“I’d much prefer to have honest criticism than your, if you don’t mind me saying so, negative remarks”
The list of the NT2000 top 100 plays has proven quite an interesting one to keep to hand as it has often made me choose to see things I wouldn’t necessarily normally have gone to (with both good and bad results). The result of consultation with 800 playwrights, actors, directors, theatre professionals and arts journalists, the list purports to give us the 100 most significant plays of the 20th century, a subjective exercise at the best of times and one which throws up some real curveballs, like this play.
Written by Christopher Hampton in 1970, The Philanthropist was conceived as a response to Molière’s The Misanthrope, it’s the lead character’s unflappable amiability that causes havoc around him here. But for all the intertextuality, it feels a horrendously dated piece of writing that you can scarcely believe has had revivals in 2005 at the Donmar and 2009 on Broadway. With the likes of Simon Russell Beale and Matthew Broderick at their helm, they may have been better acted but in its gender politics, in its treatment of sexual abuse and suicide, how this play has got the reputation it has is beyond me. Continue reading “Review: The Philanthropist, Trafalgar Studios”
“Demons run when a good man goes to war”
And here it is, the point at which I stopped loving new Doctor Who, even in a series that has two of the best episodes it has done, and the first series that I haven’t ever rewatched in its entirety. I do enjoy Matt Smith’s Eleven immensely but the writing across this season – which was split into two for transmission – was just fatally erratic for me. Alongside the innovative work from Neil Gaiman in The Doctor’s Wife and Steve Thompson in The Girl Who Waited, two contrasting but superlative pieces of writing, stories such as The Curse of the Black Spot and Night Terrors took the show to a less sophisticated place – (or do I really mean that I started to feel that this version of Doctor Who wasn’t necessarily aimed at me…?)
Even the big finales (for there were two, one for each half) fell a little flat. The premonition that the Doctor would “fall so much further” than ever before in A Good Man Goes to War raised expectations only to be dashed by an overloaded episode with little emotional heft aside from the River Song reveal, and The Wedding of River Song suffered from the general over-use of the characters dying-but-not-really-dying trope (poor Arthur Darvill…). That said, the high points of the series are so very good – the striking US-set opening double-bill, the Doctor finally meeting the TARDIS, and brain-scratching sci-fi with real heart. Frustratingly inconsistent. Continue reading “Countdown to new Who: Doctor Who Series 6”
“Do not blaspheme! Do not blaspheme!”
To mark Series 10 of Doctor Who starting on BBC1 next week, I’ve been counting down the weeks with a rewatch of all 9 of the previous series of new Who. And now we’re within touching distance, I’m counting down the days talking about each one. For once though, I’m going to keep these posts (relatively) short and sweet, following the below format.
With just the one series to judge him on, and that series being the very first when everyone was still finding their feet, Christopher Eccleston’s Nine often gets a bit of a raw deal. And some of his zany moments are undoubtedly really quite awkward to watch but for me, they’re easily outweighed by the emotional weight of his more serious work, especially when hinting at the considerable darkness of the events of his recent past that had left him so haunted. A solid re-entry back into the televisual world. Continue reading “Countdown to new Who: Doctor Who Series 1”
The National Theatre last night hosted its biennial fundraising gala, Up Next, raising over a million pounds to support access to the arts for children and young people across the country. I think they forgot to invite me though… ?
Performances commissioned especially for the event included a new piece by Poet Laureate Carol Ann Duffy, alongside performances by Sir Lenny Henry, Anne-Marie Duff and hundreds of talented young people from across London.
Continue reading “News (and photos): National Theatre gala (plus actors in suits!)”
“Is it not strange…”
The Faction weren’t kidding when they said they were breaking out of the rep model that has characterised their output for the last few years. Earlier this summer saw them take Vassa Zheleznova to the Southwark Playhouse and now they’re appearing at the reFASHIONed Theatre. What’s that I hear you cry, why it’s a pop-up space on the lower ground floor of Selfridges just past the luggage where a newly commissioned version of Much Ado About Nothing is paying its own tribute to Shakespeare400.
Director Mark Leipacher and co-director Rachel Valentine Smith have slimmed the play down to a neat 90 minutes, without too much damage (unless you’re a big fan of the Watch) and with a nod to the sleekly contemporary surroundings of the reFASHIONed space, introduced digital cameos to supplement their 9-strong cast. So Simon Callow and Rufus Hound pop up on CCTV footage as Dogberry and Verges, and Meera Syal appears regularly onscreen as a reporter for Messina News, filling us in on the breaking news whether on TV or on Twitter-streams. Continue reading “Review: Much Ado About Nothing, reFASHIONed Theatre”
The Christians, Playwrights Horizons
The Humans, Roundabout Theatre Company
John, Signature Theatre
King Charles III
The Royale, Lincoln Center Theater
First Daughter Suite, Public Theater
Daddy Long Legs
School of Rock
Waitress Continue reading “Nominations for the 2016 Drama Desk Awards”
“Did you see how he combined misogyny with just blatant ageism”
A film that passed me by on its 2011 release (possibly as it’s a French film, though English-language), Julie Gavras’ Late Bloomers entertained me much more than the rather tepid critical response had led me to expect. I think this is mainly because the script, written by Gavras with Olivier Dazat, treats its protagonists Adam and Mary with equal importance.
Both heading into their sixties after thirty-odd years of marriage, a mid-to-late-life crisis hits the couple in different ways. He’s an architect who throws himself into working late nights with young associates rather than design retirement homes and feeling neglected, she focuses on her doctor’s advice to keep active after an incident of memory loss leaves her shaken. With three adult children watching haplessly, their parents’ different responses to the reality of ageing threatens to shatter all their worlds. Continue reading “DVD Review: Late Bloomers”
“You can’t kill me
I can’t ever die”
After three weeks away, all my initial thoughts were on a cosy night in catching up on the first two episodes of The Great British Bake-off and I couldn’t imagine anything changing my mind – how wrong could I be! When the Almeida first announced their durational performance of Homer’s Iliad, it sounded like a madcap plan, a morning ‘til night affair in association with the British Museum and featuring over 60 actors – the only thing stopping me from booking was it being the last day of my holiday!
But fortunately, the good folk of the Almeida decided to livestream the whole shebang – all 16 hours and 18,255 lines of it – so that people could dip in and out to their heart’s content as well as attending at the British Museum for free during the daytime. I switched on at about 8pm as Bertie Carvel started his section, intending just to sample its wares but sure enough, I was there until the bitter end around 1am, having been sucked into its unique brilliance and unable to miss a minute more of it. Continue reading “Review: The Iliad Online, Almeida/Live-stream”
“He stinks of drink and urine
And thinks he’s so alluring”
One might have hoped that a musical version of William Shakespeare’s The Merry Wives of Windsor by the RSC with a cast that includes Dame Judi Dench, Haydn Gwynne, Simon Callow and a Strallen (natch) would be an enjoyable thing to experience to but on listening to it, it’s clear there is abundant reason I was able to pick up the CD of the live recording for the princely sum of £1 in the RSC shop.
Paul Englishby’s score is an unholy mess of a pick’n’mix bag that someone else has chosen for you – its conflicting styles a dizzying confection that sprawls across the narrative rather than supporting it. Not knowing whether the next song is going to be a tango or a madrigal, take its cues from Big Band or Brecht, or recall Andrew Lloyd Webber or an East London music hall is a most bizarre experience and the cumulative effect is extremely wearying – I have to say it was a real struggle to listen to the whole album in one go. Continue reading “Album Review: Merry Wives the musical (2006 RSC Cast)”
“Theatre is the handmaiden of the devil”
With a theatrical version of Shakespeare in Love about to open in the West End, I thought I’d revisit the 1998 film as I’m not entirely sure that I’ve seen it since it was first released. It is still surprising to see that it managed to win seven Academy Awards and whilst I like both Gwyneth Paltrow and Dame Judi Dench, looking at their competition it is a little galling to think that they were recognised for these roles. And in the light of the huge authorship furore that erupted around Anonymous, it is interesting to see how little comparable fuss the level of invention here caused.
To be fair, Marc Norman and Tom Stoppard’s film makes no pretence to be literarily or historically accurate (given the paucity of source material, it’s hardly surprising) but because the approach here is a hugely affectionate one towards the Bard, rather than challenging popular notions about him, it is clear something of a free pass has been given here. So we see Joseph Fiennes’ Shakespeare working on a comedy called Romeo and Ethel, the Pirate’s Daughter and being inspired by the everyday chatter and the tumult of his personal life to amend the play and write his famous words. Continue reading “DVD Review: Shakespeare in Love”