“No-one wants to be in calm waters all their life”
Anyone who has read this blog for a wee while will know I’m a sucker for a thesp-heavy cast but not even could have come up with the manifold delights of the ensemble for this 1995 version of Persuasion. Directed by Roger Michell and adapted by Nick Dear, it features Amanda Root and Ciarán Hinds as Anne Elliot and Frederick Wentworth, a once-engaged couple who were pulled apart by societal pressure as he was but a penniless seaman. Eight years later, Anne’s family is struggling to maintain their aristrocratic lifestyle due to overspending but Wentworth is now a captain and highly sought after – might their love be reunited after all? Watch this space…
Root and Hinds are both excellent with hugely subtle performances suggesting the depth of emotion each holds, unable to express how they truly feel and buffeted around a range of alternative marriage proposals as everyone tries to secure the best possible situation for themselves. But real pleasure comes too in the supporting performances, seeing such fantastic actors earlier in their career and tracing something of a journey in their acting careers. Continue reading “DVD Review: Persuasion (1995)”
“Never tired o’ lookin’ for a rest”
When the National Theatre open their booking periods, there is normally a mad scramble to pick up the cheap £12 tickets and so my default position has generally been to take a punt on most, if not every show that comes up, without really considering how much I actually want to see the plays. Increasingly though, I am coming to realise that the rush for a bargain really shouldn’t override my instincts about whether I will enjoy a play or not: it may seem like common sense to most people but to a theatre addict, this is a big step. Which is all leading up to me telling you that I left Juno and the Paycock at the interval.
The play in question was lauded as one of the best 100 plays of the last century and an Irish classic – this is a co-production with the Abbey Theatre, Ireland where it premiered last month (this was the final preview here) – with Howard Davies directing and a cast including Sinéad Cusack and Ciarán Hinds, so one would have assumed it was something of a safe bet. But if I’m honest, the prospect of this play never really stirred any excitement in me and the way the first two acts played out left me completely cold and so I made the very rare (for me) decision to make a quick exit. Continue reading “Not-a-review: Juno and the Paycock, National Theatre”
“Negativity be damned”
Maintaining a strong record of reviving Russian plays (Burnt By The Sun was a highlight of last year for me), Mikhail Bulgakov’s The White Guard takes up residence in the Lyttleton in a version by Andrew Upton (I saw a preview, it opens officially on 23rd April). Stalin was famously a fan of this play but it should be noted that Bulgakov was no Stalinist and was pretty much a dissident, writing as anti-Soviet works as he dared whilst forbidden to leave the country and suffering much from censorship, a theme visited in another of his plays, Molière or the League of Hypocrites seen in London late last year at the Finborough.
The White Guard is a look at the price that is paid by people during wartime: both on the grand political scale, but also on the personal and family lives. Set in the Ukraine in 1918, we follow the Turbin family as they struggle to maintain their lives in a Kiev ravaged by the just-ended First World War, yet flung headlong into the Russian Civil War which ensued immediately after. The Turbin’s apartment is presided over by the luminous Lena, around whom a coterie of assorted characters gravitate, as the tumultuous sequence of events and invaders threaten to irrevocably change to everyone’s way of life. Continue reading “Review: The White Guard, National”
Much of the talk about Rebecca Lenkiewicz’s new play Her Naked Skin has focused on the rather shameful fact that it is the first play by a female writer to be staged on the main Olivier stage at the National Theatre. Which whilst true and a definite achievement in itself, should not detract from the fact that this is a really rather sensationally good play.
Set in the Suffragette Movement in London in 1913 with excitement in the air as victory can be tasted, but times have never been more frenzied or dangerous as militant tendencies are at their strongest and many women are experiencing jail time on a regular basis. Lenkiewicz pitches the continuance of this struggle against the more personal story of Lady Celia Cain, bored in life and with her traditional marriage and family, who launches into a passionate lesbian love affair with a much younger, much more lower-class seamstress whom she shares a cell with and soon much more. As the affair hots up, so too does the political climate as emancipation comes closer to becoming a reality. Continue reading “Review: Her Naked Skin, National Theatre”