“Do you think that you are mad?”
I remember very little of this film, having not seen it since it was first released, so much so that much of the stage play – recently revived for a tour which will shortly take up residency in the West End – felt brand new to me. Alan Bennett adapted his own play, The Madness of George III (the film had to be retitled for international audiences…) and Nicholas Hytner directed the film, as he directed the show at the National Theatre, and it fit quite neatly into my post-Christmas costume drama/Royalty film splurge.
The story of how George III’s deteriorating mental health led to a constitutional crisis as his ambitious son made a play for power to try and force a Regency forms the backbone of the film as Nigel Hawthorne’s monarch is subjected to the vagaries of contemporary medical practice which had no understanding of mental illness and contained very little practice, instead being based on observations. It is only when a new course of action is recommended by non-medical man Dr Willis who utilises behaviour modification to try help regain equilibrium that progress is begin to be made, but the Prince of Wales and his political allies are moving fast to seize power. Continue reading “DVD Review: The Madness of King George”
“Female punctuation forbids me to say more”
Not a huge amount of travelling for me this weekend but I’ve still got a big pile of DVDs to work my way through and so this Sunday evening, I sat down to this filmed version, by Heritage Theatre, of RB Sheridan’s The Rivals from the 2004 Bristol Old Vic production. It’s a rather popular play, we’ve seen a wickedly anarchic and amusing Celia Imrie-starring version at the Southwark Playhouse and a more traditional but impeccably acted version from Peter Hall in London in the last couple of years, so I was intrigued to see what this Rachel Kavanaugh-directed interpretation brought to the table.
It is an unfussy, uncluttered production – Peter MacKintosh’s evocative design making great use of perspective – which feels incredibly inclusive, even through the medium of film. Kavanaugh has her actors including the audience as an extra participant in all conversations so it feels we are constantly being confided in and party to all the gossip. It also helps that it is very well filmed, the quality is sharp and clear, there’s little unnecessary camera trickery or shots panning out to the audience, instead it focuses on a simple but strong representation of the action on stage, with key close-ups in all the right places: probably one of the best filmed theatre DVDs I’ve watched in that respect. Continue reading “DVD Review: The Rivals , Bristol Old Vic”
“I don’t prey on boys…”
Given how much theatre I like to get to see, it is very rare that I go to see plays for a second time, much less those with which I wasn’t wholly enamoured first time round, but circumstances conspired to get me back to the Lyttleton with an old friend from far away to see Alan Bennett’s The Habit of Art. The show has returned with a new cast for a brief residency here before a nationwide tour, taking in 9 cities in the UK.
You can read my thoughts on the original production here but I’ll quickly recap here for you. Through an imagined meeting between WH Auden and Benjamin Britten, Bennett’s canvas covers a huge range of issues, the nature of creativity and what to do when the inspiration stops, following these two artists dealing with their homosexuality and growing old in their own ways. It also looks at the ethics of biography, the role of the National Theatre and the generation of all kinds of arts, so weighty stuff! When it works it is brilliant, but it must be said there are also times when it doesn’t quite click. Continue reading “Re-Review: The Habit of Art, National Theatre”
“I understand painting, literature, music and France. What else is there to understand?
Written by the delightfully monikered Timberlake Wertenbaker (more proof that my name is indeed too dull to be a playwright!), The Line claims to tell one of the “great untold stories of modern art”. Edgar Degas’ (Henry Goodman) life is disrupted by the arrival of a young, self-assured woman, Suzanne Valadon (Sarah Smart) who is possessed of much artistic talent, but wants tutoring. Their relationship develops from master and pupil to something more despite their differing views on the future of art and their paths diverging over the next 20 years: the pair are watched over all-the-while by Degas’ housekeeper, Zoé Clozier.
The ever-flexible space at the Arcola has been converted into an artist’s studio, with canvasses strewn all around the walls which gives a great sense of atmosphere and there’s furniture placed in the centre of the stage, representing the drawing room in which much of the action takes place. It is staged in the round (or more accurately the square) which is largely effective, but does prove slightly problematic towards the end as Valadon shows some of her work to Degas and so it is only displayed to one half of the audience. Continue reading “Review: The Line, Arcola Theatre”
Accompanying The Cherry Orchard as part of the Bridge Project’s first run of plays which arrived at the Old Vic last month, is The Winter’s Tale, often considered one of Shakespeare’s ‘problem plays’.
Starting off in Sicilia, the play follows childhood friends Leontes and Polixenes, Kings of Sicilia and Bohemia respectively, as Leontes allows his jealousy and paranoia over his pregnant wife to take over. Imprisoning his wife and ordering the murder of his friend, Leontes pushes everyone to the edge to destructive effect, even sending his newborn daughter to her death, a fate from which she is thankfully spared. The second act then jumps ahead 16 years in time to Bohemia, where we see a young couple falling in love and their peculiar parentages equip them with the power to heal the terrible events of the past. Continue reading “Review: The Winter’s Tale, Bridge Project at the Old Vic”
The Bridge Project
is a rather ambitious venture: an Anglo-American theatre company formed specially for three years and performing 2 plays a year in repertoire, touring across a number of venues over the world. With Sam Mendes as director, it has attracted a very strong group of actors, who have already formed a cracking ensemble, and I had my first experience with them this week in Anton Chekhov’s The Cherry Orchard
at the Old Vic, the final stop in this first year of the Project.
The play has a new translation by Tom Stoppard, but given this is the first time I have seen it, I cannot really comment on its merits or otherwise, but the lovely lady sat next to me reassured me it was much more comic than than the last time she had seen it. It tells the story of the return of an aristocratic Russian lady, Ranevskaya, and her family to their hereditary estate since it is being sold off to pay for the mortgage. They are presented with different ways in which the estate could be saved and kept in the family, but the family do nothing and events overtake them as it emerges that their social status no longer affords them the protection that it used to. Continue reading “Review: The Cherry Orchard, Bridge Project at the Old Vic”