Sam Mendes’ 1917 is undoubtedly an technically excellent film but the focus on format ends up detracting from the depth of the storytelling
“You’ll be wanking again in no time!
There’s no doubting the technical audacity of Sam Mendes’ 1917. With its ostensibly one-shot, real-time structure (with necessary caveats that it is neither), it is a bravura piece of film-making that elevates this movie from just your average Oscar-baity war flick (cf Dunkirk).
It is clearly a labour of love for Mendes, who directed, co-wrote (with Krysty Wilson-Cairns) and produced 1917, and whose grandfather’s own war experiences inspired the film. And its driving force, following 2 British soldiers tasked with delivering a vital message beyond enemy lines. Continue reading “Film Review: 1917 (2019)”
Best Actor in a Play sponsored by Radisson Blu Edwardian
WINNER – Aidan Turner, The Lieutenant of Inishmore
Arinzé Kene, Misty
Colin Morgan, Translations
Kyle Soller, The Inheritance
Mark Gatiss, The Madness of George III
Best Actress in a Play
Carey Mulligan, Girls & Boys
Charlie Murphy, The Lieutenant of Inishmore
Katherine Parkinson, Home, I’m Darling
Patsy Ferran, Summer and Smoke
WINNER – Sophie Okonedo, Antony and Cleopatra Continue reading “Winners of the 19th What’s On Stage Awards”
On Chesil Beach proves a most painful watch indeed
“Minor seventh might be better”
Dominic Cooke’s theatrical résumé includes such triumphs as Follies and Ma Rainey’s Black Bottom so a measure of anticipation about his feature film debut was surely not unexpected. But I should have remembered he was also responsible for the challenges of The Low Road and In The Republic of Happiness and for me, it was to this end of the scale that On Chesil Beach tips.
An adaptation of Ian McEwan’s 2007 novella by the man himself, we’re in the world of classic 1960s English sexual repression. New graduates Edward and Florence come together in a theoretically perfect courtship but when they come together disastrously in marriage, their sexual inexperience on their Dorset honeymoon proves utterly and completely life-changing. Continue reading “Film Review: On Chesil Beach (2017)”
As we move towards the year end, so award season gets into full swing and What’s On Stage have now revealed their nominations celebrating everyone who works in theatre apart from sound designers and musical directors. As ever, these awards tend to work around which fanbase can weaponise the strongest and so there’s lots of love for shows which might not necessarily be troubling many other shortlists…
Still, am liking the recognition for Milly Thomas and Dust, Es Devlin’s luminous set work for Girls & Boys, and Six and The Grinning Man getting into the cast recording category (though can’t quite work out how Come From Away fits into there as well…). And it’s a bit sad that the way their eligibility period works means that Hamilton comes up against Company, making the supporting actress/actor categories ridiculously difficult to choose between.
You can vote here until 31st January, and winners will be announced on 3rd March.
Continue reading “2019 What’s On Stage Award nominations”
I like almost everything about The Madness of George III at Nottingham Playhouse Theatre apart from the main performance…
“I am not going out of my mind, my mind is going out of me”
Mark Gatiss has been getting rave reviews for his performance in The Madness of George III at Nottingham Playhouse but for me, there was just a little bit too much of
for my liking. There’s lots to love in Adam Penfold’s production, particularly in key supporting roles like Adrian Scarborough’s Dr Willis and Debra Gillett’s Queen Charlotte, and some of the smaller parts like Nadia Albina’s Fitzroy and Jack Holden’s Greville.
And I enjoyed that Penfold cast several of the ostensibly male parts with women, allowing the likes of Louise Jameson and Stephanie Jacob. Throw in a lusciously opulent design from Robert Jones and strikingly dramatic lighting from Richard Howell, and it’s a real theatrical treat, a real statement of intent from this nicely ambitious artistic director. Continue reading “Review: The Madness of George III, Nottingham Playhouse”
Undeniably challenging but ultimately thought-provoking and impeccably designed, Exit the King plays at the National Theatre this summer
“You are going to die at the end of the play”
There’s something intriguing about the fact that Eugène Ionesco has never been programmed at the National Theatre before, perhaps a long-present euroscepticism guarding against a writer at the vanguard of the French avant garde scene (give how much Beckett gets staged, it’s clearly not anti-absurdism). But Rufus Norris has looked to rectify this by commissioning a new version of Le Roi se meurt from Patrick Marber, who also directs here.
And as an absurdist drama, Exit the King suggests a bit of different thinking. On the face of it, it’s a simple enough tale – a man is told he only has a day left to live and struggles to deal with it. But that man is a king – King Bérenger – and he’s over 400 years old. And his kingdom is dying around him, with him, stone walls cracking and crumbling away, its people disappearing into the ether, the darkness swallowing everything up whole. Continue reading “Review: Exit the King, National Theatre”
Hugh Grant delivers a career best performance in the hugely enjoyable A Very English Scandal. Just don’t mention your National Insurance card.
“Tell him not to talk. And not to write to my mother describing acts of anal sex under any circumstances whatsoever”
I don’t think I’ve ever been chilled quite so much by the end credits of anything like A Very English Scandal. You know, that bit when you find out what happened next to the people who you’ve just been watching. It helps of course that I knew nothing about the 1970s Jeremy Thorpe affair on which it was based but still, never have 11 dogs and a missing NI card seemed so ominous.
Written by Russell T Davies, adapted from John Preston’s book, and directed by Stephen Frears, A Very English Scandal is a complete breath of fresh air. Perhaps surprisingly for a true-life tale of sex, politics and attempted murder, it has a quirky, almost jolly tone that is hugely enjoyable, deftly comic as it negotiates the would-be Machiavellian moves of a politician desperate to save his skin. Continue reading “TV Review: A Very English Scandal”
So much goodness announced here in the National Theatre’s near future – particularly excited for Nine Night’s transfer, what looks like a leading role for Siân Brooke and the prospect of Joanna Riding’s ‘Losing My Mind’.
National Theatre Season: July 2018 – January 2019
Nine Night, Natasha Gordon’s critically acclaimed debut play transfers to the West End following a sold-out run at the NT
Further cast announced for Antony and Cleopatra alongside Ralph Fiennes and Sophie Okonedo, playing from September
Cast confirmed for world premiere of David Hare’s new play I’m Not Running, including Siân Brooke, Alex Hassell and Joshua McGuire
Peter Brook returns to direct at the National Theatre for the first time in 50 years with The Prisoner, co-directed with Marie-Hélène Estienne
Following the acclaimed Consent, Nina Raine returns to the NT with her new play Stories starring Claudie Blakley
Anthony Neilson makes his NT debut with new play The Tell-Tale Heart, based on the short story by Edgar Allan Poe
Alexander Hanson and Joanna Riding to join the cast of Follies alongside Janie Dee and Peter Forbes, returning to the Olivier Theatre in February 2019
War Horse returns to the NT marking the centenary of Armistice Day
Antony and Cleopatra and I’m Not Running to broadcast to 65 countries worldwide as part of NT Live
To mark the 100th anniversary of the first women in the UK gaining the right to vote, the NT stages Courage Everywhere; a series of rehearsed readings, talks and screenings Continue reading “News: National Theatre Season: July 2018 – January 2019”
It’s that time of year again and getting in early with the announcement of their nominees is What’s on Stage. Voted for by the public, they’re often skewed a little towards the bigger ‘names’ but this year’s set of nominations are relatively controversy-free. There’s something a little odd about the way that regional theatre has its own separate category but its actors appear in the main ones – I feel like regional theatre productions should either be considered entirely in or out, rather than this halfway house.
Naturally, big shows rule the roost – 42nd Street and Bat out of Hell lead the lists with 8 nominations apiece – and they’ve even found a way to shoehorn in Hamilton by nominating it for the two new categories of Best Cast Recording (which somehow includes Les Mis??) and Best Show Poster, thus being able to get round it not actually being open yet and grabbing the requisite headlines once it does, inevitably, win.
BEST ACTOR IN A PLAY SPONSORED BY RADISSON BLU EDWARDIAN
Andrew Garfield, Angels in America
Andrew Scott, Hamlet
Bryan Cranston, Network
David Tennant, Don Juan in Soho
Martin Freeman, Labour of Love
BEST ACTRESS IN A PLAY
Eve Best, Love in Idleness
Imelda Staunton, Who’s Afraid of Virginia Woolf?
Olivia Colman, Mosquitoes
Natalie Dormer, Venus in Fur
Tamsin Greig, Labour of Love Continue reading “2018 What’s On Stage Award nominations”
“It is known that the Doctor requires companions”
Right – the first season that I haven’t rewatched any of at all. Things get a bit hectic here as once again, the series got split in two, accommodating the mid-season departure of Amy and Rory and the (re-)introduction of new companion Clara Oswald, plus a pair of specials respectively marking the 50th anniversary of Doctor Who and the end of Matt Smith’s tenure as Eleven. It all adds up to a bit of a bloated mess to be honest, though not without its high points.
Amy and Rory feel a little ill-served by their final five, the introduction of Mark Williams as Rory’s dad detracts from their screen-time (yet he doesn’t feature in their farewell?), though the return of the Weeping Angels gives their noirish NY-set exit episode some real heft. And though I admire Jenna Coleman’s confident take on Clara, she’s a hard companion to warm to without any contrasting humanity to go with her intelligence and intensity.
The ‘Impossible Girl’ arc didn’t really tick my box and the grandiosity of Moffatt’s writing for the finale of The Name of…, The Day of… and The Time of the Doctor doesn’t really help (I was curiously unmoved by all the fan-service second time round). Still, Gatiss knocks it out of the park with the superb Ice Warrior tale Cold War and bringing mother and daughter Dame Diana Rigg and Rachael Stirling together on screen for the first time. Continue reading “Countdown to new Who: Doctor Who Series 7”