Little last night, I explore Makerman and Rob Houchen
“I don’t care if it hurts I wanna have control”
Released just as the second lockdown kicked in, Joel Harper-Hackson’s debut album has ended up with a painfully apposite title – So What Happens Now?. I first spotted Harper-Jackson a few years as a standout in a middling new musical and have enjoyed following his career since then, not least in the Hope Mill’s gorgeous production of Little Women. Interestingly, this album largely eschews the world of musical theatre for the world of popular music, albeit reimagined through the wonderfully moody arrangements of Greg Morton.
Piano, guitar and cello thus come to the fore to underscore mournful takes on ‘Jolene’ and ‘The Man That Got Away’, the quavering vocal at the beginning of ‘Another Suitcade in Another Hall’ really refocuses the song’s emotion, and the shivering sparseness of ‘Wicked Game’ hits harder than usual, especially once the dramatic stakes are raised. Unexpectedly effective though is the duet on ‘Tragedy’ with Jodie Steele which utterly reinterprets the rueful acceptance of the song in a way which makes complete sense. ‘Creep’ with Lauren Byrne is pretty damn good too. If ever there was an album to cry-listen to whilst looking through a rainy November window and eating a packet of biscuits, this is that album and this is that moment. Highly recommended. Continue reading “Album Review: Joel Harper-Jackson – So What Happens Now? / Makerman – Grove Hill / Rob Houchen”
West End stars and theatre’s technical entertainment companies come together to support industry family with West End Unplugged
Each Wednesday from 9thto 30thSeptember, a dazzling line-up of the West End’s most well-loved singers will perform alongside some of theatre’s top musicians inWest End Unplugged (live from L-Acoustics Creations),a series of four, 45-minute charity concerts.
COVID-19 has dealt a devastating blow to the theatre community across the U.K., with shows closed across the West End and around the country since March, and for the foreseeable future leaving all those involved with little or no income.Thisseries of shows been produced to help raise funds for three charities that help the most in need across the entertainment industry.Continue reading “News: West End Unplugged announces four free concerts in September”
Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!)
Extraordinary Public Acts for a National Theatre
The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions. A truly joyous and momentous occasion.
Jessie Buckley and Josh O’Connor headline a new production of Romeo and Juliet, while Callum Scott Howells and Rosie Sheehy star in Gary Owen’s Romeo and Julie, among other big news from the National Theatre
Simon Godwin returns to the National Theatre to direct Shakespeare’s ROMEO & JULIET following his critically-acclaimed productions of Antony and Cleopatra and Twelfth Night in the Olivier Theatre. Set in modern Italy in a world where Catholic and secular values clash, Jessie Buckley (Wild Rose, Judy) and Josh O’Connor (The Crown, God’s Own Country) play the two young lovers who strive to transcend a world of violence and corruption. Fisayo Akinade (The Antipodes, Barber Shop Chronicles) is cast as Mercutio. The production will open in the Olivier Theatre in August 2020.
A trio of album reviews cover the (relatively) recently released cast recordings of Company, Follies and Mythic
“One more souvenir of bliss”
I adored Marianne Elliott’s reinterpretation of Stephen Sondheim and George Furth’s Companyon my many visits and so the news of a cast recording was of course ecstatically received. And perhaps inevitably it doesn’t quite live up to the thrill of seeing it live but maybe that’s because the production is still so fresh in my mind. I mean we’re only talking a 4 instead of a 4.5…
I swear Patti LuPone’s ‘Ladies Who Lunch’ was different every time I saw it but this version here is as good as any, with the glorious fullness of her voice pointedly sharpening its wit. Her contributions to ‘The Little Things We Do Together’ are inspired, Jonny Bailey’s ‘Not Getting Married’ is breathlessly affecting and the warmth of Rosalie Craig’s character and voice infuse the whole experience with real quality. Continue reading “Album Reviews: Company / Follies / Mythic”
Just the one more trip to see the glorious Company at the Gielgud Theatre before it sadly depart
“You can’t stay in your thirties forever”
I went back, again. Well I had to, at least while the above quote is still true for me for a couple more months. There’s not much left to say about Company that I haven’t said already here, or here, or here and it remains an absolute pleasure to watch, a show I could sit through time and time again even more so than I have already. It will be very much missed.
And I do think it really has gotten better as the run has progressed, performances deepened and matured, but also deliciously playful – I swear the magnificently brassy Patti Lupone has done something different every single time and it has been wonderful for it. It will be fascinating to see how Marianne Elliot’s production fares on Broadway and who, if anyone, transfers with it. Continue reading “Yet-another-re-review: Company, Gielgud Theatre”