“Tale as old as time”
It’s taken me a little time to get round to writing this review, which is rarely a good sign, as I was struggling for anything entirely constructive to say about this film. The 1991 animated Beauty and the Beast was Disney close to its best but these days, nothing is left alone if it has even the merest hint of cash cow about it. So it has previously hit the stage as a musical and following the success of Kenneth Branagh’s Cinderella, it now has a cinematic live-action remake.
Which is all fine and good but just because you can do something doesn’t mean you should. And at no point does Bill Condon’s film ever convince us that the world needed this version of Beauty and the Beast, there’s rarely any sense of it bringing something new and insightful to the story. Plus the contortions it (and star Emma Watson) has had to make to try and convince of its feminist credentials scarcely seem worth it in the final analysis. Continue reading “Film Review: Beauty and the Beast (2017)”
“Kissing is better than acorns”
It seems like Peter Pan had the right idea. For in new musical Lost Boy, those that left Neverland and started to grow up end up variously as gay trapeze artists, opium addicts, Parisian showgirls, miserable bankers, wannabe Jungians and prostitutes. The concept of growing up is at the heart of Phil Willmott’s new show which largely takes place in the dreamworld of Captain George Llewelyn Davies, one of the boys who inspired JM Barrie to write one of the most iconic pieces of children’s fiction but whose shadow is hard to escape.
A few years on from the writing of Peter Pan, Llewelyn Davies finds himself preparing for battle on the eve of the First World War, emotionally unprepared for military leadership yet societally conditioned with a gung-ho war mentality. And as he closes his eyes for a moment, he dreams of being Peter Pan, all grown up in London with Wendy, Tinker Bell, Tootles and the rest but now they’re no longer in Neverland, the dilemmas they face are those of humdrum normality, that is until war is declared. Continue reading “Review: Lost Boy, Finborough”
“Make yourself ready in your cabin for the mischance of the hours”
Very occasionally I see a play which saps the life of my desire to write about all the shows that I see. Good ones are great, bad ones are fine as they often provoke much thought and opinion, but some are just so crushingly dull that they simply inspire nothing. Trevor Nunn’s production of The Tempest at the Theatre Royal Haymarket was such a play and what is worse, I already knew that that would be my response to it due to the feedback from people who had already gone. Fortunately, I was gifted the ticket for services rendered so there was no financial cost but things can tax you severely in other ways.
Mainly it is due to the extreme lack of pace, the play is stretched out laboriously over more than three hours for no discernible reason than to fill time, there’s no reason contained within the interpretation that justifies this lack of speed and it becomes painfully obvious that we’re in for the long haul from the outset with precious few sparks of life animating events onstage. As Prospero, Ralph Fiennes was actually better than I was anticipating, the sole beneficiary of my lowered expectations, with a vocal performance that was colourful and commanding. Continue reading “Review: The Tempest, Theatre Royal Haymarket”
“I love you…what’s wrong with that?”
Andrew Keates’ production of Martin Sherman’s play Bent was a big success at the Landor Theatre earlier in the year and so its transfer to the Tabard Theatre in Chiswick makes sense. Both spaces share an intimacy that feels appropriate to the intense emotion of the play and Keates is clearly attuned to the full range of human experience that lovers Max and Rudy are forced to go through. In 1930s Berlin, the pair flee persecution after witnessing a murder but when the Nazis catch up with them, they’re shipped off to Dachau.
What follows is an exploration of just how viciously homosexuals were treated by the Nazi regime and a testament to the immense spirit shown by those who were unfortunate enough to be oppressed. This lends the Dachau scenes an air of slight unreality, almost of idealism, but it is one that is indubitably well-earned as these men search for the tiniest bit of tenderness, humanity, even love, in the most horrendous of surroundings. The brutality of Freya Groves’ design of barbed wire and swastikas never lets us forget where we are though.
Russell Morton as Max is simply superb, tracing the journey from carefree gay abandon to appalled helplessness , full of love and pain as the gravity of the situation slowly becomes apparent. Steven Butler’s Rudy is deliberately more grating, his giddy youthfulness unable to resist the rough, working class charms of David Flynn’s Horst in the camp, but we’re never in any doubt as to the private pain underneath the brash public persona. Bent is brutal but brilliant, this production serves it as well as any possibly could.