After the emotional triumph of Skyfall, the lethargic pacing of Spectre can’t help but feel a letdown
“Why, given every other possible option, does a man choose the life of a paid assassin?”
After the rip-roaring success of Skyfall, it seems little surprise that director Sam Mendes and lead scribe John Logan would return for the next instalment of the Bond series. But Spectre ends up as part of the yoyo-ing trend of Daniel Craig’s tenure which had previously seen the excellence of Casino Royale followed up by the not-excellence of Quantum of Solace. Delving deep back in Bond folklore, its overlong running time and stultifying pace sadly makes it a bit of a challenge.
This time round, surveillance networks are the villain as Bond investigates global conglomerate Spectre and their nefarious plans under Blofeld, whilst M and co do battle with the enemy within in the form of Andrew Scott’s smarmy C. Despite his class, Ralph Fiennes is a much less impactful M than Dame Judi but Ben Whishaw, Naomie Harris and Rory Kinnear are all settling well into their MI6 roles, popping in and out as needed. Christoph Waltz’s Blofeld is vividly effective but the problem lies in an ineffectual plot that doesn’t grip anywhere near as much as Skyfall did. Continue reading “Film Review: Spectre (2015)”
“I don’t know a girl who hasn’t been groped on a train. There’s always someone trying to cop a feel. Might as well get paid for it.”
With quite a few shows closing this weekend, I opted to pay a trip to the penultimate show of Harajuku Girls at the Finborough. Francis Turnly’s play sets up an intriguing premise in the exploration of the world of Japanese cosplay and its role in modern Tokyo society and creatively, it brings the director of last year’s extraordinary I’d Rather Goya Robbed Me Of My Sleep Than Some Other Arsehole back to the stage in Jude Christian.
After graduating high school, Mari, Keiko and Yumi find themselves cut adrift in the harsh realities of the depressed economy of the real world. Parental and societal expectation is as high as it has ever been but jobs are increasingly hard to come by, tuition fees for further education are sky-high and so dressing up in cosplay outfits offers an escapist route. In the seedier areas of town, it also offers financial opportunity but it’s a struggle to ensure they’re the ones who exploit and are not exploited. Continue reading “Review: Harajuku Girls, Finborough Theatre”
“We’ll press upon the enemy until he’s in a funk,
And show him its no easy thing resisting British spunk”
Just a quickie to cover this return trip to Privates on Parade, the opening show of Michael Grandage’s 5 show takeover of the Noël Coward Theatre, as I was able to attend the final performance of the run thanks to the day-seating efforts of a friend. I liked the show immensely when I saw it at the end of last year and whilst I could see that it might not be to everyone’s tastes, I was somewhat surprised at the charge of ‘dated’ that some people levelled at the play. Perhaps it’s a conversation that needs to be had with someone who actually felt that way but it feels erroneous to me, not least because it’s not even set (late 1940s) when it was written (1977).
The biggest change of course was due to the untimely and sudden death of Sophiya Haque who played the role of Sylvia. I can’t imagine how difficult it must have been for the company to continue after such a tragedy and all credit to understudy Davina Perera who rose to the challenge of taking on the role full time mid-run and achieving a seamless transition. Otherwise, I enjoyed the show just as much as I did first time round and having a better sense of the play as a whole, I appreciated the emotional depths of the writing that much more, the comedy has a more astringent edge in the knowledge of what is to come. Continue reading “Re-review: Privates on Parade, Noël Coward Theatre”
“How many sorts of people there are”
Well what an unexpected thing Privates on Parade turned out to be. Not knowing anything about it in advance meant it was full of surprises: the ‘play with songs’ moniker shouldn’t disguise the fact that it is closer to a musical than a play, and it very much needs to be treated as the period piece that it is. On the face of it, its ribald campery and racial stereotyping could be something of an affront, a relic of an old-fashioned past with old-fashioned attitudes, but to merely dismiss it as dated and offensive is to miss the wider points of Peter Nichols’ 1977 play and the nuances of Michael Grandage’s production, first seen at the Donmar in 2001.(FYI: this was a preview performance.)
The play opens the Michael Grandage residency at the Noël Coward theatre, a season of five star-studded plays – Simon Russell Beale is the marquee name here – with a new pricing model aiming for greater affordability for drama in the West End. It’s set in the fictional Song and Dance Unit South East Asia (SADUESA), a British army entertainment corps stationed there at the time of the Malayan Emergency in the aftermath of the Second World War, and follows this troupe of military entertainers as they tour their act through the hostile jungle of the Malayan peninsula. So against the near-oblivious flamboyance of the Marlene Dietrich covers, cabaret turns and jaunty full ensemble numbers, is a backdrop of long-simmering native discontent and explosive violence for which they are ill-prepared. Continue reading “Review: Privates on Parade, Noël Coward Theatre”