All hail Mamma Mia! As we tentatively await the sequel, I revisit a film I can’t ever imagine not loving
“I won’t be muscled out by an ejaculation”
With Mamma Mia! Here We Go Again just about to hit cinemas, I thought I’d revisit the original Mamma Mia! film to remind myself of its pleasures, Pierce Brosnan’s singing and all. Released in 2008, it managed that trick of defying a lukewarm critical reception to garnering huge popularity, something repeated by The Greatest Showman (it’s almost as if film critics can’t quite imagine audiences wanting to see a harmlessly fun musical…).
And that’s what this is in the end, lots of fun and silly with it. Based on the iconic jukebox musical of the same name, it’s a whole load of ABBA songs strung together on a gossamer-light plot of romantic comedy gold. Where it succeeds, as with the musical, is in taking the job at hand most seriously, whilst never taking itself too seriously at all. Songs are in the right places, serving as motors in the narrative, and there’s an integrity to the whole thing, even when its daft as a brush.
Continue reading “DVD Review: Mamma Mia! (2008)”
After a premiere in Birmingham last year…
Sean Mathias’ production of The Exorcist has resurfaced in the West End just in time for Hallowe’en in the hope of recreating the chills and thrills of the 1973 movie, despite the fact that it is notoriously difficult to get horror right in the theatre.
We saw a preview and there may have been wine involved, hence the gif mood-board presented here rather than your fully-fleshed review. So… Continue reading “Review: The Exorcist, Phoenix”
“As far as I know, Lenin said nothing about buggery”
I was told that I simply must watch Christopher and his kind after really enjoying I Am A Camera at the Southwark Playhouse, as it covered similar ground in recounting novelist Christopher Isherwood’s residency in Berlin in the early 1930s as his search for boy-fuelled hedonism comes up hard against the ugly rise of National Socialism. The film’s timespan and geographical scope also extends well beyond that of the play to create a neat companion piece which is also notable for featuring current Doctor Who Matt Smith in the sexually adventurous lead role.
It is pleasingly frank in its depiction of the gay sexuality that was missing from the play: Isherwood’s first stop upon arriving in Berlin is to be squired to the Cosy Corner, an underground gay bar of sorts, by Pip Carter’s wonderfully glacial Wystan, or WH Auden as he is better known and few blushes are spared with sex scenes (wouldn’t have imagined he was a top tbh) and deliciously scathing humour. The relationship between Auden and Isherwood is beautifully played by Carter and Smith and I wish we had seen more of it as their encounters are wonderfully scripted – the banter about…size is genius – but I guess that was the whole point about their general reticence of emotional intimacy. Continue reading “DVD Review: Christopher and His Kind”
“If you run out of words, just burst into song”
The Finborough Theatre in West London has had an excellent record in reviving British musicals as part of their “Celebrating British Music Theatre” series and marking the 60th anniversary of the death of composer Ivor Novello is Perchance to Dream, sliding into the Sunday/Monday slot there for the month of September. It is the first professional London production for 25 years of this show devised, written and composed by Novello himself, the only show for which he wrote the lyrics.
It is an unashamedly romantic musical, centring on the country pile Huntersmoon and the tangled love affairs of its residents as we glide from the Regency era, through Victorian times and to WWII as the ghosts of the past continue to haunt future generations. But it is the glorious music that commands the attention as Novello’s score incorporate such classics as ‘Love Is My Reason’, ‘A Woman’s Heart’ and ‘We’ll Gather Lilacs’: classic songwriting close to its best. Continue reading “Review: Perchance to Dream, Finborough”
Ending this year’s run of shows at the Open Air Theatre in Regent’s Park is a revival of the Jerry Herman musical Hello, Dolly! It is a classic piece, and its presentation here is respectful of that and delivers a straight up rendition mercifully free of irony. Hello, Dolly! is not for people who claim that they don’t like musicals. It is old-school Broadway singing and dancing through and through and about as much fun on a stage as you could imagine: there is no place for cynicism here.
Admittedly, I did not see it in the heights of summer when one might expect a slightly better chance of sunshine, but one did start to question the methods of the Open Air Theatre on rainy days, as the stagehands were made to work extremely hard, wiping down the stage diligently four times in 45 minutes before the actual start of the show. One began to feel so sorry for them as it seemed every time they finished a new shower would begin. Fortunately, the sheer joy of the production meant that the conditions were soon forgotten.
Continue reading “Review: Hello, Dolly!, Open Air Theatre”