“I need to change what I can accept”
I only booked for Dessert at the Southwark Playhouse because of the extraordinary Alexandra Gilbreath, one of our finest – and somewhat unheralded – actors. I was no real fan of Oliver Cotton’s previous play Daytona and I’m a couple of decades too young to be excited by the prospect of Trevor Nunn directing. And lest you think me harsh, this was borne out by the audience in SE1 being much more like a typical Chichester crowd than I’ve ever seen here before.
And Dessert more than matches up to the billing by taking place during the final course of a dinner party hosted by an uber-wealthy British couple for an uber-wealthy American couple whose main topic of conversation is the number of millions a chance find of a painting can be flogged for. The menu is interrupted by a visitor but as so much of the play hinges on this late arrival, discretion will be deployed here. Continue reading “Review: Dessert, Southwark Playhouse”
Christine Edzard will be writing and directing a new version of The Good Soldier Schwejk, based on the satirical Czech novel by Jaroslav Hašek, and creating a daring theatrical and filmic experience.
Published in serial form, The Good Soldier Schwejk became an instant success. Hažek died in 1923 leaving the novel unfinished. By 1926 it was translated into German and spread across Europe, acquiring cult status. Since then, the good soldier has appeared in many forms across the world, as a powerfully comic symbol of anti authoritarianism, anti militarism and resistance.
Edzard will present a contemporary ‘take’ on Hašek’s original, in an unconventional, rule-breaking adaptation. The subject of Edzard’s film is in fact a play, a comedy, which she has scripted as a live, cabaret style performance. Her Schwejk will be filmed from curtain up to curtain down as performed over the course of a week in the intimate wooden theatre at Sands Studios in Rotherhithe. The compression of Hažek’s sprawling novel into cabaret form will add bite and contemporary relevance to the satire. The Cabaret form also reflects the background of Schwejk’s original creator – Jaroslav Hašek was a frequent performer of politically engaged cabaret in Prague.
A small cast:
will take on multiple roles and there will be live music and (partially scripted) audience participation. Editing will take place after the shoot in the normal way
It all sounds very intriguing indeed (follow their Twitter here for more info) and I’m pleased to be able to share some rehearsal images for Good Soldier Schwejk with you below. Continue reading “Round-up of news and treats and other interesting things”
“The whole gay thing, is it still an issue any more?”
Part of Channel 4’s 2007 gay season, Clapham Junction was written by Kevin Elyot showing the lives of a number of separate but interconnected gay men over 36 hours in the Clapham area of London. So we have civil partnership ceremonies with the groom shagging one of the waiters at the party afterwards, dinner party guests meeting inopportunely at the local cottage before a ghastly middle class gathering, a teenage stalker finally meeting the handsome neighbour unaware of his troubled past, and guys prowling round the common for anonymous sex, little aware that a violent psychotic is amongst them.
Phoebe Nicholls’ delightfully overbearing mother with her monstrous prejudices, Samantha Bond’s blithely unaware party guest, Luke Treadaway’s sweatily intense teenager Theo desperate to offer himself up to Joseph Mawle’s lithe mystery man, Rupert Graves’ confident out television maker toying with James Wilby’s closet case (a neat nod back to Maurice), there are undoubtedly performances aplenty to be savoured in here. But the construction of the whole film is just generally too weak, Elyot’s writing uninventive and heavy-handed in the message it thumps home. Continue reading “DVD Review: Clapham Junction”
“Do not torment me, prithee”
Last up in the RSC’s Shipwreck Trilogy, in the What country friends is this? season was The Tempest. In some ways I wish I’d seen this closer to The Comedy of Errors and Twelfth Night (which I saw on consecutive days in June) as the thrill of watching an ensemble across multiple plays is magnified much more that way. As it was, my enthusiasm for The Tempest – never one of my favourite Shakespeares and now totally ruined by the fact that I’ve now seen what will probably the best version ever – had waned slightly as I returned to the Roundhouse.
The reality was neither as bad as I had feared nor as good as I might have hoped. David Farr’s production (I wish they’d gotten in a third director to really mix things up) has its moments of inspiration and interest, but these are scattered throughout rather than invigorating the whole show and so my abiding feeling was of unevenness. For the great visual impact of Prospero having the islanders dress in identikit suits, little is done to enliven the immense amount of speechifying that the character does, Jonathan Slinger’s performance having a strangely unnerving impact more than anything. Continue reading “Review: The Tempest, RSC at the Roundhouse”
“I am as well in my wits, fool, as thou art”
What country friends is this? indeed. A nifty line switch and a striking coup-de-théâtre gets the RSC’s Twelfth Night off to a wonderful start as Emily Taaffe’s sodden, anguished Viola emerges from the shipwreck she believes has taken her brother’s life and left her washed up in Illyria. Disguising herself as Cesario, a man, she joins the retinue of the Duke Orsino but finds herself swept up in the love games between him and the grieving countess Olivia, whose eye is taken by the new arrival on the scene. Part of the company’s Shakespeare’s Shipwreck Trilogy, the Roundhouse plays host to the repertory season for just under a month before returning to Stratford-upon-Avon for the rest of the month.
David Farr’s production transfers the majority of the action in Olivia’s household to a Greek hotel (which she presumably owns) which proves a mostly effective and ingenious relocation. Malvolio becomes the hotel manager, Feste the old school variety turn, a reception desk stands in for the box-tree and the swimming pool and revolving doors provide constant amusement. Jon Bausor’s beautifully designed set is actually a triumph, an artfully exploded hotel suite on the sweeping expanse of timber atop a water tank, complete with working lift shaft which comes into its own in the scenes of Malvolio’s torment. Continue reading “Review: Twelfth Night, RSC at the Roundhouse”
“I will go lose myself and wander up and down to view the city”
The endless whirl of festivals continues apace with the return of the RSC to its adopted London home at the Roundhouse. As part of the World Shakespeare Festival, which in turn is part of the London 2012 Festival, the RSC’s Shipwreck Trilogy brings together one company and two directors over three plays which are bound together through their similarities, entitled What Country Friends Is This?. First up is Palestinian director Amir Nizar Zuabi’s take on The Comedy of Errors, a fresh and frenetic romp through the play which, whilst it may lack some poetry, has been invested with a great energy.
Ruled over by a maniacal gun-toting Duke, it is instantly clear that this Ephesus is a dangerous place in which the threat of death is ever-present and a genuine reality. Onto a grim looking quayside, Antipholus and Dromio of Syracuse are deposited as illegal immigrants in the elusive search for their twin brothers from whom they were separated in a shipwreck. Unbeknownst to them, they’ve alighted in the right place but almost immediately they are mistaken for their Ephesan brothers and brings into motion a hectic tale of misunderstandings and madcap capers. Continue reading “Review: The Comedy of Errors, RSC at the Roundhouse”
“But how much should we believe Judy?
‘All of it…otherwise what’s the point.’”
Following a run in Northampton earlier this year, Peter Quilter’s Judy Garland biographical musical drama End of the Rainbow is taking up residence at the Trafalgar Studios theatre, featuring a stellar performance from Tracie Bennett in the lead role. The play centres around the five-week period in 1968 when she undertook a cabaret season at the Talk of the Town in London in order to try and pay off the mountain of debt accumulated during a life of numerous marriages and divorces, repeated comebacks, drug dependency, ill health, suicide attempts and a whole lotta other drama too.
This isn’t so much an impersonation of Judy Garland as an embodiment of her by Tracie Bennett, in what is a truly awe-inspiring performance. And it is testament to the depth of her skill that one isn’t longing for the next song to kick in as the acting scenes are just as strong and engaging as she battles with her constant need for reassurance, her fears of not being loved and ending up alone and the struggle to keep off the pills. This is clearly no hagiography as even though we get to see much of her waspish humour with some cracking one-liners, Garland is also shown at the depth of her desperation, begging to be given some of her ‘grown-up candy’, stumbling and cracking onstage during performances. Continue reading “Review: End of the Rainbow, Trafalgar Studios”
“Foxes their dens have they
Birds have their nests so gay
But the son of man
Has not where his head may rest.”
The York Realist is one of Peter Gill’s most well-known plays, and was revived here at Hammersmith Riverside Studios, a theatre co-founded by Gill, as part of his 70th birthday celebrations.
It tells the story of George, a Yorkshire farm worker content with his lot in life, until his participation in a production of the York Mystery Plays throws open a new world of possibilities and choices. He discovers a talent for acting, and a relationship with the assistant director blossoms, leading him to the chance of a career acting on the stage in London. But his ties to his home life are incredibly strong, most notably in the form of his ailing mother, and George finds himself torn between these two worlds, these opposing facets to his life which he finds impossible to reconcile. Continue reading “Review: The York Realist, Riverside Studios”