Strong performances from Cate Blanchett and Stephen Dillane make the challenging When We Have Sufficiently Tortured Each Other worth the effort at the National Theatre
“A woman would never say that
‘A woman did just say it'”
It is bracingly refreshing to see the kind of artistic decisions that drive Cate Blanchett’s theatrical career, so often complex, contemporary takes on classic work which show a performer never content to rest on her laurels. Which leads us to her National Theatre debut in When We Have Sufficiently Tortured Each Other – 12 Variations on Samuel Richardson’s Pamela, written and directed respectively by noted iconoclasts Martin Crimp and Katie Mitchell.
And as such, it certainly is something of a challenge. Played for its two hours without interval, Blanchett and co-star Stephen Dillane act out a series of psychosexual, sado-masochistic role-playing games and that’s about it. There’s strap-ons and shaving foam, backseat shenanigans and boxes of cherries, and an untold amount of portentous chat which sometimes, sometimes, sears through to the soul. Continue reading “Review: When We Have Sufficiently Tortured Each Other, National Theatre”
All sorts of goodies were announced today for the upcoming slate of productions at the National Theatre, including Small Island, Peter Gynt, and Top Girls
Small Island, a new play adapted by Helen Edmundson from Andrea Levy’s Orange Prize-winning bestselling novel, will open in the Olivier Theatre in May. Directed by Rufus Norris, the play journeys from Jamaica to Britain through the Second World War to 1948, the year the HMT Empire Windrush docked at Tilbury. Small Island follows the intricately connected stories of Hortense, newly arrived in London, landlady Queenie and servicemen Gilbert and Bernard. Hope and humanity meet stubborn reality as, with epic sweep, the play uncovers the tangled history of Jamaica and the UK. Hundreds of tickets for every performance available at £15. Small Island will be broadcast live to cinemas worldwide as part of NT Live. Continue reading “News from the National Theatre Autumn 2018 Press Conference”
Such amazing casting news came our way yesterday, with not one but two of my absolute faves returning to the London stage in the coming months. The starrier of the two is Cate Blanchett, who will appear with Stephen Dillane in a brand new play by Martin Crimp’s directed by Katie Mitchell at the National Theatre in January 2019. The play is enigmatically entitled When We Have Sufficiently Tortured Each Other – Twelve Variations on Samuel Richardson’s Pamela. (The torture presumably being the absolute scrum there’ll be to get tickets, as the show is going into the NT’s most intimate space, the Dorfman.)
But matching Blanchett in my personal pantheon in Lucy Cohu, an actor whom I’ve longed admired since she broke my heart in the double whammy of Torchwood – Children of Earth on the TV and Speaking in Tongues on the stage. She’s joining the cast of Florian Zeller’s The Height of the Storm, alongside Anna Madeley and Amanda Drew. And given that the cast already contains the previously announced Jonathan Pryce and Dame Eileen Atkins, this ought to be a good’un. That shows arrives at the Wyndham’s Theatre in October after a brief tour of Richmond, Cambridge and Bath. Continue reading “#CastingbyClowns – I celebrate as Cate Blanchett and Lucy Cohu return to the stage”
How do you mark a significant birthday? My parents are currently (jointly) turning 140 and are celebrating the occasion with a six month program of events, peaking with an all-day party happening very soon. But if you’re the Old Vic and you’re turning 200, you open your contacts and see who is free.
Turns out a fair few people are, and so their list currently includes Nikki Amuka-Bird, Sheila Atim, John Boyega, Cate Blanchett, Bertie Carvel, Kim Cattrall, Lily Cole, Alan Cumming, Judi Dench, Michelle Dockery, Rupert Everett, Martin Freeman, Tamsin Greig, David Harewood, Derek Jacobi, Toby Jones, Cush Jumbo, Ben Kingsley, Pearl Mackie, Helen McCrory, Ian McKellen, Bill Nighy, Anika Noni Rose, Maxine Peake, Mark Rylance, Andrew Scott, Tom Stoppard, Stanley Tucci and Julie Walters.
Continue reading “News: Old Vic bicentenary ambassadors announced”
|Angela Weiss/Getty Images
Ivo van Hove.
All About Eve.
West End 2018.
That is all.
Continue reading “Round-up of news and treats and other interesting things”
“You don’t know what I am capable of”
Relocated to a contemporary USA and with two women of colour playing the servants, Jamie Lloyd’s version of Jean Genet’s The Maids becomes just as much about race as it does about class and incredibly powerfully so. The ‘otherness’, the ‘difference’ of which sisters Solange and Claire speak as they twist themselves into increasingly sadomasochistic games thus plays at an additional level and at the point when their socialite employer Madam casually, cruelly, asks Claire “which one are you, you both look the same to me”, it lands with an absolute gut-punch.
Loosely based on the real-life story of sisters Léa and Christine Papin who murdered their employer’s wife and daughter in 1933, years of servitude have similarly done for Uzo Aduba’s Solange and Zawe Ashton’s Claire. Whilst their mistress is out, they play vicious divertissements of dress-up in her couture gowns, roleplaying both her and each other in scenarios that end in violent death. And as eventually becomes apparent in the vibrant and salty language of Benedict Andrews and Andrew Upton’s translation, what we’re actually witnessing is less a game than a rehearsal for the real thing. Continue reading “Review: The Maids, Trafalgar Studios”
“Hanna, what did your mum die of?
I have a deal of affection for Joe Wright’s Hanna, a film I saw at the cinema as part of a birthday treat back in 2011 and so watching it again for the first time has that special layer of extra memory attached to it. Which it kind of needs as I’d forgotten how loopy the revenge thriller is. Saoirse Ronan’s Hanna has been raised as a crack assassin since birth by her ex-CIA father Eric Bana but hidden away in the isolated Arctic tundra as current CIA supremo, Cate Blanchett’s insanely fruity Marissa, wants them both dead to protect a secret they possess.
One day, Hanna declares that she’s ready to take on their nemesis and the ensuing cat-and-mouse chase takes our characters from Finland to Morocco, Spain to Germany, all to the beats of a thumping soundtrack from The Chemical Brothers. Wright folds in elements of The Brothers Grimm into the story too to evoke a very dark fairytale feel. And it’s one that works intermittently, the hyper-stylised violence hits hard and provides the energy that is sorely needed in some of the quieter sequences. Ronan is a mesmeric screen presence as this impossible girl and proves a dab hand at doing her own stunts. Continue reading “DVD Review: Hanna”
“Perhaps the greatest risk any of us will ever take is to be seen as we really are”
Who knew what the world needed was a live-action version of Cinderella directed by Kenneth Branagh. It oughtn’t be as good as it is but somehow the fusion of Disney magic and folktale wonder comes together most effectively, thoroughly traditional in its outlook yet somehow still feeling fresh. Chris Weitz’s screenplay is based on Charles Perrault’s Cendrillon but both he and Branagh take lots of inspiration from the Disney version of the story too and the resulting confection is really rather bibbity-bobbity-beguiling.
There’s a cleverness too about what it does in spinning new details like giving us a reason that her step-family don’t recognise her at the ball and weaving much humour into the magic spells that get her to said ball. Ella herself is well pitched by Lily James, not quite too perfect to be true but still hugely appealing. It’s no wonder Richard Madden’s Prince Charming tumbles instantly for her (and she for him, those breeches…those boots!) and their chemistry is palpable, one can see why Branagh has cast them as Juliet and Romeo in his upcoming theatre residency in London. Continue reading “DVD Review: Cinderella”