Simon Annand’s Time To Act is a beautiful book of photos capturing actors in the minutes before they go on stage
Tackling the constraints of the pandemic in its own way, Simon Annand’s fantastic new book of photos Time To Act has launched a virtual exhibition of some of the photographs which has now been extended to until Christmas. It’s an ingenious way of sharing some of the hundreds of images from the book and should surely whet the appetite for either just buying it now or putting on your list for Santa to collect soon.
Continue reading “Book review: Time To Act – Simon Annand”
With the loss of its original core cast and the destabilising presence of Martine McCutcheon, Series 4 of Spooks struggles to find its feet
“You’re up against the British state…who do you think is going to win that particular battle?”
This season of Spooks struggles quite badly amidst all the upheaval of Series 3 in which in the entire original team departed Thames House. Tom’s identikit replacement Adam does well enough but somehow, something goes terribly wrong with the introduction of his wife and fellow spy Fiona (Olga Sosnovska). They sadly lack chemistry and their domestic drama just doesn’t translate well into the business of saving the country on a weekly basis.
The tone is set by the randomly chaotic energy of Martine McCutcheon’s guest spot in the opener two-parter and from then on, as we cover people smuggling, the rise of far right political movements, cultists and the ethics of releasing terrorist suspects, the series jerks along rather, Raza Jaffrey’s Danny-a-like isn’t given anywhere near enough to do and the snaffling of Miranda Raison’s Jo off the street is as bizarre an advert for recruitment as any.
It’s a pretty low-key series for Ruth – hints of her passion for Harry come through whether in romantic feeling or rebelling against him a bit. She comes into her own in the final episode with the revelation of a step-brother who killed himself but has never been mentioned before putting her in the line of fire but all in all she deserves better. Continue reading “Lockdown TV Review: Spooks Series 4”
Andrew Lloyd Webber marks his 70th birthday with a new musical anthology – Unmasked: The Platinum Collection – taking in shows new and old with some surprises along the way (Beyoncé, Lana del Rey, Duncan from Blue )
“Oh what a circus, oh what a show”
Upon reaching 70 this year, Andrew Lloyd Webber is clearly in a reflective mood and hot on the heels of his autobiography Unmasked released last week, comes this new compilation album Unmasked: The Platinum Collection. Available physically as a 2CD or 4CD version (the latter with a 40 page book of liner notes and tributes), this collection looks back on a career spanning nearly 50 years and features some new twists on the material as well as reminding us of the old favourites.
Over the four discs, 17 of Lloyd Webber’s shows are represented here (Jesus Christ Superstar tops the list with 8 tracks, Evita and Phantom just behind), alongside assorted one-off songs (such as ‘Amigos Para Siempre’ from the 1992 Barcelona Olympics, the Gary Barlow co-write ‘Sing’ from the Queen’s Diamond Jubilee). But for ALW fans it will be the unreleased stuff that makes the mouth water – five new orchestral suites and a smattering of new recordings featuring the likes of Lana del Rey (a winsome ‘You Must Love Me’ and Gregory Porter (a spirited ‘Light At The End Of The Tunnel’. Continue reading “Album Review: Andrew Lloyd Webber Unmasked: The Platinum Collection”
In celebration of his 70th birthday this March, new compilation ANDREW LLOYD WEBBER: THE PLATINUM COLLECTION will be available March 16th through UMC / Polydor.
The collection is personally curated and overseen by Lloyd Webber to include classics from his earliest work starting with 1968’s Joseph and the Amazing Technicolor Dreamcoat through his most recent School of Rock.
Newly recorded songs from superstar artists Nicole Scherzinger (“Memory”, Cats), Gregory Porter (“Light at the End of the Tunnel”, Starlight Express) and Lana Del Rey (“You Must Love Me”, Evita) add to the collection of his cherished works from the past five decades.
The set also contains recordings by world-class performers such as Barbra Streisand, Madonna, Michael Crawford, Sarah Brightman, Michael Ball, and released for the first time, Beyonce singing “Learn To Be Lonely” from the 2005 Academy Awards with Lloyd Webber accompanying on piano.
UNMASKED: THE PLATINUM COLLECTION is available as 2 CD and 4 CD editions. The 4-disc version contains an exclusive 40-page book with a personally penned introduction from Lloyd Webber and more in-depth notes on each track, written by respected theatre critic and Lloyd Webber biographer Michael Coveney, together with personally written tributes from Barbara Streisand and Glenn Close among others.
Pre-order 2 CD Edition
Pre-order 4 CD Edition
Continue reading “Andrew Lloyd Webber celebrates 70 years with ‘Unmasked: The Platinum Collection’”
“While you’ve flitted and you’ve flirted
I’ve had rubber gloves inserted”
The Telegraph describes Travels With My Aunt as the perfect Sunday night musical, but whilst I’m all for a smattering of “gentle feel-good enjoyment” (I loved both Ballykissangel and Monarch of the Glen with the best of them), it’s hard not to feel that this show also panders to the less-flattering side of that comparison too. In that it is thoroughly old-fashionedly middle-of-the-road, the traditional white, middle-class kind of undemanding entertainment that rarely gets the pulse racing yet still raises an eyebrow with the amount of stereotyping that it purveys.
You can see why Jonathan Church chose it to open his last season at the Chichester Festival Theatre, it’s a safe bet for that venue and its typical audience and there’s nothing wrong in that, I just can’t pretend to have any enthusiasm for it. A musical adaptation of Graham Greene’s 19969 novel of the same name, it comes from the same team who brought us Betty Blue Eyes – writers Ron Cowen and Daniel Lipman and composers George Stiles and Anthony Drewe. But where that show had a liberating sense of nostalgia, this one kept me prisoner. Continue reading “Review: Travels With My Aunt, Minerva”
“I am even the natural fool of fortune”
Poly over at The Other Bridge Project asks the question “can you have too many King Lears” and though she’s adamant that you can’t, I have to say my heart sinks a little every time a new production is announced, whether here in Chichester with Frank Langella or Simon Russell Beale’s forthcoming turn for the National Theatre early next year. But the enduring reputation of Shakespeare’s late classic attracts the kind of casts that are irresistible to a theatrical junkie like me and so I find myself a glutton for punishment going back again time after time.
And though I’d love to say that Angus Jackson’s production, running just a short while in the Minerva before transferring to New York, was worth the effort, it didn’t really do it for me. It is a hugely Lear-centric version of the play, placing Langella’s titanic monarch even more at the heart of the play than usual, and recalibrating the journey he takes as madness seizes him after a bit of a rum do with his three daughters. It’s a striking move, and one which showcases Langella well, but it does come at the expense of the richness of the ensemble.
Continue reading “Review: King Lear, Minerva”
An Irish short from 2009 written and directed by Hugh O’Conor, Corduroy is a simply gorgeous piece of film. Inspired by a charity that teaches autistic children to surf, we dip briefly but powerfully into the life of Jessie, a young woman whose Asperger Syndrome has left her deeply depressed. With gentle encouragement from a support worker, she is introduced to the sea and all its power and possibly, just possibly, begins to hope that life might get a little brighter.
It’s extraordinarily acted by Caoilfhionn Dunne as Jessie, movingly understated and painfully authentic in its awkwardness, the glimmers of connection with Domhnall Gleeson’s Mahon are played just right. But it is O’Conor’s direction which is just superb, adroitly suggesting the different way in which people at different points on the autistic spectrum might see and hear the world – audio and visual effects employed with intelligence and compassion to offer insight, understanding, appreciation. Highly recommended. Continue reading “Short Film Review #14”
“I know nothing and just pretend to know a great deal”
I think I might be falling out with Noël Coward, or rather producers’ insistence on frequently remounting the same plays of his, so I had to be persuaded to go and see this production of Relative Values
making a short tour to Richmond after a well-received run at Theatre Royal Bath. And it was nice to see a Coward play that I had never seen before, even if it was Trevor Nunn directing – running time is 2 hours 45 minutes and you do begin to feel it – even if it doesn’t really offer much new either in plot or characterisation.
Where it is strongest is in satirising the class hang-ups of post-war Britain as the stately home of Marshwood House tries to deal with the news of the impending nuptials of the son of the house to a flighty Hollywood actress. Not only that, it turns out the beloved maid has a particular connection to his wife-to-be that makes her position untenable. So in order to keep her companion, the Countess decides to elevate the reluctant Moxie from member of staff to family friend, something made more difficult by her sister’s reinvention of her past and the arrival of an old suitor who wants to stop the wedding.
The TV name-friendly cast also serve better than one might have expected. Patricia Hodge brings genuine depth and warmth to the typical battleaxe role, giving us a real sense of a woman struggling to come to terms with change but determined to do so, Caroline Quentin’s Moxie is a comic delight and stage debutant Rory Bremner also fares as the observant butler, full of bon mots as if it has all been seen before.
For the more theatrically inclined, Katherine Kingsley is a hoot as the would-be Hollywood star and Ben Mansfield as the man pursuing her and Stephen Boxer’s louche nephew Peter are both strong. But the ensemble are good across the board and there’s a tightly honed comic precision that keeps the show pointedly sharp and light on its feet, keeping away – for the most part – from too farcical a mood. It looks superb in Stephen Brimson Lewis’ swish design and one can well imagine it resurfacing soon in the West End.
Running time: 2 hours 45 minutes (with interval)
Booking until 13th July
“I am not an ordinary woman”
Between balancing requests for reviews and selecting what other plays I want to actually see, it is a rare occasion that I actually attend the theatre as someone else’s guest for a show of their own choosing. But in order to see an old university friend and Dominic Tighe (only one of these was actually sat next to me though), my Sunday afternoon was spent at the Menier Chocolate Factory to see the Victorian farce Charley’s Aunt.
It is little secret that I am no great fan of a farce, though I have been trying my best to being open to having my mind changed, but this isn’t the one to force a reappraisal of the genre. It is what it is, a cross-dressing, slapstick-filled riot of an occasion – revived here by Ian Talbot – which sets its stall out from the very beginning with a character mugging for laughs. Continue reading “Review: Charley’s Aunt, Menier Chocolate Factory”
“Every person is a new door, opening up into new worlds”
John Guare’s Six Degrees of Separation receives its first revival in 18 years with this David Grindley directed production at the Old Vic. Based on a true story of a conman finagling his way into the lives of wealthy Manhattan socialites by pretending to be the son of Sidney Poitier, we see the lives of two New York art dealers, Ouisa and Fran Kittredge turned upside down after they take an injured Paul into their home and he wreaks havoc on their lives and those of them around them as he challenges their comfortable existences. It is kept in its original 1980s setting, presumably as the issues around financial greed are as pertinent today, even if those around race and homosexuality are less so.
Onstage narration seems to be the flavour of the month and it is a tricky thing to get right: Innocence fails, Midsummer gets it right, here is somewhere in the middle. There’s a mixture of Ouisa and Fran, and indeed other characters, narrating the events and the action being played out, and I’m not sure the balance is wholly there: it is just so much more entertaining when the actors are engaging with each other and I was frequently left wanting to see more of that. Continue reading “Review: Six Degrees of Separation, Old Vic”