The fourth instalment in the Nativity film series, Nativity Rocks! restores a little of the goodwill squandered by the previous two sequels
“I’m wishing Father Christmas doesn’t forget where I live like he did last year”
I can’t think of a film franchise that has squandered such promise as the Nativity series. Debbie Isitt’s original film was such a sweetly unexpected success, but its magic sadly proved rather elusive as its subsequent sequels lost any of its sense of purpose or improvised charm. So the arrival of a third sequel in the shape of Nativity Rocks! (released in cinemas in 2018) came with a healthy dose of apprehension, even if the musical adaptation has rescued some of its lustre (though is that also now in danger of oversaturation , as the musical is now in its third consecutive winter tour).
For all my reservations though, Isitt had zero problem in attracting a quality ensemble as the cast undergoes something of an overhaul. So Marc Wootton’s Mr Poppy is dispatched to Australia and replaced with Simon Lipkin’s Mr Poppy (his long-lost brother), Daniel Boys is the fresh-faced teacher taking St Bernadette’s school choir through the rigours of yet another competition, with Helen George as the putative love interest, Gabriel Vick as the posh rival schoolmaster. Plus there’s Hugh Dennis and Anna Chancellor as some well-to-do parents, Ramin Karimloo as a refugee father, Meera Syal and Celia Imrie too, plus Craig Revel Horwood… Continue reading “Film Review: Nativity Rocks! (2018)”
A superbly cast double-bill of Party Time and Celebration makes up a sharp Pinter Six at the Harold Pinter Theatre
“My driver had to stop at a….what do you call it…roadblock.”
One of the benefits in producing such a wide-ranging festival as Pinter at the Pinter has been the flexibility in its programming, allowing for thematic evenings to emerge as opposed to a straight chronological trip through the canon. So here, Jamie Lloyd is able to bring together two plays set at gatherings, both conveniently cast for nine people.
The first social occasion is the most effective, 1991’s Party Time begins with the sepulchral chords of Handel’s Sarabande in D Minor processed through an electronic filter and its partygoers sat in a line facing the audience. They’re members of a private club and we slowly learn that as they sip champagne, the world outside has gone to shit. Continue reading “Review: Pinter Six, Harold Pinter Theatre”
On the two viewings I’ve managed so far, I’m pretty sure Mamma Mia! Here We Go Again is the epoch-defining film that we don’t deserve but which we sorely need
“When you’re gone
How can I even try to go on?”
I was lucky enough to see an early screening of Mamma Mia! Here We Go Again last week and I thought it was fricking fantastic. But as the occasion fuelled by an afternoon tea that was heavy on the bubbles and the raucous atmosphere of a stagey audience and not quite bold enough to stick by the courage of my convictions, I opted to wait until seeing the film a second time before officially declaring my opinion.
And I have to say I really do think this is a superb film. The sequel that no-one really knew they wanted, whipped together in under 12 months once the green light had been given, that somehow manages to do everything you expect it to, and but better, and infinitely more moving than it has any right to be. I knew I’d shed a tear or three of joy but there was more than one moment where I was just sobbing, so rich is the emotion here. And that’s only fitting considering the bittersweet melancholy that is ABBA’s true calling card, rather than the cheesiness they are famed for. Continue reading “Film Review: Mamma Mia! Here We Go Again (2018)”
The Jamie Lloyd Company, Ambassador Theatre Group, Benjamin Lowy Productions, Gavin Kalin Productions and Glass Half Full Productions present an extraordinary season of Harold Pinter’s one-act plays on the tenth anniversary of the Nobel Prize winner’s death, performed in the theatre that bears his name.
Pinter at the Pinter is a unique event featuring all twenty short plays written by the greatest British playwright of the 20thCentury. They have never been performed together in a season of this kind. Continue reading “Pinter at the Pinter”
A stirring and compelling evening of monologues exploring women’s rights – Maxine Peake curates One Hand Tied Behind Us at the Old Vic Theatre in London
“No cause can be won between dinner and tea, and most of us who were married had to work with one hand tied behind us”
That quote comes from English suffragette Hannah Mitchell, from The Hard Way Up: The Autobiography of a Suffragette, and provided the titular inspiration for One Hand Tied Behind Us, an evening of monologues at the Old Vic curated by Maxine Peake and conceived by Matthew Warchus.
Using the centenary of the 1918 Representation of the People Act as a springboard – and acknowledging that while it granted the first women in Britain the right to vote, many more remained disenfranchised – five writers were commissioned to respond to the anniversary, to take stock of the journey so far, where we are now, how much further there still is to go. Continue reading “Review: One Hand Tied Behind Us, Old Vic”
Camden Stands with Grenfell Tower: An evening of music and poetry in aid of Grenfell Tower Fire Fund.
Hosted by Ché Walker, Friday 23rd June sees a night of music and poetry in honour of the victims of the Grenfell Tower tragedy and to benefit the Grenfell Tower Fire Fund. Doors will open at 7pm, with the event starting at 7.30pm at Wac Arts’ premises near Belsize Park.
Tickets £20, £10 concessions: bookings can be made online here.
If you want to donate directly to the fund established by Queen’s Park Councillor Eartha Pond, the link is https://www.gofundme.com/grenfell-tower-fire-fund. Continue reading “News: Camden Stands with Grenfell Tower – an evening of music and poetry”
“It is known that the Doctor requires companions”
Right – the first season that I haven’t rewatched any of at all. Things get a bit hectic here as once again, the series got split in two, accommodating the mid-season departure of Amy and Rory and the (re-)introduction of new companion Clara Oswald, plus a pair of specials respectively marking the 50th anniversary of Doctor Who and the end of Matt Smith’s tenure as Eleven. It all adds up to a bit of a bloated mess to be honest, though not without its high points.
Amy and Rory feel a little ill-served by their final five, the introduction of Mark Williams as Rory’s dad detracts from their screen-time (yet he doesn’t feature in their farewell?), though the return of the Weeping Angels gives their noirish NY-set exit episode some real heft. And though I admire Jenna Coleman’s confident take on Clara, she’s a hard companion to warm to without any contrasting humanity to go with her intelligence and intensity.
The ‘Impossible Girl’ arc didn’t really tick my box and the grandiosity of Moffatt’s writing for the finale of The Name of…, The Day of… and The Time of the Doctor doesn’t really help (I was curiously unmoved by all the fan-service second time round). Still, Gatiss knocks it out of the park with the superb Ice Warrior tale Cold War and bringing mother and daughter Dame Diana Rigg and Rachael Stirling together on screen for the first time. Continue reading “Countdown to new Who: Doctor Who Series 7”
“’Tis the time’s plague when madmen lead the blind”
Though no spring chicken myself, I’m not quite the right age to be truly excited about Oscar winning actress-turned politician-turned actress again Glenda Jackson’s return to the stage. I was more intrigued than truly excited when she was announced in the title role of Deborah Warner’s King Lear for the Old Vic for though I’m well aware of who she is, her film and TV credits never broke through into what I was watching either back then or since. (Feel free to recommend her must-see performances – I’ll add them to the list of things I’ll get round to watching one day.)
But I’m always here for casting decisions that shake the established order somewhat and with Celia Imrie, Jane Horrocks and Rhys Ifans in the cast too, there was no chance I wouldn’t go see this. Full disclosure though, I went to the final £10 preview so treat this review how you will. For it is simultaneously an effortful and frustratingly vague production that never truly convinces of the attempted scope of its artistic vision. Fortunately, this often-times ephemeral and occasionally perplexing Lear is anchored by a striking performance from Jackson. Continue reading “Review: King Lear, Old Vic”
“I’m clean, I’m conscientious and I travel with my own tits”
Where else would you get to see Adrian Scarborough’s Richard III but in passing in a random Kenneth Branagh backstage movie. His movie as a director in which he does not star, A Midwinter’s Tale (or In The Bleak Midwinter as it appears to be known in some places) is a rather sweet comedy that makes for a light-hearted take on the often-time serious Shakespeare for which he was getting increasingly known.
Though fun, it is an acutely observed look at the itinerant life of an actor and the different ways in which people deal with its stresses. Unemployed for a year, Michael Maloney’s Joe offers to help out his sister’s local church by mounting a Christmas production of Hamlet, gathering a cast of similar odds and sods who are also available at the last minute. And together, even with the copious issues this motley crew bring with them, theatrical magic somehow begins to bloom. Continue reading “DVD Review: A Midwinter’s Tale (1995)”
“The proof of our success is we’re victims of it”
The news of a sequel to the better-than-I-thought-it-would-be The Best Exotic Marigold Hotel was received with something of a heavy heart, the automatic assumption being that it wouldn’t, couldn’t, match the success of the first film. But dangnabbit if ain’t actually, possibly, slightly better. Managing the not inconsiderable feat of reuniting the vast majority of the ensemble with writer Ol Parker and director John Madden, The Second Best Exotic Marigold Hotel navigates many of the pitfalls of sequels to produce a story that is at times, deeply moving.
It manages this by emphasising its strengths in its stunning array of acting talent and really capitalising on the universe it built up. Though there are a couple of new faces (Richard Gere and Tamsin Greig), the film focuses on a genuine continuation of story and character. We return to the Indian city of Jaipur where Dev Patel’s Sonny and Maggie Smith’s Muriel’s retirement home is going great guns and they’re looking for finance for a new location, dependent on the results from an anonymous inspection (which is where Gere and Greig come in, thankfully briefly). Continue reading “DVD Review: The Second Best Exotic Marigold Hotel”