Want to see A Christmas Carol this festive period? Well it looks like you could well be in luck…
The Bridge Theatre has a devised (by Nick Hytner), 3-person adaptation with Simon Russell Beale, Patsy Ferran and Eben Figueiredo
The Dominion Theatre will host a production of Alan Menken, Lynn Ahrens and Mike Ockrent’s musical version with Brian Conley as Scrooge with a cast and orchestra of over 50
Gemma Bodinetz takes her bow as artistic director of the Everyman and Playhouse Theatres with Patrick Barlow’s small-cast iteration with Liverpool panto regular Adam Keast at the helm
And a brand new retelling of the classic family Christmas tale, will be coming to both cinemas and select theatres nationwide from November 20th, as Scrooge looks to help save Christmas. Simon Russell Beale, Martin Freeman, Carey Mulligan, Daniel Kaluuya and Andy Serkis lend their voices to the tale, whilst dance performances are led by former Royal Ballet soloist and BalletBoyz founder Michael Nunn as Scrooge, Jakub Franasowicz, Russell Maliphant, Karl Fagerlund Brekke, Mikey Boats, Grace Jabbari and Dana Fouras.
Kwame Kwei-Armah, Artistic Director of the Young Vic, has announced the start of the Young Vic’s 50th birthday with a year-long programme of work entitled We are the New Tide, dedicated to the theatre’s milestone birthday.
The 50th birthday year of work begins with three major commissions:
- The New Tomorrow– for the first piece of live theatre since the pandemic closed UK theatres, this weekend festival of speeches and monologues asks what the next fifty years hold. Writers and artists Jade Anouka, Marina Carr, Jasmine Lee-Jones, Ruth Madeley, Amy Ng, Stef Smith, Jack Thorne, Isobel Waller-Bridge and Steve Waters will explore the change that has come and is coming. Cast to be announced.
3 & 4 October, 4pm, Main House, free
Just a quick flag-up for this brilliant visual project from photographer Helen Murray. Her set of portraits entitled Widening the Lens is in partnership with Act for Change. So many absolute faves looking stunning here: see the whole set on Murray’s website.
The film about race that we needed. And still need. Get Out ftw.
“All I know is sometimes, when there’s too many white people, I get nervous, you know?”
The little film that could. A directorial debut from Jordan Peele, filmed for $4.5 million which has now grossed over $250 million and nabbed four Academy Award nominations to boot. Not only that, it’s a horror film too. But what underpins Get Out’s success if the fact talks about race in today’s American in a way we rarely see in our cinemas.
Puncturing the self-satisfied smugness around liberal whiteness, Peele takes a scalpel to the notion the USA is anywhere near being post-racial. Matter-of-factly portraying an interracial relationship (a political act in and of itself), Daniel Kaluuya’s Chris and Alison Williams’ Rose take the step of meeting her parents but nothing is as it seems. At all. Continue reading “Oscar Week Film Review: Get Out”
“Because your song is ending, sir…It is returning. It is returning through the dark. And then, Doctor? Oh, but then… He will knock four times.”
Cos he’s special, David Tennant got to spread his farewell over 4 specials from Christmas 2008 to New Year 2010, and as this also marked Russell T Davies’ departure from the show, the stories start off grand and rise to operatic scales of drama by the time we hit the megalithic The End of Time. That finale works well in its quieter moments but does suffer a little from an overabundance of plot and whatnot. The Next Doctor and Planet of the Dead are good value for money romps but it is The Waters of Mars and all its attendant darkness that stands out most, teasing all the complex arrogance of a God-figure gone wrong. Continue reading “Countdown to new Who: Doctor Who Specials 2008-2010”
“Everything’s just a bit wider apart”
On the second day of Christmas, Black Mirror gave to me…two lovelorn kids
Fifteen Million Merits takes place in a fiercely satirical version of our entertainment culture, where appearing on reality TV is king and everyone else is trapped in a factory-like environment where they must cycle for hours on end to generate all the electricity needed. Forced to watch inane crap on the screens that constantly surround them, their activities are frequently interrupted by adverts, just like on the Channel 4 player!
Daniel Kaluuya’s Bing has inherited 15 million merits from his brother on his passing and decides to use them to enter Jessica Brown Findlay’s Abi into Hot Shots, the X Factor-like show with a scarily vacuous Julia Davis and a sinister Cowell-a-like Rupert Everett. This is the only route out of their slave-like existence but sure enough, nothing is as simple as it seems and as ever, you have to be careful what you wish for. Continue reading “12 Days of Christmas – Black Mirror 1:2”
“They see what they want to see, not what they really see”
I seem to be surrounded by people who saw and loved the original production of Blue/Orange, with its extremely tasty cast of Bill Nighy, Andrew Lincoln and Chiwetel Ejiofor, and who love to tell me about it! It was however before my time (here in London at least) and so my first, and only, previous experience of the show was with Tiata Fahdozi’s all-female version at the old Arcola, with a less starry but no less interesting cast of Helen Schlesinger, Esther Hall and Ayesha Antoine.
I mention this because it is interesting to me the ways in which people’s journeys with plays are shaped by these interactions, especially when they have been lauded as modern classics. Of the eight, only two are going back to this new production at the Young Vic (it doesn’t seem to be inspiring repeat visits), and the one who has been already didn’t like it. And critics’ responses thus far stretch from Aleks Sierz reconfirming its status as a contemporary classic to Matt Trueman declaring that it hasn’t aged well. Continue reading “Review: Blue/Orange, Young Vic”
“We can get him online”
After watching The Nether at the Royal Court, a chat with a colleague about other plays that effectively depict the internet threw up Enda Walsh’s Chatroom which played at the National Theatre a few years back (and featured both Doctor Who (Matt Smith) and Spiderman (Andrew Garfield) in its cast. It was slightly before my time of insane theatre-going so I was glad to see that I could catch a film version, adapted by Walsh himself and directed by Japanese maestro Hideo Nakata.
The story concerns five teenagers in various states of unhappiness who find succour in online chatrooms. Disillusioned model Eva, anti-depressant taker Jim, unhappy daughter Emily and inappropriately flirtatious Mo are swept up by highly-functioning sociopath and self-harmer William in a room he’s created called Chelsea Teens! At first they just talk smack about those they don’t like but William soon manipulates them into acting on their feelings, with devastating consequences. Continue reading “DVD Review: Chatroom (2010)”
Elevator Pitch is a brilliantly ingenious short which manages to pack in a huge amount into its couple of minutes, layer upon layer builds up as the fourth wall is continually smashed by an intern trying to make a pitch to a film producer. Highly recommended. Continue reading “Short Film Review #45”
“The only thing is to grin and bear it”
Timing is everything and the anti-war message of Somerset Maugham’s 1932 play For Services Rendered failed to gain any purchase on contemporary audiences, making it something of a failure. But listening to Lu Kemp’s adaptation for Radio 4, it strikes as an extraordinarily prescient piece of work, more so given the eventual declaration and devastation of the Second World War, and it surely due for a substantial theatrical revival. As it is, this version will more than do for now as its tale of how the impact of the First World War lingered perniciously on in the lives of the nation is embodied in the trials of the Ardsley family and their friends.
Leonard and Charlotte Ardsley have four children and though superficially their lives in the Kent countryside are going well, there’s much trauma and difficulty just beneath the surface. Only son Sydney was blinded in the war and sister Eva has devoted herself entirely to his care, much to the expense of her own situation and youngest daughter Lois also finds herself unmarried due to the lack of prospects. Ethel is the one that did manage to secure herself a husband but the upheaval of wartime blinded her to his eminent lack of suitability and now in peacetime, she is left to repent at leisure. With so much bubbling away as the social order decays, it isn’t long before changes start to force themselves upon this group. Continue reading “Review: For Services Rendered / Carnival, Radio 4”