A pair of Camden Fringe reviews from the Lion and Unicorn Theatre – No Cure for Love & The Rice Krispie Killer
Taking inspiration from the music of Leonard Cohen, Emma Burnell’s No Cure For Love – a play with original songs (rather than Cohen covers) – bucks the trend a little when it comes to shows you might expect to see at the Camden Fringe. In a programme full of hungry new grads, a writer and cast d‘un certain âge stand out, offering a fresh if wellworn perspective of how the pursuit of love can hurt just as much even as it changes as we get older.
We meet Rose and Scott backstage at the Broadstairs Folk Festival. They’ve shared more than bills in the past but it didn’t end well between them and so there’s a certain frisson in the air as Stephen Russell’s manbunned and tight-jeaned Scott can’t help but turn on his would-be rockstar charm again and Wendy Morgan’s Rose reflexively flicks up her scarves and protective shell – she’s heard it all before and remembers waking up in an empty bed all too well. Continue reading “Camden Fringe Reviews: No Cure for Love & The Rice Krispie Killer, Lion and Unicorn Theatre”
Photo © Pip
Fionn Whitehead, star of Dunkirk and Black Mirror: Bandersnatch, will take on the titular role in an upcoming contemporary digital adaptation of the Oscar Wilde classic, The Picture of Dorian Gray.
The Picture of Dorian Gray, from the team behind the celebrated digital production of What a Carve Up!, is set to push the theatrical form like its predecessor; utilising elements found in radio plays, films, documentaries as well as traditional theatrical techniques.
Set in a profile pic-obsessed, filter-fixated world where online and reality blur, influencer Dorian Gray makes a deal. For his social star never to fade. For the perfect self he broadcasts to the world to always remain. But as his mental health starts to decline, as corruption and murderous depravity start to creep into his world, the true and horrific cost of his deal will soon need to be met.
The Picture of Dorian Gray, which runs for two weeks from 16-31 March, will reunite Henry Filloux-Bennett, writing the new adaptation, and director Tamara Harvey. Continue reading “Assorted January news”
The OnComm is the new award for online shows from across the UK (and beyond) and was introduced in
1. Recording pre-lockdown (direct)
(i.e. with little or no editing)
Going Viral / Daniel Bye
Hysteria / Spymonkey
Jane Clegg / Finborough Theatre
The House Of Bernarda Alba / Graeae
2. Recording pre-lockdown (edited)
(i.e. with significant editing)
Bubble / Theatre Uncut
Cyprus Avenue / Royal Court & Abbey Theatre
SeaWall / Simon Stephens
The Encounter / Complicité Continue reading “The finalists of The ONCOMMs 2021”
Vanessa Redgrave and Timothy Spall are always watchable but Mrs Lowry & Son lacks the quality they deserve
“Anything’s possible living in Pendlebury”
Mrs Lowry & Son has two things going for it, in the shape of up-and-coming names Vanessa Redgrave and Timothy Spall in its two leading roles. Watch out for them, they’re bound to go far etc etc… What this biopic-of-sorts lacks though, is a film to match their talents.
Martyn Hesford has adapted his own radio play for the screen here and Adrian Noble’s direction does little to disguise the static staginess of its very nature. It covers the relationship between renowned artist LS Lowry and his unsupportive bed-ridden mother, at the point where his artistic career has yet to truly flourish. Continue reading “Film Review: Mrs Lowry & Son (2019)”
“Don’t treat us girls like a poor relation
Made in Dagenham, in Dagenham – it seems like a no-brainer but it’s quite the statement of intent from incoming Artistic Director at the Queen’s Theatre Hornchurch, Douglas Rintoul. It’s also a bit of a departure for a director who has previously won awards for writing hard-hitting monologues about gay Iraqi refugees (the exceptionally good Elegy) but taking a West End musical that didn’t quite become the hit it deserves and taking it home, refining it into an actor-musician production along the way, turns out to be quite the treat.
I can’t deny that I loved the show when it played at the Adelphi – heck, I saw it four times (review #1, review #2, review #3, review #4 of the final night) and I believe it deserved better treatment from the critics. But the past is the past and coming to the show with fresh eyes, and ears, too Richard Bean’s book and David Arnold’s score, it responds powerfully to the new treatment here (co-produced by the Queen’s and the New Wolsey Ipswich where it heads next), smaller in scale obviously but more intimate too, rawer in its emotions to an ultimately devastating effect. Continue reading “Review: Made In Dagenham, Queen’s Theatre Hornchurch”
“Who threw all the pickles down the stairs?”
They say write about what you know but when your childhood memories of 1950s Derby recall nothing so much as 1970s sitcom humour, I’m not sure that Michael Kirk’s Hatched ‘n’ Dispatched isn’t the exception to the rule. Co-written with Gemma Page and directed by Kirk himself, the show is a self-described “mucky romp through the morals, memories and music of the 1950s” but whilst it has an undeniable comic edge that fitfully breaks through to genuine humour, too often it is laboured and criminally inconsistent.
Bouncing from sex farce to serious drama, domestic violence rubbing shoulders with domestic comedy, the play never settles into a groove and crucially, it lacks credibility once matters start to darken and we’re meant to take things more earnestly. Which kind of flies in the face of much of the acting – Wendi Peters is delightfully battle-axed as matriarch Dorothy-Mavis, who won’t let anything her feckless family does get in the way of her social climbing but there’s little sense of depth to the character, an emotional underpinning that would justify this later shift. Continue reading “Review: Hatched ‘n’ Dispatched, Park Theatre”
“The over-exposure of women to literature breeds unnatural fancies”
I struggled a little bit to find another theatrical-friendly lesbian-themed thing to watch so I returned to Sarah Waters and the 2005 adaptation of Fingersmith, which as it starred Sally Hawkins was no great hardship at all. Set in Victorian England as was Tipping the Velvet, this story follows the lives of Sue and Maud, two very different women whose lives are irrevocably changed when a trio of fingersmiths, or pickpockets, conspire to rob an heiress of her fortune. But it turns out the plans are even more devious than first assumed as they culminate in the most unexpected of fashions and in a deftly clever move, we revisit all we have just seen from another perspective, casting uncertainty of the surety of what we know which plays excellently in the subsequent exploration of the disturbing reality of Victorian mental asylums.
Sally Hawkins is predictably excellent as Sue, one of the pickpockets who hoodwinks her way into the slightly disturbed Maud’s, the pale Elaine Cassidy, household as a housemaid who acts as a chaperone to allow a second trickster, Mr Rivers played by a bewhiskered Rupert Evans, to pose as a gentleman and seduce Maud into marriage just before she inherits a large fortune. Maud has been stifled by life in her extremely strict uncle’s house as a contributor to his immense collection of pornography and relishes the contact of Sue’s seemingly kindred spirit, so much so that an illicit lesbian affair springs up between the pair. But even as Sue is deceiving her, it emerges that Maud is not quite as delicate as she may seem and so intrigue builds on intrigue as Peter Ransley’s screenplay condenses a wonderfully complex novel into a more streamlined narrative, though still full of equally multifaceted characters. Continue reading “DVD Review: Fingersmith”