Simon Annand’s Time To Act is a beautiful book of photos capturing actors in the minutes before they go on stage
Tackling the constraints of the pandemic in its own way, Simon Annand’s fantastic new book of photos Time To Act has launched a virtual exhibition of some of the photographs which has now been extended to until Christmas. It’s an ingenious way of sharing some of the hundreds of images from the book and should surely whet the appetite for either just buying it now or putting on your list for Santa to collect soon.
Continue reading “Book review: Time To Act – Simon Annand”
I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time taking a turn into the many Open Air Theatre productions he has been witness to. Highly recommended:
Photos: Tristram Kenton
I’m loving this deep dive in to Tristram Kenton’s archive, this time taking a turn into the many Chekhov productions he has been witness to. Highly recommended:
Photos: Tristram Kenton
“Because your song is ending, sir…It is returning. It is returning through the dark. And then, Doctor? Oh, but then… He will knock four times.”
Cos he’s special, David Tennant got to spread his farewell over 4 specials from Christmas 2008 to New Year 2010, and as this also marked Russell T Davies’ departure from the show, the stories start off grand and rise to operatic scales of drama by the time we hit the megalithic The End of Time. That finale works well in its quieter moments but does suffer a little from an overabundance of plot and whatnot. The Next Doctor and Planet of the Dead are good value for money romps but it is The Waters of Mars and all its attendant darkness that stands out most, teasing all the complex arrogance of a God-figure gone wrong. Continue reading “Countdown to new Who: Doctor Who Specials 2008-2010”
“Why would the devil be interested in you?”
And so the penny drops, John Logan’s Penny Dreadful comes to an end after 3 highly atmospheric seasons of gothic drama, anchored by a sensational performance from Eva Green that ought to have been way more recognised that it was. It’s taken me a little while to get round to watching the series after writing about the first episode so apologies for that, but sometimes, life (and summer holidays) just get in the way. Beware, spoilers will abound.
In some ways, the ending of Season 2 acted as a finale that really worked, the key characters left shell-shocked by what had befallen them and scattered across the globe, as manifested in a gloriously down-beat last half-hour of Episode 10. And so the main challenge of Season 3 was to find a way to reconnect their stories in a way that was at least thematically interesting, if not necessarily the most dramatically satisfying. Continue reading “TV Review: Penny Dreadful Season 3”
“What would you have, you curs that like nor peace nor war?”
Ralph Fiennes and Vanessa Redgrave will be starring together in the Almeida’s Richard III later this year but it’s not their first time doing Shakespeare together – Redgrave played an excellent Volumnia to Fiennes’ Coriolanus in this 2011 film adaptation which was directed by Fiennes himself. Scripted by John Logan in a trimmed and taut two hours, it’s a fiercely contemporary retelling that draws heavily on modern conflicts such as the Balkans and the Arab Spring.
The brutal sense of savage civil war is apparent from the shocking outset, there’s a real sense of the nervy tension on the streets of this version of Rome as warrior Caius Martius defends it from the invading Volscian army, simultaneously barely holding off a riot from within as the public rise up against an out-of-touch ruling class. But persuaded to run for office and unable to conceal his contempt for the mob, he is exiled and Rome’s biggest hero becomes its most unpredictable enemy. Continue reading “DVD Review: Coriolanus (2011)”
“You can’t kill me
I can’t ever die”
After three weeks away, all my initial thoughts were on a cosy night in catching up on the first two episodes of The Great British Bake-off and I couldn’t imagine anything changing my mind – how wrong could I be! When the Almeida first announced their durational performance of Homer’s Iliad, it sounded like a madcap plan, a morning ‘til night affair in association with the British Museum and featuring over 60 actors – the only thing stopping me from booking was it being the last day of my holiday!
But fortunately, the good folk of the Almeida decided to livestream the whole shebang – all 16 hours and 18,255 lines of it – so that people could dip in and out to their heart’s content as well as attending at the British Museum for free during the daytime. I switched on at about 8pm as Bertie Carvel started his section, intending just to sample its wares but sure enough, I was there until the bitter end around 1am, having been sucked into its unique brilliance and unable to miss a minute more of it. Continue reading “Review: The Iliad Online, Almeida/Live-stream”
“I’m so sick of this acting thing, it’s just not working out”
If Woody Allen’s Match Point had been set in the Hamptons as it was originally meant to be, I think I would really like this film but as it is, its relocation to London proves to be a constant distraction as this glossily cinematic version of my hometown is often ludicrous. Yes it is fiction and yes it is set in the world of the idly uber-rich with all their casual trips to Ralph Lauren and chauffeured cars but as with James Bond surfing down the escalators on the tube in Skyfall it’s the little things that draw the attention.
From the unrelenting RP accents to scarcely believable dialogue in the “London Police”, the revelation that being “born in Belgravia” is the key to a lifetime of cultural invitations and the insistence on only showing postcard-pretty shots of London, Match Point has little anchoring in the real world and especially not in the city where it is now set. Putting aside the unlikelihood of shop workers being able to afford cabs home everyday and even worse, neighbours actually talking to each other in a friendly manner, it’s all just so superficial. Continue reading “DVD Review: Match Point”
Responding to the work of Belarus Free Theatre, Connection is part of the continuing short film work that the Young Vic are producing in collaboration with the Guardian in response to their theatrical work. Written by Nicolai Khalezin and Laura Wade, it features Khalezin and Jude Law playing thinly veiled versions of themselves, both stuck at a London airport but for very different reasons. It’s an engaging, moving little tale and if the parallels that are drawn between the pair stick in the craw a little, Law’s ongoing work with BFT ought to silence any naysayers.
Continue reading “Short Film Review #33”
“Such a small thing. But a huge thing”
The Donmar’s production of Conor McPherson’s The Weir was an undoubted success last year and so the news of a West End transfer into the Wyndham’s was hardly too surprising. Josie Rourke has kept her cast of five intact for this stunningly effective piece of drama which has been grandly hailed as one of the all-time great modern classics. Who knows whether that much is true, but a return visit did confirm it as one of the most highly-rated plays I saw last year (review here).
What I was interested to see was how it stood up to a second viewing. Many of the critics this time round approached the revival having seen the original run back in 1997 and so viewing it from that prism clearly had an effect on how they received it (more four stars than five), but I have to say I adored being able to revisit the play. Able to breathe much more this time as the suspense was much less, I was able to take in the wash of beautiful language that ebbs and flows through this rural Irish pub.
Having seen it at the Donmar, one might miss the thrilling intimacy of that studio space, but Tom Scutt’s design rises to the occasion of the larger West End house – filling the stage effectively yet still drawing the audience in so that we too might be sat on a bar stool, tearing up beer mats and telling a tale or two to pass the time by and impress the newcomer. And I’ve not much more to say than you really should go and see it if you haven’t done so already. A pitch-perfect cast in a pitch-perfect production.
Running time: 1 hour 45 minutes (without interval)
Photos: Helen Warner
Booking until 19th April