Kenneth Branagh releases a trailer for Death on the Nile, starring Gal Gadot, Armie Hammer, Letitia Wright, Annette Bening and bloody French and Saunders!
Me after watching Murder on the Orient Express: never again, Branagh, never again
Branagh: but what if I cast both French and Saunders in a film…
Continue reading “Film news: Death on the Nile trailer released”
Episode 1 of Unprecedented features strong writing from James Graham, Charlene James and John Donnelly
“It’s clear that everything’s going to be different…
and then again, I’m scared that things won’t be different”
It is with an admirable speed with which Headlong and Century Films have pulled together Unprecedented, a theatrical response to the impact of lockdown on society. Conceived, written, filmed and produced in lockdown, and now airing on BBC4, some of our most exciting playwright and a cast of over 50 really have pulled together impressively and this first instalment of three short plays is certainly promising.
Necessity is the mother of invention, or something, and so all three use digital conferencing technology in one way or another and if anything, there’s no bigger marker in the way that our relationships to each other have been altered than this. How many of us even knew what Zoom was in January? And between them, writers James Graham, Charlene James and John Donnelly deftly sketch some of these changes. Continue reading “TV Review: Unprecedented, Episode 1”
I mean, just look at this absolute treasure trove of theatrical talent!
I’m off to listen to Patsy Ferran read Tom Wells, and Gabby Wong read Alexi Kaye Campbell, and Sarah Niles read Winsome Pinnock and…and…
Headlong and Century Films have today announced a cast of over 50 UK actors taking part in Unprecedented: Theatre from the State of Isolation. A series of new digital plays written in response to the current Covid-19 Pandemic, Unprecedented will be broadcast across the nation during lockdown as part of BBC Arts’ Culture in Quarantine initiative.
Written by celebrated playwrights and curated by Headlong, Century Films and BBC Arts, Unprecedented explores our rapidly evolving world, responding to how our understanding and experiences of community, education, work, relationships, family, culture, climate and capitalism are evolving on an unprecedented scale. The series will ask how we got here and what the enduring legacy of this historic episode might be. Continue reading “News: cast announced for Unprecedented: Theatre from a State of Isolation”
Middle-aged white male wish fulfilment writ large, The Starry Messenger is a dull, disappointing and delusional three hours at the Wyndham’s Theatre
“Ian, back up”
Don’t you hate it when your nag of a wife won’t let you tell a story about the family of the nurse you’re secretly having an affair with – women amiright! A significant degree of middle-aged white male wish fulfilment permeates The Starry Messenger to the point where the play is left fatally unbalanced unless, you know, you actually agree with the opening sentiment.
Kenneth Lonergan has written what he clearly believes is an epic role for Matthew Broderick and it certainly fits the brief in terms of it being the major part in a three hour running time. Broderick plays Mark, a 50-something lecturer at Hayden Planetarium in New York, whose dreams of becoming an astronomer seem to have turned to stardust, along with any spark of joie de vivre he might ever have had. Continue reading “Review: The Starry Messenger, Wyndham’s Theatre”
Mike Bartlett’s Press has a fantastic company and big ambitions but is probably best enjoyed as feisty entertainment than an accurate portrayal of the world of journalism
“We do it through the most outrageous storytelling in the world, not statistics”
A lot of the chat around Mike Bartlett’s new series Press, as written by journalists at least, was around how the show fails to represent life at a contemporary newspaper in an accurate manner. So I hasten to remind us all, as if it were really necessary, that Press is a drama and not a documentary, and that dramatic license and a real, and frankly essential, thing.
Soapbox done, this six parter is an interesting if simplistic look at duelling newsroom as it follows the teams at Sun-a-like The Post and Guardian-a-like The Herald as they follow stories, set the news agenda and battle for the very soul of journalism. It’s all highly watchable in a popcorn-munching kind of way but – perhaps ironically given my first paragraph – the shadow of the real world occasionally looms a little too large. Continue reading “TV Review: Press (BBC1)”
“He thinks too much – such men are dangerous”
Though it is billed as ‘a promenade staging’ and the website refers to ‘mob tickets’ and ‘immersive ticket holders’, make no mistake that if you’re in the pit for Julius Caesar, you’re standing. For two hours. There’s a bit of movement, as in five paces that way or this when a new bit of the set has to wheeled into place but don’t be distracted into thinking there’s anything more on offer here than can be gotten further along the South Bank at the Globe (apart from a roof of course, which allows them to charge five times the price, or three times if you book your tickets via TodayTix).
And as with being a groundling, there are decided pros and cons to experiencing theatre this way. The first half of Shakespeare’s political thriller works extremely well under this modern-dress treatment from Nicholas Hytner. As you enter the Bridge’s auditorium, reconceived into the round here, the pit is filled with a rock gig, vendors sell beer and baseball caps, a febrile energy fills the space which carries through to the arrival of David Calder’s populist Caesar with his red cap and puerile slogan ‘Do this!’ (Contemporary allusions are clear but later on you may find the mind gets weirdly drawn to Murdoch more than Trump…).
Continue reading “Review: Julius Caesar, Bridge Theatre”
“I know your moustache…”
What to do when you want your new film to be a new version of one of Agatha Christie’s most famous whodunnits? Well if you’re Kenneth Branagh, you call in some of your mates to play the main characters, friends like Dame Judi Dench, Johnny Depp, Michelle Pfeiffer, Olivia Colman, Penélope Cruz, Daisy Ridley, Leslie Odom Jr., Josh Gad, and Willem Dafoe. Plus you can also get some real talent to fill the minor roles – blink and you might miss the likes of Paapa Essiedu, Miranda Raison, Hadley Fraser, Adam Garcia, even Sergei Polunin.
But if you’re Kenneth Branagh, you also cast yourself as Hercule Poirot and as he’s directing himself, there’s a sense that the sharing of some much-needed constructive feedback didn’t happen. For as his ridiculously huge moustache is placed front and centre in scene after scene, this Murder On The Orient Express feels nothing so much as a vanity project. Which is all well and good if you like that sort of thing, and I quite like Branagh as it happens, but it is absolutely fatal in a story that is intrinsically about the ensemble. Continue reading “Film Review: Murder On The Orient Express (2017)”
The full cast for the Bridge Theatre’s second production – a promenade version of Julius Caesar – has been announced and obviously the news that Adjoa Andoh will be playing Casca is the bee’s knees.
The company is: Adjoa Andoh (Casca), David Calder (Caesar), Leaphia Darko (ensemble), Rosie Ede (Marullus/ Artemidorus), Michelle Fairley (Cassius), Leila Farzad (Decius Brutus), Fred Fergus (Lucius/Cinna the Poet), Zachary Hart (ensemble), Wendy Kweh (Calpurnia), David Morrissey (Mark Antony), Mark Penfold (Caius Ligarius), Abraham Popoola (Trebonius), Sid Sagar (Flavius/Popilius Lena), Nick Sampson (Cinna), Hannah Stokely (Metellus Cimber), Ben Whishaw (Brutus) and Kit Young (Octavius).
“I’m mad as hell, and I’m not going to take this anymore”
With Network, Lee Hall’s adaptation of Paddy Chayefsky’s 1976 film, Ivo van Hove re-asserts his place as one of the premier theatremakers working, anywhere. A satire that managed to predict just how powerful a tool populist anger can be when leveraged effectively, it is transformed into the immersive bustle of a TV studio, that of UBS Evening News where old hack Howard Beale – a transcendent performance by Bryan Cranston – has been handed his notice. Though initially appearing to accept it with good grace, he causes an almighty media stir when he declares, on air, that he’s going to kill himself, triggering a most unlikely rebirth as a truth-spilling ‘prophet’.
And as ever, van Hove and designer Jan Versweyveld challenge our notions of theatrical space and how it is used. An onstage restaurant puts (some) audience members right in the thick of the action, the fourth wall gets well and truly shattered, and the use of live video and big screens forces us into the role of active observers – as Beale goes live on air, do you watch Cranston himself, do you watch him onscreen, do you watch the team observing him from the producers’ box…the multiplicity of perspectives reminds us how easy it is to manipulate media, how there can always be other sides to the story. Continue reading “Review: Network, National Theatre”