“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)”
“Edmund Reid did this”
As I might have predicted after the soaring heights of Series 3, the fourth season of Ripper Street didn’t quite live up to its forerunner. Then again, how could it after the epic sweep of the storytelling had so much of the finale about it in terms of where it left its key characters – Matthew Macfadyen’s Reid, Jerome Flynn’s Drake, Adam Rothenberg’s Jackson and MyAnna Buring’s Susan – picking up the pieces to carry on was always going to be difficult.
To recap, Reid had given up the police force after being reunited with his previously-thought-dead daughter Mathilda, and Susan’s momentous struggle against the patriarchal strictures of society (and also the nefarious entanglements of her actual father) saw her and Jackson end up behind bars, having also drawn Reid and the promoted Drake into the exacting of an individual kind of justice. Continue reading “TV Review: Ripper Street Series 4”
“I just called to say I…”
And so Secret Theatre continues, on their fifth production now which has been devised by themselves and has a shorter run than usual as it will apparently be going to Edinburgh. So press reviews have been scrapped for this one, which may also have been motivated by the devised nature of the show, something which the UK mainstream critics automatically seem to react against. That said, I wasn’t much of a fan at all of A Series of Increasingly Impossible Acts and its highly experimental structure.
Running time: 70 minutes (without interval)
Booking until 22nd May then going to Edinburgh
“I’m bored with widowhood”
As the aristocratic Lady Conway, Thelma Barlow’s amusing run through the options open to a rich widow of nearly 70 sets up Mrs Henderson Presents succinctly in its opening moments – Laura Henderson pricks her thumb trying embroidery as a hobby and bristles at the snobbery of the ladies who run charities for the deserving and so is left to spend money as she sees fit, alighting on the derelict Windmill Theatre which she purchases in a moment of inspiration as she passes in her car. Martin Sherman’s script is based on the true story of this woman who became an unlikely theatrical impresario and in director Stephen Frears’ hands, Judi Dench delivers a heart-warmingly cracking performance at the centre of a lovely film.
Set in the late 1930s, the story follows Laura as she and her theatre manager, Bob Hoskins’ cantankerous but inspired Vivian van Damm, set up a continuous variety revue called Revudeville and trying to keep ahead of a market full of copycats, they introduce still tableaux of female nudity into the show which becomes a roaring success. The onset of war casts a heavy shadow though and whilst the show continues, providing much needed entertainment and respite, as the bombs fall on London, the determination that the show must go on puts everyone in serious peril. Continue reading “DVD Review: Mrs Henderson Presents”
“You clandestine peasant.
‘You curdled cock’”
Much of the buzz about Secret Theatre was the fact that audiences are kept in the dark about what it is they are booking for, placing their trust in the hands of an adventurous company looking to shake up the way theatre is created and commodified in this country. It makes for an entertaining evening, especially at the start as one waits to find out where in the theatre we’re going to be, and what delights are in store.
As it was, I got to the end of Show 4 without having worked out much to be honest. The post-show information told me it was a play named Glitterland, an adaptation of John Webster’s The White Devil by Hayley Squires but not being a play I am familiar with, that proved of little assistance. In a densely woven plot, the striking aesthetic of the company – directed here by Ellen McDougall – takes you a long way but not quite far enough into a satisfying dramatic experience. Continue reading “Review: Secret Theatre 4, Lyric Hammersmith”
“Your last meal – what would it be?”
Where shows #1 and #2 of the Lyric Hammersmith’s Secret Theatre season maintained complete radio silence about their content (even if certain critics weren’t able to hold off revealing titles at the interval…), it seems that the efforts of keeping things mysterious have gotten a little too much. Secrets are still thrillingly in store for other aspects of the show but clues are being offered for #3 right up front on the website, strongly hinting that the death penalty is something to do with the production.
And so it proves, Caroline Bird’s new play Chamber Piece is an unremittingly dark piece of writing, set in a near-future where capital punishment has been reintroduced to Britain. But Bird wants to look at what happens when it goes wrong, as we witness an execution that doesn’t follow through and the ethical and practical mess that emerges in the aftermath. Can the state try again to kill someone for whom they have a death warrant? Should they? Continue reading “Review: Secret Theatre 3, Lyric Hammersmith”
“You must think us a right rough bunch of people”
How long can you keep a secret? How long should you keep a secret? As it turns out, critics were tweeting the title of the Lyric Hammersmith’s ‘Secret Theatre Show 2’ as soon as they could get their phones on in the interval, unleashing a flurry of outraged blogs and tweets which argued both sides of the toss – it was either like Christmas being ruined or one of the least important parts of the whole experience. That experience is Secret Theatre, an ambitious 8 month programme launched by the Lyric’s Sean Holmes which has pulled together an ensemble of 20 creatives who will produce 7 shows over the period. But the key is that the titles are kept from us, no programmes are for sale on arrival and so technically you take your place in the auditorium, which is mid-renovation, not knowing what the curtain will rise upon.
A quick scoot around the internet will reveal the titles of Secret Theatre Show 1 and Secret Theatre Show 2 which have now opened but in the spirit of the whole affair – after all as we leave, we are urged “Shhh. Keep the secret…” – this review won’t spill the beans too much. We live in a spoiler-saturated society now when it comes to much of our popular culture and so whilst it may not be to everyone’s taste, the unique thrill of knowing nothing in advance is one to savour. It also leads to the intriguing question of when recognition of what play is being performed will come, indeed if at all for it could be a piece of new writing, experienced theatregoers should be fine but new audiences have the opportunity to possibly experience some of the greatest writing of last century as if it were a brand new play and that is what is genuinely exciting about this enterprise. Continue reading “Review: Secret Theatre Show 1 and Secret Theatre Show 2, Lyric Hammersmith”
“She’s gonna get herself in trouble one of these days”
I’m pretty sure that Vera Drake was actually the first Mike Leigh film I saw, and what a cracker it is. It really is an extraordinary performance from Imelda Staunton as the perma-humming cheerful soul with a positive word and deed for everyone around her, the nice suggestion of putting the kettle on being the remedy for everything and her kindly demeanour drawing people close to her.
Vera’s family life is perfectly drawn too: the drudgery of post-war working-class existence in no way stinted on and the different ways it has affected people clearly evident in her children, Daniel Mays making the best of things as a cheery chatty tailor and Alex Kelly’s cowed Ethel, somewhat diminished by life as a light-bulb tester. With Phil Davis completing the family unit, there’s such genuine connectivity to these scenes, a real sense of family life being lived and a gorgeous flicker of romance brightening Ethel’s life, that the knock on the door as the law finally catches up with Vera really does come as a genuine heart-wrenching kick as their lives are shattered by the revelation that she has been carrying out illegal abortions, or just ‘helping some girls out’ as she puts it. Continue reading “DVD Review: Vera Drake”
“I mean to have that ruby”
The Ruby from the Smoke is the first in a series of four books featuring adventuring lead character Sally Lockhart. Here a mysterious message received from her father just before he drowned in the South China Seas sets her on a dangerous journey which starts with a man dying in front of her very eyes at the mere mention of what is contained within. She is then drawn into a mystery involving the opium trade, the fabled Ruby of Agrapur and even secrets from her own family history as her life is under constant peril from the dastardly Mrs Holland.
This was one of those things that I pretty much knew I was going to love from the moment I heard about it, but it certainly does help that I do really like the actress that Billie Piper has become. There’s an inner strength to her as well as a richly warm quality that is highly endearing and ideally suited to this modern figure of a woman, challenging Victorian notions of womanhood as she strives to uncover the truth. And Pullman writes extremely well for his female characters, something carried over in Adrian Hodges’ screenplay, as Hayley Atwell’s Rosa makes a sterling ally for Sally and as the evil Mrs Holland, Julie Walters makes a convincing villain. Obviously casting against type, it is an astonishingly effective performance, exuding huge malevolence and full of spine-chilling touches – the false teeth in particular – it’s a vein of work she ought to pursue a little more. Continue reading “DVD Review: The Ruby in the Smoke”