Against a barrage of bad reviews, I tried to give Cats a fair hearing. There may have been wine involved…
“I remember the time I knew what happiness was”
I wanted to like Cats, honest. But…but…everytime you look at a detail in this unexpected horror film, there’s something ungainly or odd that distracts you inordinately:
the scale of the damn thing. The mind boggles as the cats change from being tiny compared to railway tracks to almost human-sized at Nelson’s Column, bringing almost any object into screen ends up pulling focus as you try and work out wtf is going on
why do some of them wear shoes (the ‘street’ cats in trainers, TSwift in heels…?) and of those who don’t, what’s with the toes
in fact the whole anthropomorphic thing. There’s cleavage and six packs but no genitals or anuses. You wouldn’t think it would bother you so much but there’s so many lingering shots of these places…!
the dancing cockroaches in danger of being eaten. Whyyyyyyyy?!
it’s rather amusing that pretty much every reaction shot of Dench is her looking aghast, we know how you feel Judi
An unfortunate waste of talent all-round I’m afraid.
On the two viewings I’ve managed so far, I’m pretty sure Mamma Mia! Here We Go Again is the epoch-defining film that we don’t deserve but which we sorely need
“When you’re gone How can I even try to go on?”
I was lucky enough to see an early screening of Mamma Mia! Here We Go Againlast week and I thought it was fricking fantastic. But as the occasion fuelled by an afternoon tea that was heavy on the bubbles and the raucous atmosphere of a stagey audience and not quite bold enough to stick by the courage of my convictions, I opted to wait until seeing the film a second time before officially declaring my opinion.
And I have to say I really do think this is a superb film. The sequel that no-one really knew they wanted, whipped together in under 12 months once the green light had been given, that somehow manages to do everything you expect it to, and but better, and infinitely more moving than it has any right to be. I knew I’d shed a tear or three of joy but there was more than one moment where I was just sobbing, so rich is the emotion here. And that’s only fitting considering the bittersweet melancholy that is ABBA’s true calling card, rather than the cheesiness they are famed for. Continue reading “Film Review: Mamma Mia! Here We Go Again (2018)”
What to do when you want your new film to be a new version of one of Agatha Christie’s most famous whodunnits? Well if you’re Kenneth Branagh, you call in some of your mates to play the main characters, friends like Dame Judi Dench, Johnny Depp, Michelle Pfeiffer, Olivia Colman, Penélope Cruz, Daisy Ridley, Leslie Odom Jr., Josh Gad, and Willem Dafoe. Plus you can also get some real talent to fill the minor roles – blink and you might miss the likes of Paapa Essiedu, Miranda Raison, Hadley Fraser, Adam Garcia, even Sergei Polunin.
But if you’re Kenneth Branagh, you also cast yourself as Hercule Poirot and as he’s directing himself, there’s a sense that the sharing of some much-needed constructive feedback didn’t happen. For as his ridiculously huge moustache is placed front and centre in scene after scene, this Murder On The Orient Express feels nothing so much as a vanity project. Which is all well and good if you like that sort of thing, and I quite like Branagh as it happens, but it is absolutely fatal in a story that is intrinsically about the ensemble. Continue reading “Film Review: Murder On The Orient Express (2017)”
It was fascinating to revisit Memphis, a show that I enjoyed on seeing but in all honesty, isn’t one I’ve given much thought to since it left the West End after just over a year at the Shaftesbury Theatre (I went back once). I remarked then that David Bryan’s score was “highly tuneful if not instantly catchy” so was surprised that a fair few of the songs had managed to work their way into my subconscious and so provided that ‘ping’ of recognition which is always nice.
It was also interesting to listen to the songs in isolation from the show, as more of them than I remembered felt somewhat disconnected from the narrative, just happy in their sprightly pop song-ness. And thanks to the quality of the cast assembled here – leads Beverley Knight and Killian Donnelly, supported by the likes of Jason Pennycooke, Tyrone Huntley and Rolan Bell plus Claire Machin, it is a consistently enjoyable record to listen to. Continue reading “Album Review: Memphis (2014 Original London Cast Recording)”
Never one to look a gift-horse in the mouth, the offer of a return ticket to Memphis(the show, not the place sadly) was one I was happy to accept and I was glad for it too. The show remains a hugely impressive showcase for its cast and creatives whilst never quite engaging satisfactorily enough with its subject matter (see my original review here) but the overall effect is certainly one that is entertaining and should set the show up for a successful UK tour in 2016 after it finishes in the West End.
The main change has been the arrival of X Factor winner (and stone cold fox – who knew) Matt Cardle in the cast as Huey, replacing Killian Donnelly who has headed over to Kinky Boots. And as a musical theatre debutant, he is very good indeed, slipping into the role of the fast-talking, highly charismatic DJ with great ease, nailing an adorkable charm that is most appealing. It helps that he shares great chemistry with Beverley Knight as rising star Felicia, herself now off to the latest revival of Cats, further cementing her own MT reputation. Continue reading “Re-review: Memphis, Shaftesbury Theatre”
“Perhaps the greatest risk any of us will ever take is to be seen as we really are”
Who knew what the world needed was a live-action version of Cinderelladirected by Kenneth Branagh. It oughtn’t be as good as it is but somehow the fusion of Disney magic and folktale wonder comes together most effectively, thoroughly traditional in its outlook yet somehow still feeling fresh. Chris Weitz’s screenplay is based on Charles Perrault’s Cendrillon but both he and Branagh take lots of inspiration from the Disney version of the story too and the resulting confection is really rather bibbity-bobbity-beguiling.
There’s a cleverness too about what it does in spinning new details like giving us a reason that her step-family don’t recognise her at the ball and weaving much humour into the magic spells that get her to said ball. Ella herself is well pitched by Lily James, not quite too perfect to be true but still hugely appealing. It’s no wonder Richard Madden’s Prince Charming tumbles instantly for her (and she for him, those breeches…those boots!) and their chemistry is palpable, one can see why Branagh has cast them as Juliet and Romeo in his upcoming theatre residency in London. Continue reading “DVD Review: Cinderella”
“Rock ‘n’ roll is just black people’s blues sped up”
Though much of the US civil rights movement’s achievements came through political means, this time of huge shift in American society was also underpinned by significant cultural change and it is this that the Tony-award-winning show Memphisfocuses on, in exploring how white radio DJ Huey Calhoun sent shockwaves over the airwaves of this Southern city in the 1950s by ignoring the entrenched racial divisions and playing ‘race’ music for all to hear. And as rock and roll began to capture the attention of the nation, so too was Huey’s attention completely captured by the soulful energy of upcoming singer Felicia Farrell and the underground blues club in which she performs (which belongs to her brother).
That she is black and he is not doesn’t matter to him but it sure as hell does to everyone else (they may sing that ‘Everybody Wants To Be Black On A Saturday night’ but there are still laws preventing mixed marriage) and it is this that provides the dramatic heft to Joe DiPietro’s book, such as it is, to this musical that otherwise puts its focus squarely on the music. And what an unexpected place that music comes from – David Bryan, who just happens to be Bon Jovi’s keyboard player – has compiled a fully original score which pulls in influences from Motown-flecked pop, gospel, R&B and 80s power ballads naturally (I mean, look at the guy’s hair!) – it’s highly tuneful if not instantly catchy but delivered with the conviction it is here, it demands the attention and will doubtless reward relistening (if not rewatching as well ;-)) Continue reading “Review: Memphis, Shaftesbury Theatre”
“I know in my heart you’d find a girl who’s scared sometimes”
My first thought when I heard that they were making a musical version of 1992 film The Bodyguardsupplemented by songs from Whitney Houston’s back catalogue was how on earth are they going to work my favourite of her songs, ‘I Wanna Dance With Somebody’, into that story. As it turns out, I needn’t have worried, but more of that later. Taking on the lead role in which Whitney made her acting debut is American import Heather Headley, although at this performance in the month of previews before it opens officially, we saw the alternate Gloria Onitiri (a familiar face fromAvenue Q days) who made a sterling case for the vital importance of supporting Great British talent.
For those not familiar with the film, Rachel Marron is a superstar pop singer-turned-actress who, unbeknownst to her, is receiving threats from a stalker and when her entourage employ ex-Secret Service agent Frank Farmer as a new bodyguard for her, sparks fly as the undeniable attraction between them threatens his professional distance and effectiveness. Several years in the making, Alexander Dinelaris’ book adapts Lawrence Kisdan’s original screenplay with a few changes: Rachel’s sister Nicki has a greater role; the identity of the stalker is handled differently and there’s a little modernisation to reflect a more tech-savvy and social-media friendly world. Continue reading “Review: The Bodyguard, Adelphi Theatre”