Snuck into this early on in its preview period and it was clearly still a work-in-progress, running way too long for comfort. Lots to muse over and a top-notch cast will undoubtedly hone this down to something more effective.
It’s been a little while since I’ve watched any short films but I had a few link sent to me last week so I thought I’d cast my ever-beady eye over them to see what treasures might be unearthed. As ever, click on the ‘film’ tag to see more short films.
First up was Babysitting, written by Lucan Toh and Sam Hoare and also directed by the latter, but most attractive for its cast including Romola Garai, Dan Stevens and Imogen Stubbs. And from its opening shots of a bedraggled Garai and a super-glam Stubbs, it is rather a bundle of subversive fun. There’s a bit of a twist to the title that I won’t reveal here but it is one that sends Garai’s Maggie on a bit of a journey, where she bumps into arrogant ex Spencer, Stevens in fine West London toff mode and her priorities are pulled skewiff as old feelings rise to the surface. The pair are well-matched and amusingly styled and if the film as a whole comes across as a little slight, it is highly entertaining. Continue reading “Short Film Review #9”
Written by Joel Horwood, The Reward definitely ranks as top amongst this bunch of shorts. Gorgeously filmed by Lucy Patrick Ward, its opening shots set up its two main characters perfectly: Phoebe Waller-Bridge’s numbed woman having just lost her father, and Anatol Yusef’s gym instructor working out the pain of the loss of his beloved dog on his hapless aerobics class. When fate throws the pair together, their meeting seems charged with almost unmanageable emotion, but what Horwood conjures is a moment of powerful but truthful cathartic release that is just beautiful. Waller-Bridge is fantastic (I want to see her in more modern roles on the stage soon) and Yusef also convinces in suggesting his pain lies more than just in the loss of a pet. Watch it now!
A cutely observed short which is up for the Virgin Media Shorts competition at the moment. Barely two minutes long, Andrew Lee Potts’ film speaks to the child inside all of us, the part that can never quite believe we’re actually an adult, and with some sharp editing, pulls together an impressively sweeping vista which wraps up to a lovely sweet ending.
” style=”font-size: 11pt; “>
Last up is Rob Curry’s Domestics, a two-hander about a couple’s very stormy relationship which is tipped over the edge with the purchase of the wrong flavour of ice-cream. It’s not particularly unique or flashy, but there’s something quite neat about the way it shifts between perspectives, testing the viewer to challenge what we are seeing – is it memory, wish-fulfilment, the future? Maimie McCoy and John Lightbody gamely battle out the conflict as they each push each other as far as they can go, and beyond.
And so it continues… The world of short films has truly got me hooked and I’m loving the number of favourite actors I am getting to see more of in this way. As ever, tweet/email/blog me links to other films you think I might like. Continue reading “Short Film Reviews #4”
This post was originally meant to be the out-of-office message that went on here before I went on holiday, but time ran away from me as I left myself much too much to do and so it was left unfinished. But I liked it too much to abandon it completely, as my entrée into the world of watching short films was far too much fun to go unmarked. So here is a collection of short videos, many of them featuring familiar faces from the theatre, that should hopefully entertain you as much as they did I. Continue reading “Short film reviews #1”
“We’ve got some of the best sperm in the country in this room”
The Royal Court have adopted the Duke of York’s theatre for the next few months and will be feeding it with a steady stream of its recent successes. Jumpy and Constellations are yet to come, but the season starts off, a little oddly perhaps, with a remounting of Laura Wade’s Posh which first played in Sloane Square two years ago. Then, we were in the run-up to a general election in which Cameron, Osborne et al were the prospective new boys; now of course, they are in power, albeit in a far-from-cosy coalition and Laura Wade has updated her play to reflect the changes in the political and indeed the economic circumstances in this country and beyond.
In some ways, this feels like a fresh lick of paint which brings Posh bang up to date but in others, it also felt like a somewhat unnecessary updating as it focuses the attention on the play being absolutely ‘of the moment’ when it is better than that, its over-riding message is one that withstands the period details around it (surely it won’t be rewritten every time it is produced…or is this just part of the natural evolution of a new play, in which case this is the first time I think I’ve experienced it). That message is a rather pernicious one about the enduring influence of the old boys’ network in the corridors of power and the way in which our ‘finer’ educational institutions inculcate this sense of entitlement and the abdication of any real sense of responsibility. Continue reading “Re-review: Posh, Duke of York’s”
“Is that agreeable?
‘Oh yes, ooh yes’”
To the few regular readers of this blog, it will be no surprise that I am missing Elliot Cowan’s presence on the stage. He’s currently filming a TV series of Sinbad and so in order to get my fix (plus while away a train journey or two), I decided to revisit the TV show in which he made his first major impact on me, Lost in Austen. Man-crush aside, this show also fed my girl-crush on Jemima Rooper – someone I’ve liked for ages – and started a new girl-crush on Gemma Arterton – I’m pretty sure this was the first time I saw her in anything and so has to rank as one of my favourite pieces of TV entertainment in recent years. It was a four-part drama on ITV in 2008 written by Guy Andrew and is basically a fantasy version of Jane Austen’s Pride and Prejudice.
Amanda Price – Rooper – is a modern-day city girl who is obsessed with the book and through a portal that mysteriously appears in her bathroom, finds herself swapping places with Elizabeth Bennett and living the story that she knows far too well. But as any Doctor Who fan will tell you, you can’t go round meddling in alternative timestreams and though the set-up is entirely familiar to Amanda, the very fact of her presence in Lizzie’s stead kicks off a chain of events that knocks all the dominoes off-kilter, her manipulations never quite going right with nothing playing out like she thought it would: not least with her own tumbling head-over-heels for this version of Mr Darcy, which considering it is Elliot Cowan, that is no surprise at all. Continue reading “DVD Review: Lost in Austen”
“There are times when justice is too big a risk”
Anne Carson’s version of Elektra is the latest play to take up residence in the Maria studio upstairs at the Young Vic. Allegedly having written 123 plays, only 7 of Greek playwright Sophocles’ works still remain, yet they remain ever popular: soon to open at the National Theatre, Moira Buffini’s Welcome to Thebes also takes much from his writing. However, this Elektra is doing things a little differently: no press night, no previews, just opening to its audience, oh and all tickets are completely free (though advance booking is strongly recommended!)
Carrie Cracknell’s debut as Associate Director at the Young Vic is a joint effort with Headlong and so it should come as little surprise that it is an inventive fusion of movement, music and text, creating haunting dreamscapes and evocative imagery that really capture the overwhelming aura of grief permeating this play. The whole play is darkly lit with varying shades of gloom and this allows for some eerie dream sequences to be played out with masked dancers at the start, setting the tone for a haunting exploration of grief and what it will drive people to. Continue reading “Review: Elektra, Young Vic”
“And these people think we’re twats? Are we going to just sit here and take it…”
Posh, a new black comedy by Laura Wade at the Royal Court, follows a group of young toffs, calling themselves the Riot Club, as they meet up to get thoroughly drunk or “chateaued” and trash the private dining room of the Oxfordshire gastropub where they are spending the evening. It is apparently inspired by Oxford University’s Bullingdon Club which has given us such scions of society as David Cameron and Boris Johnson though I can’t see either of them making the trip to see this as it does rather skewer their antics (that said, the vast majority of the audience had a much closer affinity to the title than I would have imagined, and on cheap Monday prices too, shame on them!)
The writing is beautifully delicious in places, I loved the quip about reading languages in Newcastle (you’d have to, up there!), the scene with the prostitute with a mind of her own is wonderfully awkward and so much of the dialogue has clearly been finely crafted, reflecting the intelligence, no matter how odious they get, of many of these chaps. Wade also captures the righteous indignation of those who feel their birthrights have been slowly eroded but yet insist on the maintenance of the system of privileges that accompanies membership of the upper classes. Continue reading “Review: Posh, Royal Court”
Believing that it was quite likely that I would love When The Rain Stops Falling as already covered in my original review, I had already booked a second set of tickets to see it on the evening when a post-show Q&A was also scheduled. It was incredibly rewarding to be able to see this play again. Knowing the story meant that some of the emotional impact was lost, but for me this was a benefit since it had affected me so deeply last time and now I was able to focus on other aspects of the play. This knowledge also meant that one could make a much greater appreciation of the structure of the play and how intricately worked the plot is, echoing through the different locations and timezones, and recognising how some of the later events are presaged in earlier scenes.
Performance-wise, I still think that this is one of the strongest ensembles I have ever seen on a stage: there isn’t a single weak link in the cast and each actor delivers performances of such intensity which is all the more admirable when one considers how relatively short most of the scenes are a we flit around the timezones. On second viewing though, I think Phoebe Nicholls and Lisa Dillon possibly edge it as the older and younger incarnations respectively of Elizabeth York. Through some subtle mannerisms and the lightest of touches, they leave the watcher with no doubt that we are watching versions of the same character, yet fully flesh out their roles so that they remain sufficiently distinct. Leah Purcell and Naomi Bentley also manage this same level of synchronicity between their incarnations of Gabrielle York without resorting to ham-fisted imitation and I look forward to the opportunity to see all of these actors again. Continue reading “Re-review: When The Rain Stops Falling, Almeida Theatre”