Jonathan Coe’s novel What A Carve Up! is adapted brilliantly into a gripping online play with an excellent lead performance from Alfred Enoch
“Who even reads novels at this point, they’re just an irrelevance”
As the shadow of another lockdown looms, What A Carve Up! shines as an example of what lemonade can be made from those particular kind of lemons. Produced collaboratively by The Barn Theatre, Lawrence Batley Theatre and New Wolsey Theatre and written specifically by Henry Filloux-Bennett for online delivery, this is exciting hybrid thinking.
Based on the novel by Jonathan Coe, Filloux-Bennett and director Tamara Harvey have done a remarkable job here. Covid restrictions aside, it would never have been the most straightforward piece to adapt but reflecting the book’s postmodern structure, this play interleaves multiple layers to build up not just a murder mystery but a damning commentary on the state of the world. Continue reading “Review: What A Carve Up!”
The Barn Theatre in Cirencester, the Lawrence Batley Theatre in Huddersfield and the New Wolsey Theatre in Ipswich have today announced the full cast for the digital world premiere of Henry Filloux-Bennett’s online play What A Carve Up!, based on Jonathan Coe’s critically acclaimed satirical novel.
I look ahead to some of the 2020 shows exciting me most with an emphasis away from the West End, looking mostly instead at the London fringe and across the UK
Sure, there’s all sorts of big ticket shows coming to London in 2020 (with big ticket prices too to go with their big names), like Sunday in the Park with George with Jake Gyllenhaal, Sister Act with Whoopi Goldberg, A Doll’s House with Jessica Chastain. But there’s so much more to discover if you venture away from Shaftesbury Avenue…
1 The Glass Menagerie, Odéon–Théâtre de l’Europe at the Barbican
Not that I want to be predictable at all but Isabelle Huppert! Acting in French! Right in front of you! I understand that van Hove-fatigue might be setting in for people but only a FOOL would pass up the chance to see one of our greatest living actors. A FOOL!
2 The Glass Menagerie, Royal Exchange
And if you wanted to do a direct compare and contrast, Atri Banerjee’s revival for the Royal Exchange will be worth checking out too for an alternative perspective.
3 The Wicker Husband, Watermill Even before Benjamin Button tore my heart apart, I was excited for the arrival of this new musical by Rhys Jennings and Darren Clark but now, the bar has been raised even higher. And the gorgeous intimacy of the Watermill feels like a perfect fit.
4 Children of Nora, Internationaal Theater Amsterdam
Me: “I don’t need any more Ibsen in my life”
Also me: Robert Icke revisiting the world of A Doll’s House through the eyes of the next generation? Yes please.
Written and directed by Justin Trefgarne, British sci-fi flick Narcopolismarks his major directing debut and on a limited budget, especially for this genre, it very much looks the part. Set in a dystopian near-future where drugs are no longer illegal but a black market still flourishes, hard-bitten cop Frank Grieves finds himself drawn into a dark mystery when he’s called onto a job. And as the dead bodies, estranged families, corporate conspiracies and mind-bending narcotics pile up, this complex case proves a tough one for Frank to crack.
With Elliot Cowan in the lead role, it should be little surprise that Narcopolis appealed to me but I do like a good sci-fi film and without a huge amount of money to spend, Trefgarne’s focus has clearly been on richly defined character interaction and it pays off. Amongst others, Cowan’s grizzled former addict has to deal with the boss he accidentally shot in the face (a wry Robert Bathurst), his adoring but neglected son (a sweet Louis Trefgarne) and mysterious woman Eva Gray (Elodie Yung) who holds many of the secrets needed to expose the truth. Continue reading “DVD Review: Narcopolis”
“Is our emotional attachment to the NHS gonna stop it changing in the way that it needs to, to continue to thrive and survive?”
The product of eighteen months of interviews with people working in and around the National Health Service, Michael Wynne’s verbatim play Who Caresis an impassioned but clear-sighted cri de coeur for this venerable British institution but one free from too much rose-tinted sentimentality, as it performs an uncompromising health check on that which is meant to check our own health. And the prognosis? The NHS may possibly be screwed but theatre’s in great shape.
Starting off in the rehearsal rooms next to the theatre and eventually ending up in the Jerwood Theatre Upstairs, Who Cares is a promenade production that weaves its way inside and out, up stairs and down, backstage and on, as the audience – split into small groups – take in a multitude of vignettes of the interviewees’ experiences, presented in imaginative and inventive ways by the show’s three directors, Debbie Hannan, Lucy Morrison and Hamish Pirie, plus designer Andrew D Edwards, Natasha Chivers’ lighting and Daniel Krass’ sound. Continue reading “Review: Who Cares, Royal Court”
“He would know me but there’s no reason I would know a farmer”
Of all the versions of Jane Austen’s Emma, I can’t really believe that I will ever see one as well done as this 2009 BBC adaptation by Sandy Welch and directed by Jim O’Hanlon. Everything about it works for me, from the clever casting choices to the subtle redefinition of some characters, the (now) luxurious running time to the production values which mark it as something of a dying breed in terms of BBC period dramas.
I love its inventive prologue contrasting the early lives of Emma, Frank and Jane, how tragedy touched them all but their positions in life meant their journeys took wildly different paths. Romola Garai makes an immensely appealing heroine, her beautiful wide eyes so open and honest yet quickly able to take on a harder glint as her more self-obsessed side takes over, and she works so brilliantly with her cast-mates to give us full-fleshed, believable relationships.
There’s genuine affection with Michael Gambon’s fretful father, a tangible sisterly bond with Jodhi May’s former governess, a vivid friendship with Louise Dylan’s hapless Harriet and that real sense of antipathy that comes from two beautiful girls not quite able to make each other out with the arrival of Laura Pyper’s mysterious Jane Fairfax. And there’s Jonny Lee Miller’s excellent Mr Knightley, a hugely handsomely dashing figure who shares immense chemistry with Garai. Continue reading “DVD Review: Emma (2009)”
Sometimes, it’s the smallest things that are most affecting and Julian Kerridge’s 2005 film debut Mr Johnis full of gorgeous, intimate details that make it a most charming prospect. Benedict Wong’s Mr John is an agoraphobic television critic but the arrival of a pretty upstairs neighbour, in the form of Nicola Stephenson’s Carol, forces him to look at the limits of his world anew. Their burgeoning relationship is a delight to behold – the gift of a casserole, a love for volcano documentaries, the re-organisation of a video collection – the quirky aspects of what makes her utterly adorable is perfectly played by Stephenson, the wry smile as she walks down the steps at the end enough to melt any heart. And Wong is appealingly nerdish as Mr John, initially disgruntled at the intrusion into his hermit-like existence but soon won over and willing to confront his greatest fear. Just lovely. Continue reading “Short Film Review #25”
Sonja Phillips’ The Knickerman is a bit of a bonkers 1970s fest but hugely entertaining with it. Featuring some of the most epic denim flares you’ll ever see, the women of a sleepy village in Lincolnshire have their life changed when a handsome knicker salesman arrives on the market. Told through the eyes of a little girl who is transfixed by the “miracle” he claims to give women through their knickers, it’s a relaxed film , almost with the feel of an Instagram filter in its 70s glaze and from Jamie Sives’ charismatic lothario to the likes of Saskia Reeves and Annette Badland as the women who make regular visits to his stall, it’s a charmingly lovely piece of storytelling.
Sometimes, just sometimes, one of these films comes from nowhere to just punch in the guts with its downright amazingness yet simultaneously leaving unable to really articulate just why it is so. Joe Tunmer’s Mockingbird is such a film – achingly beautiful, gorgeously shot and infinitely moving. William Houston is extraordinary, Eliza Darby refreshingly appealing and there’s bonus Olivia Williams – what more do you want?!
A 7 minute clip from Aneil Karia, Farrington is one of the funnier short films I’ve had the pleasure to watch recently. Robert Bathurst plays an investment banker named Henry who opts to take a wee career break to take part in a reality TV show where he will have 12 days to try and learn a whole new craft and convince a panel at the end that he is indeed a master of said skill. The joy comes from what that thing is and I won’t spoil it here, save to say it is refreshingly un-PC and leads to some cracking lines from the team of ‘experts’ set up to help, including Prasanna Puwanarajah and James Garnon. Definitely recommended.
The central idea of Rover’s Return – rich person pays someone to babysit their dearest love, who turns out to be a pet – and something goes horribly wrong – is not a new one – I’ve seen at least two other short films execute something similar. It’s clearly not a bad idea and who knows who had it first but coming in now for me, this version felt a little uninspired. Indira Varma is the high-flyer who is heading to Paris for a nookie-filled break and Andrea Lowe her junior colleague who is looking after the mutt in her absence. She’s inexperienced with dogs and predictably things go pear-shaped – it’s all a bit predictable and lacks any particularly unique facet to hook the attention, either in Oliver Ledwith’s direction or Patrick Ledwith’s script.
Possessed of an utterly gorgeous rasping voice, Alexis Zegerman is one of those actors I could listen to all day, but for her short film debut, The Honeymoon Suite, she opted to remain behind the camera. Lola Zidi-Rénier and Tim Key take on the role of a newly-wed Jewish couple who barely know each other, pushed together in some kind of arranged marriage and as they tumble into their hotel room after the ceremony, they get their first moment of quiet together, but it is the worst kind of awkward silence that fills the room. As they painfully tease out detail after detail about each other that seems to make them increasingly ill-suited together, they eventually find a tiny glimmer of hope that things might not be so bad after all. It is well done and nicely understated by all involved.
Another film funded by the Jewish Film Council is Dan Susman’s Veils, an insightful look into the Jewish/Palestinian conflict through the eyes of impending marriage for a Jewish girl and a Palestinian man in modern-day North London. As each prepare themselves on the wedding day, we see how the intransigent attitudes of some of their extended families are so strongly held that not even the joy of nuptial bliss can sway them, the difficulties of reconciliation laid bare in front of us as grandfather rejects grandson, family friends finding the most obscure of excuses not to attend. It is well-shot and cleverly structured too in the way that it teases the expectations.