Elton John gets in on the self-produced musical biopic game, meaning Rocketman is gonna take a long long time to get anywhere near the truth
“People don’t pay to see Reginald Dwight…
they pay to see *Elton John*!”
I always find there being something a little suspect about the subject of a biopic being intimately involved behind the scenes, that sense that you’re only being permitted to see a carefully curated version of this particular story (cf Tina the Musical, On Your Feet onstage; Bohemian Rhapsody most recently on film). And Rocketman ultimately proves no exception, with Elton John executive producing and husband David Furnish getting a producer credit, and Wikipedia thus offering up a substantial list of deviations from what actually happened.
You might argue that as the film, written by Lee Hall and directed by Dexter Fletcher, isn’t a documentary, it doesn’t need to concern itself with an absolute fidelity to historical record. But I just find it fascinating this need to embellish, so much being smuggled under the umbrella of ‘creative license’ that can’t always be explained away with the ‘needs’ of filmmaking. Things as fundamental as changing the inspiration for Reg Dwight’s stage name from his mentor Long John Baldry to John Lennon, or claiming that ‘Daniel’ and ‘I Guess That’s Why They Call It the Blues’ were the songs he auditioned for with Dick James when neither had been written yet. At what point does that creative license start being straight-up dishonesty? Continue reading “Film Review: Rocketman (2019)”
Actor In A Leading Role:
Colin Connor, A View From The Bridge, Octagon Theatre, Bolton.
Actress In A Leading Role:
Barbara Drennan , A View From The Bridge, Octagon Theatre, Bolton. Continue reading “The 2015 Manchester Theatre Awards winners in full”
Actor In A Leading Role
Colin Connor in A View From The Bridge at Octagon Theatre, Bolton
Rob Edwards in An Enemy Of The People at Octagon Theatre, Bolton
Jonjo O’Neill in The Crucible at the Royal Exchange
Sam Swann in Pomona at the Royal Exchange
Actress In A Leading Role
Scarlett Brookes in Educating Rita at Oldham Coliseum
Barbara Drennan in A View From The Bridge and The Family Way at Octagon Theatre, Bolton
Kathryn Hunter in Kafka’s Monkey at HOME
Maxine Peake in The Skriker at the Royal Exchange Continue reading “The 2015 Manchester Theatre Awards nominations”
“What can you say, about a girl…”
Just a quickie for this most beloved of shows. The CFT production of Love Story that failed to take the West End by storm back in 2010 was a thing of sheer loveliness and Howard Goodall’s luscious score has to rank among my all-time favourites, I really do think it is that beautiful. So all future productions have a high benchmark to live up to – there was a low-key version at the Brockley Jack last year and this year, we have Elizabeth Newman’s production for the Bolton Octagon.
And what a lovely thing it is. Unafraid to be delicately simple and flirting with actor-musicianship in Ciaran Bagnall’s cleverly designed set, it is a deeply musical take on the soaring romance of the story that glides speedily through the relationship between Daniel Boys’ college jock Oliver Barrett IV and Lauren Samuels’ wisecracking musician Jennifer Cavilleri. From the chemistry of their ‘opposites attract’ first meeting to the heartbreaking sadness of the end, it’s a beautiful piece of work. Continue reading “Review: Love Story, Octagon”
“You shouldn’t harm nobody”
It is always good to hear that major UK theatres are co-producing shows, especially with the trans-Pennine co-operation between the West Yorkshire Playhouse and the Royal Exchange on this production of Sweeney Todd – The Demon Barber of Fleet Street. I couldn’t help but wonder though how the show will make the leap from Leeds to Manchester, from the vast expanse of the Quarry to the intimacy of being in-the-round. Director James Brining has form though, this adaptation was first mounted at the Dundee Rep (and will undergo an additional transformation next year to fill the Wales Millennium Centre) and as a debut for this newly installed Artistic Director, it does feel like a canny choice.
He relocates Sondheim’s musical to the early Thatcher years, arguing her particular brand of socially transformative politics gave rise to as desperate a despondency as is familiar to us from Dickens. But what moving it out of its original Victorian context to something altogether more modern really achieves is to create an altered, and more chilling, sense of horror. It becomes a scarier psychodrama which is light on laughs and somehow more realistic as a serial killer thriller, although one does have to suspend a little disbelief when it comes to some of the finer points of transportation. Continue reading “Review: Sweeney Todd, West Yorkshire Playhouse”