Keira Knightley is excellent in the all-too-relevant Official Secrets, a film full of theatrical talent
“Just because you’re the Prime Minister doesn’t mean you can make up your own facts”
I’m not quite sure how I managed to let Official Secrets pass me by late last year, given how thesp-heavy its cast is. Practically every scene is filled with familiar faces of much-loved actors, so getting to catch up with it now was a real pleasure. Based on the book The Spy Who Tried to Stop a War by Marcia & Thomas Mitchell, Gavin Hood’s docudrama is eminently watchable and a salutary reminder of how far governments are willing to (over)reach in the face of uncomfortable truths.
It is based on the true story of Katharine Gun, a low-level GCHQ employee who leaked a secret memo that exposed the lengths that the US and UK were willing to go to in order to secure backing for their invasion of Iraq in 2003, in the face of the lack of any tangible WMDs. She copies the memo for a media friend, a front-page scoop follows and thus the consequences of breaching the Official Secret Act are brought to bear. Continue reading “Film Review: Official Secrets (2019)”
Annie Baker returns to the National Theatre with The Antipodes – she does not change my mind about her
“We don’t feel like we have to self-censor and we can all just sit around telling stories. Because that’s where the good stuff comes from”
I’ve tried with Annie Baker, I really have. And Circle Mirror Transformation did it for me, both times. But the plaudits rained on The Flick and John baffled me as both left me extremely cold and her latest play to premiere in the UK, 2017’s The Antipodes, is very much in that latter mould, creeping naturalism that seems to defy the laws of time themselves.
Insomuch as a Baker play is about anything, The Antipodes is about storytelling, kind of. A group of people sit in a conference room telling stories and pulling them apart, looking for inspiration but for what, we never really know. And as any kind of leadership offers by the chairman-ish Sandy fades away, something apocalyptically dark looms outside. Continue reading “Review: The Antipodes, National Theatre”
So much goodness! The National Theatre have just announced details of productions stretching deep into 2020, and with writers like Lucy Kirkwood, Kate Tempest, Roy Williams and Tony Kushner, and actors like Lesley Manville, Maxine Peake, Conleth Hill, Cecilia Noble and Lesley Sharp, it is hard not to feel excited about what’s ahead.
Following a sell-out run at Rose Theatre Kingston, the acclaimed two-part adaptation of Elena Ferrante’s MY BRILLIANT FRIEND by April De Angelis is reworked for the Olivier stage by Melly Still (Coram Boy). When the most important person in her life goes missing without a trace, Lenu Greco, now a celebrated author, begins to recall a relationship of more than 60 years. Continue reading “News: the National Theatre announces 15 new productions for 2019 and 2020”
Best Actor in a New Production of a Musical
Andrew Polec, Bat Out of Hell, London Coliseum
John McCrea, Everybody’s Talking About Jamie, Sheffield Crucible
John Partridge, La Cage Aux Folles, UK Tour
Jon Robyns, The Wedding Singer, UK Tour
Michael C. Hall, Lazarus, King’s Cross Theatre
Robert Fairchild, An American in Paris, Dominion Theatre
Best Actor in a New Production of a Play
Andrew Scott, Hamlet, Almeida Theatre
Arinzé Kene, One Night in Miami…, Donmar Warehouse
Brendan Cowell, Life of Galileo, Young Vic
Conleth Hill, Who’s Afraid of Virginia Woolf?, Harold Pinter Theatre
Lucian Msamati, Amadeus, National Theatre
Nicholas Woodeson, Death of a Salesman, UK Tour Continue reading “2017 BroadwayWorld UK Awards Shortlist”
“Dashed hopes and good intentions. Good, better, best, bested”
“It’s an honour just to be nominated…” Come award season, these words are often heard but you do have to wonder what it feels like to be the only member of a four person ensemble that isn’t up for an Olivier Award. Such is the fate for Michael Esper in The Glass Menagerie just now, as Cherry Jones, Kate O’Flynn and Brian J Smith all find themselves deservedly up for acting prizes on Sunday while he’s had to put his game face on. Continue reading “Re-review: The Glass Menagerie / Who’s Afraid Of Virginia Woolf”
“Do you want me to say it’s funny, so you can contradict me and say it’s sad? Or do you want me to say it’s sad so you can turn around and say no, it’s funny”
The irony of the not unreasonable (don’t @ me) ‘no eating during the performance’ request blowing up around Who’s Afraid of Virginia Woolf?, is that a far more egregious act is being waged in the bars of the Harold Pinter Theatre where no ice is served in drinks purchased after 7.20pm. Imagine paying theatre prices for a G&T with no ice…the tears of George and Martha just wouldn’t stand for it.
Not that there’s much they don’t stand for in Edward Albee’s excoriating play, receiving an exemplary production here from James Macdonald. Over late night drinks with an unsuspecting younger couple, George and Martha release themselves from the fustiness of East Coast academic life by drinking hard and playing harder, twisted games making the black comedy darken into abject despair as the state of the marriages here are laid bare, warts and all. Continue reading “Review: Who’s Afraid Of Virginia Woolf, Harold Pinter”
2017 is only just over a week away now and the reviewing diary is already filling up! All sorts of headline-grabbing West End shows have already been announced (The Glass Menagerie, Who’s Afraid Of Virginia Woolf, Don Juan In Soho, The Goat, Or Who Is Sylvia) and the National look to continue a sensational year with another (Twelfth Night, Consent, the heaven-sent Angels in America), so this list is looking a little further afield to the London fringe and some of the UK theatres I hope to get to throughout the year.
After hearing Elizabeth Newman speak passionately on a panel discussion about women’s theatre, I kinda have a big (intellectual) crush on her, so I’m very keen to see her tackle a new adaptation by Deborah McAndrew of the classic Anne Bronte novel in a theatre that is very close to my heart.
Continue reading “20 shows to look forward to in 2017”
“We want all the spirit of Lancashire, but not the accent”
One of the most anticipated bits of TV this Christmas was surely Victoria Wood’s adaptation of her musical That Day We Sang, featuring a Sweeney Todd reunion with Imelda Staunton and Michael Ball taking on the lead roles of Enid and Tubby. The show is a wonderfully heart-warming tale of extraordinariness coming out of the ordinary as Wood does so well, following two lonely middle aged Mancunians who dare to dream of love when life offers them a second chance.
They’re initially brought together at a special event in 1969 to celebrate the 40th anniversary of The Manchester Children’s Choir recording Purcell’s Nymphs and Shepherds (a real life event). Having lost touch and been ground down by the drudgery of life, each puts a long awaited sparkle in the other’s eye though as ever, the path of true love ne’er did run smooth. And Wood contrasts this story with a 1929 narrative that follows the experiences of the choir as they build up to their momentous day. Continue reading “TV Review: That Day We Sang”
“I don’t want them dripping their filthy compassion over me”
Lonely teachers seem to be a bit of a recurring theme for Simon Gray – after Dominic West’s grizzled turn in Butley, we now get Rowan Atkinson slipping into obscurity in Quartermaine’s Terms. The play stretches over a couple of years at a dodgy English language school for foreign students in 1960s Cambridge and follows the relationships between the seven teachers as they all deal with their various crises that leave them feeling alone. The play carries a melancholy weight as understated tragicomedy is the dominant theme here but it is so muted, so low-key that it never really accrues the dramatic heft to make it matter.
Part of the problem lies in the constant referencing to Chekhov and his plays – aiming for Chekhovian depths sets a very high bar and for me, it just never reaches that level. It’s not a matter of acting – the company is full of some excellent actors and the way Gray has structured the play means that most of them get their moment to shine as their issues come to the fore. But their characters are all such social misfits that it is hard to really gain an interested foothold in their lives, even the main thrust of the play – Quartermaine’s increasing social isolation – somewhat works against this sort of engagement. Continue reading “Review: Quartermaine’s Terms, Wyndham’s”
“Everything that people say is so much fluff and nothing”
The Cherry Orchard was Anton Chekhov’s final play and although the Old Vic saw Sam Mendes’ Bridge Project tackling it a few years back with a version by Tom Stoppard, it was last seen at the National Theatre a decade ago with Vanessa and Corin Redgrave. This production though sees director Howard Davies reuniting with Andrew Upton with whom he worked on Philistines and The White Guard as they continue to explore 20th century Russian theatre writing and also with leading lady Zoë Wanamaker after their wildly successful collaboration on last year’s All My Sons.
Telling of the terminal decline of the Russian ruling classes at the beginning of the twentieth century, Chekhov’s play is presented in a new version by Andrew Upton which provides a straightforward directness to the text, which is at time effective but also intermittently problematic. For me, it was just too modern for its own good, laced through with random words, colloquialisms and phrases that kept jolting me out of the period setting with some really strange choices, the Nina Simone song lyric being a particularly jarring example. When Upton imposes less on the writing, beautiful and powerful moments arise, it would just be nice if they were allowed to flow better. Continue reading “Review: The Cherry Orchard, National Theatre”