Despite a mostly good cast, Tulip Fever proves a punishingly dull film – not even self-isolation should drive you to this one
“Amsterdam was captivated by a flower”
The signs weren’t good. Tulip Fever was filmed in 2014 but was pushed and pulled around the schedules before it finally surfaced in 2017, notorious producer Harvey Weinstein clearly hoping that some post-production magic would win over reluctant test audiences. Safe to say though, such an amount of chopping and changing does no-one any favours as Justin Chadwick’s film remains punishingly dull.
Based on Deborah Moggach’s book, with screenplay by Moggach and Tom Stoppard, the story (mainly) centres on Sophia, an orphan whisked out of convent life by a wealthy merchant who wants her essentially as a brood mare, But things ain’t clicking in the bedroom, so Sophia tumbles into an affair with the artist her husband has commissioned to do their portrait. And competing for screentime, tulip mania has hit the Netherlands. Continue reading “Lockdown film review: Tulip Fever (2017)”
“You will not like me”
There’s probably a German word for a play that opens with a self-fulfilling prophecy such as the one above, but even I wasn’t expecting how true it would be for The Libertine. Moving into the Theatre Royal Haymarket after a run in Bath, I haven’t been this bored by a play in quite some time. From Stephen Jeffrey’s writing to Terry Johnson’s direction to Dominic Cooper’s lead performance, I found it all all just fearfully dull.
Running time: 2 hours 30 minutes (with interval)
Booking until 2nd December
“And these words shall then become
Like Oppression’s thundered doom
Ringing through each heart and brain.
A sneaky brief return trip to Manchester allowed me to take in two more of the shows in this year’s Manchester International Festival and whilst one was definitely world class, the other didn’t quite match up for me. Starting with the latter, Matt Charman’s play The Machine dramatises the iconic chess series between Garry Kasparov and the IBM computer Deep Blue and delves way back into their respective pasts to see how they came to be – Kasparov driven to grandmaster status by his determined mother, Deep Blue brought into being by an equally fierce creator, the Taiwanese Dr Feng-hsiung Hsu.
In Campfield Market Hall, Josie Rourke’s production of this sprawling play feels very much like a sub-Enron pastiche, borrowing heavily from the visual audacity of that Headlong play but floundering in the far greater space of this stage. The scale means that the play often achieves the level of spectacle but it rarely feels like great theatre. Multiple scenes wind back through history to trace the progress of the entities that would contest this match-up and there’s undoubtedly strong work from Hadley Fraser and Francesca Annis as Kasparov and his fearsome mother, and Kenneth Lee as the prof, helped out by Brian Sills’ grandmaster employed to teach strategy to the computer. Continue reading “Review: The Machine / The Masque of Anarchy, MIF”
“‘Tis not so sweet now as it was before”
To celebrate his 80th birthday, Sir Peter Hall returns to the National Theatre which he directed for 25 years, with a production of Shakespeare’s Twelfth Night at the Cottesloe. It features a rather starry cast including his daughter Rebecca Hall and Simon Callow and given how well done last year’s A Midsummer Night’s Dream at Kingston was, this has been an eagerly anticipated production for me for a fair few months. This is a review of a preview, the penultimate one as it opens on Tuesday, but still a preview nonetheless though I stand by my comments here.
This is just a production that is lacking, lacking in almost every department and there isn’t even a particular aspect that shines above the others that one could excuse weakness elsewhere for. It feels proficient rather than inspired and though performances may improve and the pacing can be tightened up, the whole approach to this production is unspectacular. Worse than that, it is often boring and the first half in particular is currently far too languid and dull as attested by a fair few walk-outs at the interval. Continue reading “Review: Twelfth Night, National Theatre”
My intention is, honestly, to see less theatre this year and try and regain some semblance of a normal life again on the odd evening. But the curse of advance booking and grabbing cheap(er) tickets whilst you can has meant that there’s already an awful lot of theatre booked for 2011. Some have been booked without a huge deal of enthusiasm, but others have a dangerous amount of anticipation attached to them…and so I present to you, the shows I am most excited about seeing this year (so far).
Antonioni Project – Toneelgroep Amsterdam at the Barbican
The Roman Tragedies was hands down one of the most exhilarating and refreshing theatrical experiences of 2009 and possibly my life, I’m even headed to Amsterdam in May to see a surtitled production of their Angels in America. So when I heard that the same Dutch theatre company were returning to the Barbican in February, tickets were booked instantly and I am feverishly over-excited for this now! Continue reading “Shows I am looking forward to in 2011”
From where preconceptions come I am not entirely sure, but I’ve never been a fan of Ibsen’s plays even when they come as highly recommended as this production of Pillars of the Community at the National Theatre. The play marks the centenary of Ibsen’s death and is apparently one of his lesser performed works, something that doesn’t always inspire the greatest of confidences.
The play centres around Karsten Bernick, an avaricious and deceitful man who has climbed the greasy pole to become something of a bigwig in his small Norwegian town and managed to create an allure of benevolence and good standing in the community. But skeletons in the closet have a way of re-emerging and when two members of his extended family, who know all of his dirty secrets, return from America, Bernick is challenged to discover just how far he is willing to go to protect his reputation and continue to ignore his conscience. Continue reading “Review: Pillars of the Community, National Theatre”