Not really news, more a heads-up to this brilliant piece in the Guardian which covers the 30-odd years that Tristram Kenton has been taking pics for the Guardian’s theatre coverage. Highly recommended: https://www.theguardian.com/stage/gallery/2020/jul/30/caesar-cilla-and-a-superstar-cast-tristram-kentons-stage-archive-in-pictures
Join Academy Award-winning filmmaker, Taika Waititi as he reads James and the Giant Peach by Roald Dahl, in full across 10 episodes, to raise money for @Partners In Health.
Over the series, Taika will be joined by Utkarsh Ambudkar, Cate Blanchett, Jamie Cullum, Benedict Cumberbatch, Roman Griffin Davis, Cara Delevingne, Cynthia Erivo, Beanie Feldstein, Josh Gad, Chris Hemsworth, Liam Hemsworth, Mindy Kaling, Nick Kroll, Kumail Nanjiani, Lupita Nyong’o, Sarah Paulson, Billy Porter, Gordon Ramsay, Eddie Redmayne, Ryan Reynolds, Ben Schwartz, Meryl Streep, Tessa Thompson, Olivia Wilde, Ruth Wilson and Archie Yates, with a select number of celebrities still to be announced.
If you can, please visit http://www.pih.org/giantpeach to donate NOW. The Roald Dahl Story Company and their partners will be matching every single donation. New episodes released every Monday, Wednesday and Friday at 6pm BST / 1pm EST / 10 PST. Continue reading “Lockdown treat: Taika Waititi and friends read James and the Giant Peach”
National Theatre at Home continues its home programming with both versions of Frankenstein with Benedict Cumberbatch and Jonny Lee Miller and Antony and Cleopatra with Ralph Fiennes and Sophie Okonedo, plus there’s a National Theatre at Home Quiz
Following on from the success of its opening set of transmissions – One Man, Two Guvnors was viewed over 2.5 million times in the week it was available – the National Theatre has announced the next two productions it will be airing as part of National Theatre at Home. 2011’s Frankenstein with Benedict Cumberbatch and Jonny Lee Miller sharing its two main roles and 2018’s Antony and Cleopatra, starring Ralph Fiennes and Sophie Okonedo.
Both productions will be free to stream, premiering at 7.00PM BST and then available on demand for seven days. Further productions to be streamed as part of National Theatre at Home will be announced soon.
Today also sees the launch of the National Theatre at Home Quiz, to be played from home featuring familiar faces from the world of stage and screen as the quizmasters. Each quiz will include rounds of five questions on a wide variety of topics.
On the final Monday of each month people will be able join the virtual quiz directly from their homes via the NT’s YouTube channel and Facebook page live at 7pm. The first quiz will be on Monday 27 April with quizmasters Dame Helen Mirren, Sir Lenny Henry, Lesley Manville, and Sir Ian McKellen asking questions on topics including history, sport, nature, and of course, the National Theatre (bagsy team Manville).
Now this is more like it, Series 2 of Spooks settles into the classic feel that works so well
“This ridiculous James Bondery…do we need it?”
With this second season, Spooks really gets into its stride I think, recognising that it is an ensemble show at heart (and a rolling ensemble at that, although it’s a shame new recruit Sam doesn’t get more to do) and nailing the variation in tone and style of episodes which largely remain self-contained. Also, Nicola Walker finally arrives as Ruth, which is good news for the audience, Harry and the nation.
Topics-wise, we touch on hacker kids, Irish republicanism, Islamic radicalisation and Anglo-American relations among others. But it is ‘I Spy Apocalypse’, written by Howard Brenton and brilliantly directed by Justin Chadwick with a smothering sense of claustrophobia that really gets the pulse racing as a fire drill for a terrorist incident gets very dark very quickly – it’s possibly one of the best ever episodes of Spooks.
Praise the Lord – analyst Ruth Evershed finally arrives in Episode 2 in all her long cardigans and flowing skirts and though initially viewed with suspicion coming from GCHQ as she does, she soon wins over the team with her knowledge of Greek mythology, Russian crucifixion practices and much more besides. Continue reading “Lockdown TV Review: Spooks Series 2”
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)”
Despite some considerable talent involved, I vote to leave Brexit: The Uncivil War
“It says here you basically ran the Leave campaign and yet I doubt most people have ever heard of you”
It is difficult to watch Brexit: The Uncivil War because it is hard to locate a raison d’être for telling this story as a drama rather than a documentary. Given how close it is to the present day and the way in which so much has still yet to unfold in the way the UK eventually disentangles from the EU, making the choice to start creating art around it feels an odd choice.
I’ve long been a fan of James Graham, like any rational person, and the way he has been able to dig deep and really explore so many of the issues afflicting contemporary society has been brilliantly in evidence. But it is hard not to feel that Brexit is a mis-step in the way that it seeks to reinterpret the roles of the key dramatis personae in this whole sorry shebang. Continue reading “TV Review: Brexit: The Uncivil War”
“I suppose we should start by reading it”
Atonement was only Joe Wright’s second film but crikey it’s a good’un. Following on from Pride and Prejudice with another literary adaptation was a bold move, especially in taking on such a modern classic as Ian McEwan’s 2001 Booker Prize nominee but with Christopher Hampton on script duties and Wright’s visionary eye at the helm, Atonement is a deliciously gorgeous piece of art.
From Kiera Knightley’s iconic green dress to that epic Dunkirk tracking shot, from a three-fold Briony (Saoirse Ronan, Romola Garai, Vanessa Redgrave) to narrative daring that enriches the whole piece, Atonement is a sumptuous and assured film that has lost none of its charge nearly ten years on. Wright is blessed with a top-notch cast to be sure, but it is his flair that characterises the film’s brilliance. Continue reading “DVD Review: Atonement (2007)”
“The king’s name is a tower of strength”
The Hollow Crown reaches its climax with a solid and occasionally very strong Richard III which once again shimmers with quality and hints of artistic innovation. And for all the lauding of Benedict Cumberbatch’s starring role, it is pleasing to see Dominic Cooke and Ben Power give Sophie Okonedo’s excoriating Margaret of Anjou her due as one of the real pleasures of running these plays together is to trace her complete arc (for she’s the only character to appear in them all) and root her enmity – alongside that of so many others – in something most palpable.
Cooke’s direction also benefits from loosening its representational restraints, Richard III’s monologues and asides make this a different type of play and Cooke responds with a series of interesting choices (though the surfeit of nervy finger-tapping was a touch too much for me) making great use of both gloomy interiors and hauntingly effective exteriors. Playing so many scenes in woodlands was an inspired decision as it leant a real eeriness to proceedings, whether Margaret or Richard bursting from the bushes to disrupt the private mourning of Elizabeth or Anne. Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 3. Richard III”
“I was a woeful looker-on”
On a night when the real drama was unfolding in Stockholm’s Globen arena and the main internecine conflict was between the juries of music professionals and the public vote as revealed by the new counting mechanism, the BBC’s decision to schedule The Hollow Crown against the Eurovision Song Contest didn’t work for me. Last week’s Henry VI Part 1 was a great reintroduction into these quality adaptations as it started the new series but the follow-up doesn’t quite match the same level.
Part of the issue lies in the seemingly accepted wisdom that the Henry VI plays are problems that need solving – I’ve still not managed to see a conventional production of the trilogy to use as a benchmark – and so the plays are often abandoned to the mercies of the vision of writers and directors. Such is the case with The Wars of the Roses: 1. Henry VI Part 2, chopped down and frantically paced, there’s a whole lot of fury but just not enough feeling (though if you’re a fan of battlefields and decapitated heads, you might fare better than I did). Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 1. Henry VI Part 2”
“I am a spirit of no common rate”
The culmination of the BBC’s celebration of the 400th anniversary of Shakespeare’s death was the 2 and a half hours of Shakespeare Live, a veritable landslide of multidisciplinary performances of and responses to his work. From theatre to opera, jazz to ballet, hip-hop to musicals, the enormous scope of his influence was showcased in a very well put together (royal) variety show (Charles and Camilla were in attendance) at the Royal Shakespeare Theatre and hosted by David Tennant and Catherine Tate.
And like anything with variety, a selection box or tub of Quality Street, there are the ones you love, the ones you can tolerate and the ones that you really don’t care for (the Bounty, or the purple hazelnutty one). And I have to say as impressive as they were, the dance, jazz and opera sections really didn’t do it for me whether Berlioz or Duke Ellington. I was predictably much more interested in the theatrical side of things, particularly as such an august cast of performers was in the offing along with the thrilling thought of a Dench and McKellen reunion. Continue reading “TV Review: Shakespeare Live, Royal Shakespeare Theatre”