“The whole stinkin’ commercial world insults us and we don’t care a damn”
Jessica Raine may have captured the nation’s heart as the star of BBC1’s Call The Midwife but those in the know have been watching her onstage for a goodly while, I first saw her back in 2009 in Punk Rock and have been captivated ever since. Roots sees her take the leading role of Beatie in the middle part of Arnold Wesker’s working class trilogy (Chicken Soup with Barley is the first and I’ve yet to see the third, I’m Talking About Jerusalem) and though very much a slow-burner, James Macdonald’s highly naturalistic production steadily builds into something magically affecting.
It’s 1958 and Norfolk girl Beatie Bryant is back home for a visit, full of love and enthusiasm for both her new abode London and her new beau Ronnie (who is a character in Chicken Soup…). He’s a committed socialist and has filled her head with a brand new world of ideals and inspiration but as she tries to explain and elucidate her new-found truths to her extended family, in anticipation of a big dinner party where Ronnie will be unveiled, she discovers the difficulties in preaching to an audience unwilling to hear. Continue reading “Review: Roots, Donmar Warehouse”
“So many…so many children”
For his first major post-Harry Potter film outing, Daniel Radcliffe went for this adaptation of Susan Hill’s bestseller The Woman In Black, directed by James Watkins. An Edwardian ghost story, widowed father Arthur Kipps’ is tasked with closing up the account of Eel Marsh House, an isolated manor in the fens, but on his arrival he finds the locals unwilling to help, strange goings-on all around him and a haunted house to shake even the most resolute of sceptics.
Skewed angles nod back to Hitchcock, the psychological horror suggests more recent exponents like Amenábar and del Toro, James Watkins is clearly skilled in the art of making people jump but what really works successfully here is the genuine sense of creepiness that imbues much of the film. This is of course most effective in the earlier two-thirds of the film when we’re still hunting for explanations – the long wordless scenes and non-explicit moments of threats have a genuinely disturbing quality – and has there ever been a more unsettling collection of wind-up figures in the world, particularly that rabbit toy. Continue reading “DVD Review: The Woman in Black”
“Female punctuation forbids me to say more”
Not a huge amount of travelling for me this weekend but I’ve still got a big pile of DVDs to work my way through and so this Sunday evening, I sat down to this filmed version, by Heritage Theatre, of RB Sheridan’s The Rivals from the 2004 Bristol Old Vic production. It’s a rather popular play, we’ve seen a wickedly anarchic and amusing Celia Imrie-starring version at the Southwark Playhouse and a more traditional but impeccably acted version from Peter Hall in London in the last couple of years, so I was intrigued to see what this Rachel Kavanaugh-directed interpretation brought to the table.
It is an unfussy, uncluttered production – Peter MacKintosh’s evocative design making great use of perspective – which feels incredibly inclusive, even through the medium of film. Kavanaugh has her actors including the audience as an extra participant in all conversations so it feels we are constantly being confided in and party to all the gossip. It also helps that it is very well filmed, the quality is sharp and clear, there’s little unnecessary camera trickery or shots panning out to the audience, instead it focuses on a simple but strong representation of the action on stage, with key close-ups in all the right places: probably one of the best filmed theatre DVDs I’ve watched in that respect. Continue reading “DVD Review: The Rivals , Bristol Old Vic”
“What you can’t chase, you’d better face or it’ll start chasing you”
Danger: Memory! is a double bill of Arthur Miller one-act plays showing at the Jermyn Street Theatre, offering the first chance to see these short works in London for over twenty years. Written in 1987 when he was in his 70s, the two pieces investigate the varying significance of memory and how we can use it to both comfort and protect ourselves.
I Can’t Remember Anything is the first play, a two-hander featuring a pair of elderly New England neighbours meeting for dinner as is part of their routine. Routine has become important as Leo, a retired engineer, is beginning to lose some of his mental sharpness, but Leonora’s memory is failing much more dramatically. Played by real-life husband and wife David Burke and Anna Calder-Marshall, there’s a really touching brittleness to the way in which they play off each other, constantly at odds and unable to agree on anything as their vibrant lives as are touched back on with varying degrees of lucidity, fading memory unable to destroy their beautifully easy rapport. Continue reading “Review: Danger: Memory!, Jermyn Street”
“Your face isn’t the most cheerful today”
The Prince of Homburg by Heinrich von Kleist is this year’s summer play at the Donmar Warehouse marking the return of Ian McDiarmid after Be Near Me last year. Presented in a new version here by Dennis Kelly (who I still haven’t quite forgiven yet for The Gods Weep), it was written in 1811 just before the German Romantic playwright committed suicide, and apparently was one of Hitler’s favourite plays. In order to squeeze this in before my holiday, I ended up seeing the second preview which should be acknowledged when reading my comments.
The play follows the titular Prince of Homburg, a shining light in the Prussian Army but possessed of a dreamy waywardness which flies in the face of the strict obedience of the law that typifies Prussian military behaviour and when he defies an order from his father-figure the Elector, matters of courage and honour push them both to a horrifying point of no return. Continue reading “Review: The Prince of Homburg, Donmar Warehouse”
When the Donmar first announced its West End season, taking residence in the Wyndhams theatre, there was a special offer if you bought tickets for ll four productions at the same time, so incredibly, I’ve had a ticket for Hamlet for over 18 months! Indeed the entire run had been sold out for quite some time before it even opened, such was the draw of Jude Law’s name as Shakespeare’s eponymous Dane.
The weight of expectation must have been huge on Law’s shoulders. Not only was he following a superlatively-received Hamlet at the RSC with David Tennant, there has been a case of somewhat diminishing returns on the Donmar’s experiment, with Madame de Sade in particular disappointing many after Ivanov’s excellent start. So the sound of gleeful knives sharpening was strong, with a lead actor more known for his looks than acting talent these days taking a lot of flak before he had even started his run. Continue reading “Review: Hamlet, Donmar at the Wyndham’s”