Given the current discourse around Churchill and the aspects of British history that are commonly taught, watching A United Kingdom couldn’t be more timely
“Would you care for a sherry?”
It’s no secret that the realities of British colonial history are too often and too easily brushed under the carpet. And so it’s no surprise that it is directors of colour who are dragging them into the spotlight, as Amma Asante does with A United Kingdom. You can’t imagine a history lesson that wouldn’t benefit from screening this for its students.
Written by Guy Hibbert from Susan Williams’ Colour Bar, it is based on the true-life story of a law student named Seretse and a underwriters’ clerk named Ruth who met at a dance and fell in love, the film intelligently explores and exposes post-war British imperialist attitudes as well as giving us an epic love story. Continue reading “Film Review: A United Kingdom (2016)”
With Allelujah! at the Bridge Theatre, the return of Alan Bennett leaves me less than enthused
“Still, it was better than this”
In some ways, Allelujah! is perfectly symptomatic of the problem I have with the Bridge Theatre. Does London really need any new theatres, no matter how much people think they want interval madeleines? Does it especially need ones that put on large-scale Alan Bennett premieres? It is nice to see Nicholas Hytner maintaining the long-gestating creative relationship he has with Bennett but at the point where his new venture is now just a carbon-copy of his former home down the South Bank, except with premium seating, it is increasingly hard to make the case for it.
It doesn’t help that this isn’t vintage Bennett. His first play in six years, Allelujah! takes place in the crowded geriatric ward of the Bethlehem, a Yorkshire hospital threatened with closure. A camera crew are filming a documentary, allowing many of the patients to wax lyrical about lives that have passed on by, the England that once was. And in the corridors around the hospital, Bennett similarly lets rip, on the loss of compassion in our society, a social care system on its knees, an NHS in an even worse state, privatisation, gentrification, the downright stupidity of an immigration system that is leaching away the very talent we need to stay. Continue reading “Review: Allelujah!, Bridge Theatre”
Good things come to those who wait! I hadn’t booked for Young Marxat the brand new Bridge Theatre for a couple of reasons. I was still hoping that I might get a response to my email to the PR and despite a cast that includes the splendid Nancy Carroll and the delicious Oliver Chris alongside lead Rory Kinnear, Richard Bean just really isn’t my cup of tea. ‘Don’t you love farce?’ Not much my dear…
So when an email popped into my inbox offering a sneak preview of the show and an opportunity to be the first ever audience in the theatre for a pre-preview test run of the new venue and its facilities, then I knew it was meant to be. Turns out I do love a farce, at £7.50 a ticket. Continue reading “Thoughts on a visit to the Bridge Theatre”
1850, and Europe’s most feared terrorist is hiding in Dean Street, Soho. Broke, restless and horny, the thirty-two-year-old revolutionary is a frothing combination of intellectual brilliance, invective, satiric wit, and child-like emotional illiteracy.
Creditors, spies, rival revolutionary factions and prospective seducers of his beautiful wife all circle like vultures. His writing blocked, his marriage dying, his friend Engels in despair at his wasted genius, his only hope is a job on the railway. But there’s still no one in the capital who can show you a better night on the piss than Karl Heinrich Marx.Continue reading “Full cast announced for Young Marx”
The theatrical production of London Road was a major success for the National Theatre, the opening run first extending in the Cottesloe and then being rewarded with a later transfer to the much larger Olivier – I was first blownaway by its originality and then later comforted by its message in the aftermath of the 2011 riots. So the news that director Rufus Norris was making a film adaptation was received with apprehensive anticipation, could this strikingly experimental piece of theatre possibly work on screen.
Writer Alecky Blythe uses a technique whereby she records interviews with people which are then edited into a play but spoken verbatim by the actors, complete with all the ums and aahs and repetitions of natural speech. And in 2006, she went to Ipswich to interview a community rocked by a series of murders, of five women in total, all sex workers, and set about telling a story not of salacious deaths but of a community learning to cleave together in trying times. Oh, and it’s all set to the most innovative of musical scores by Adam Cork, elevating ordinary speech into something quite extraordinary.
The material has been considerably reshaped for the screen – Moira Buffini assisting as script consultant – resulting in a much more straight-forward narrative through-line than was seen on stage. This linear development is reflected in Danny Cohen’s cinematography which tracks the wintry gloom of the beginning into the verdant bloom of the climax with a real visual grace. Straightening out the storytelling reduces the theatricality of the presentation too, making this feel much more like a piece of documentary realism.
Where the stage show had a cast of eleven each playing a resident and multiple other roles, each character is played by someone different here, meaning the focus is teased out a little from the tight circle of the London Road residents and their outrage about their street turning into a red light district, to give a more fully realised sense of the wider community. They consequently get more of their own voice heard – the nervy teenagers suspecting everyone around them, the sex workers shaken up by the attacks on their own, the journalists tiptoeing around the sensitivity of the issue whilst always on the lookout for a scoop.
The experience of the residents does remain central to the film though, Blythe digging back into her archive of interviews to find ways of ensuring at least of them appears in every scene and Cork rejigging the score where necessary too. And this is where the writing is at its strongest, in always showing the complexity of the collective response. Though the story moves towards a happy(ish) ending with the London Road in Bloom street party as the culmination of their efforts, there’s no pretence that a solution to the inherent problems has been found, they’ve just been moved away from their doorstep.
This ambiguity comes across particularly well in characters like Olivia Colman’s Julie and Nick Holder’s Ron, barely apologetic in their unspeakable thoughts yet rooted in small-town authenticity. Paul Thornley’s inscrutable Dodge, Linzi Hateley’s pragmatic Helen and Clare Burt’s dithering Sue remain a delight, Anita Dobson is daffily wonderful as June, Michael Shaeffer and Rosalie Craig’s journalists both stand out and the original Julie, Kate Fleetwood, plays the new role of Vicky, a haunting figure representing the spirit and presence of the working girls, both alive and dead.
And delving a little deeper, clever little touches abound in the production. The two schoolgirls singing ‘It Could Be Him’ (see clip below) are the daughters of Burt (Eloise Laurence) and Hateley (Meg Hateley Suddaby); Blythe and Cork both get cameos as a newsreader and a pianist respectively; and the final street party mixes real residents of both the real London Road in Ipswich and the fictional one in Bexley in with an ensemble that folds in any number of faces that seasoned theatregoers might recognise.
Elements of choreography by Javier De Frutos are used sparingly but most effectively to sprinkle pathos or humour into sequences as required, David Shrubsole’s sharp musical direction keeps the singing (nearly all done live) on point, and Norris’ direction constantly takes on inventive new directions to expertly but sensitively reshape the material for this new medium. I can’t imagine what it would be like to come to this film without prior experience of the show (and I’d be fascinated to hear from you if that’s you) but as a fan, it is undoubtedly a beautiful extension to one of the most innovative musical theatre experiences of the last decade.
Full cast list
Julie – Olivia Colman
Sue – Clare Burt
Kelly McCormack – Rosalie Craig
June – Anita Dobson
Seb – James Doherty
Vicky – Kate Fleetwood
David Crabtree – Hal Fowler
Helen – Linzi Hateley
Tim – Paul Hilton
Ron – Nick Holder
Councillor Carole – Claire Moore
Simon Newton – Michael Shaeffer
Rosemary – Nicola Sloane
Dodge – Paul Thornley
Terry – Howard Ward
Gordon – Duncan Wisbey
Mark – Tom Hardy
Hayley – Rosie Hilal
Natalie – Amy Griffiths
Colette McBeth – Gillian Bevan
Jessica – Anna Hale
Schoolgirl 1 – Eloise Laurence
Schoolgirl 2 – Meg Hateley Suddaby
Kath – Angela Bain
Margaret – Jenny Galloway
Alan – Sean Kingsley
Imelda – Jayne McKenna
Jason – Richard Frame
BBC Newsreader – Alecky Blythe
Grahame Cooper – Mark Lockyer
Harry – Barry McCarthy
Shop Assistant – Abigail Rose
Evening Star Girl – Maggie Service
Radio Techy – Alexia Khadime
Radio DJ – Dean Nolan
Stephanie – Ruby Holder
Alec – Calvin Demba
Stella – Helena Lymbery
Wayne – Mark Sheals
Graeme – Morgan Walters
Ivy – Janet Henfrey
Steve Cameraman – Jonathan Glew
Chris Eakin – Jason Barnett
Policeman – Andrew Frame
Anglia Newsreader – Rae Baker
Abby Rose Bryant, Adam Dutton, Adam Vaughan, Alan Vicary, Alicia Woodhouse, Alistair Parker, Amanda Minihan, Ameer Choudrie, Andrew Spillett, Andy Couchman, Anita Booth, Annette Yeo, Audrey Ardington, Barnaby Griffin, Basienka Blakes, Bob Harms, Carl Patrick, Carly Blackburn, Carol Been, Cassandra Foster, Charlotte Broom, Chloe Bingham, Chris Akrill, Clare Humphrey, Clemmie Sveaas, Connor Dowling, Coral Messam, Corinna Powlesland, Cornelia Colman, Courtney Crawford, Cris Penfold, Cris Snelson, Cydney Uffindell-Phillips, Daisy Maywood, Daniella Bowen, David Birch, David Stroller, Debra Baker, Don Gallagher, Edward Baruwa, Elaine Kennedy, Eleanor Clark, Ella Vale, Ellis Rose Rother, Emily Bull, Emma Brunton, Eva Lamb, Faye Stoeser, Frank Stone, Gary Forbes, Graham Hoadly, Haruka Kuroda, Hayley Gallivan, Helen Colby, Hendrick January, Ian Conningham, Ilana Johnston, Ilse Johnston, Ira Mandela Siobhan, Jack Edwards, Jackie Marks, James Ballanger, Jess Ellen, John Brannoch, Johnathan Fee, Jon Ponting, Joshua Lacey, Judith Paris, Julie Armstrong, Karianne Andreassen, Kayleigh Clayton, Laura Cubitt, Leah Ellis, Leah Georges, Leanna Wiggington, Lee Nicholas Harris, Linda Lewcock, Louis Fonseca, Louise Lee, Lucinda Shaw, Luke Fetherston, Lynne Wilmot, Marc Antolin, Margarita Reeve, Melanie La Barrie, Michael Fox, Michelle Wen Lee, Miles Mlambo, Miroslav Zaruba, Morgan Crowley, Natalie Victoria Dungan, Nathan Amzi, Nathan Harmer, Nathan Rigg, Nicholas Marshall, Oliver Roll, Paul Blackwell, Paul Bullion, Paul Shea, Perry Moore, Pete Meads, Philip Howard, Rachel Ann Davies, Rajesh Kalhan, Rebecca Scarott, Rebecca Sutherland, Rebecca Thomas, Reuben Williams, Rob Smithson, Sarah Heyward, Sarah Stanley, Sidney Livingstone, Simon Fee, Simon Humphrey, Stephanie Natufe, Stephen Webb, Steve Carroll, Steve Elias, Stuart Angell, Susan Fay, Susan Lawson-Reynolds, Tim Coldron, Tom Lyle Severn, Tomos James, Tony Pankhurst, Tony Timberlake, William Rossiter, Yinka Williams, Zoe Uffindell
Additional Choral ADR Group
Bethan Nash, Callum McIntyre, Daisy Maywood, Edward MacArthur, George Ikediashi, Hannah Genesius, Patrick Tolan, Perry Moore, Steve Rostance, Toby Webster,
“No Lib Dem leader has ever had this kind of exposure and opportunity”
James Graham definitely seems to be having a moment – the noted playwright has been branching out into film and TV and with some serendipitous timing, is showcasing his talent in all three avenues. The Vote will soon be hitting the Donmar, X&Y is in cinemas as we speak, and his television film Coalitionaired on Channel 4 last night. I’ve yet to catch X&Y but if Coalition is anything to go by, then there’s absolutely no fear that he is overstretching himself as it was a cracking bit of telly.
One of the reasons it worked so well for me was its basis in more-or-less contemporary events. His play This House was a sterling piece of political theatre but for someone who had no knowledge of the 1970s politicking it portrayed, there was always a sense of catch-up whereas the more august members of the audience could enjoy the nuances of Graham’s skilful writing and observations without the niggle of also trying to work out just what was going on. Continue reading “TV Review: Coalition, Channel 4”
”I’d rather live life wishing I hadn’t rather than wishing I had”
Today I was lucky enough to catch an early screening of Joe Wright’s new film, Anna Karenina starring Keira Knightley in the title role, which is certain to be divisive with its unique approach. Tom Stoppard has been employed to distil Tolstoy’s weighty tome into something more manageable and his adaptation clocks in at a shade over 2 hours. Remaining largely faithful to the novel, Stoppard’s focus is on exploring different kinds of love, and so whilst the focus is mainly on Anna herself as she negotiates the tumultuous affair with a young cavalryman that sets her against her husband and the might of Russian society, he also ensures that the subplot featuring the agrarian Levin’s attempts to woo the object of his affections is kept in to provide a neat counterpoint.
Presented with a classic of literature and wanting to avoid predictability as far as period dramas are concerned, Wright’s main conceit has been to reconceptualise the whole thing in a deeply theatrical manner, literally. He treats the story as a piece of theatre, sometimes being played out in front of an audience, sometimes as backstage drama, but always with a defined fluidity and through-line. This exceedingly stylised and highly choreographed approach has a huge cinematic sweep which I adored, but it does soon calm down into something more measured and at key moments, it opens out with some breath-taking transformations. Continue reading “Film Review: Anna Karenina”
“Begonias, and… petunias, and… um, impatiens and things”
Technically speaking this is a re-re-review of London Road, which has made a belated transfer from the Cottesloe to the considerably larger Olivier at the National Theatre, as it is the third time that I’ve seen it. I saw it when it first opened and was blown away by its inventiveness and genuine originality as a piece of musical theatre, and then made a return trip when the show extended its initial run, a visit which coincided with the summer riots here in the UK last year, a time which magnified one of the key messages of the show, of the importance of community. The decision to remount this award-winning and critically acclaimed show, even after a considerable gap of nearly a year, may have seemed like a no-brainer but for those who were able to catch it in the Cottesloe like me, I suspect there may be a little disappointment as something of the magic has been lost in the move.
A strong element to this could well be my own snobbery. As the ticket purchasing was up to someone for once, I ended up in the circle – for the first time in years! – and whilst it wasn’t as bad as I had first feared, the distance does make it a completely different theatrical experience. And ‘experience’ is the right word, for this is such a unique show in its hybrid of verbatim theatre, which replicates the speech patterns and intonations of interviewees, and freestyling atonal music, which forms an additional structure and texture as it layers, repeats and counterpoints the speech into something strangely hypnotic and beautiful. Continue reading “Re-review: London Road, National Theatre”
And the question is do designers ever actually sit in the seats that surround the sets that they create. I ask because Ultz’s design for The Changeling, currently playing in the Young Vic’s Maria studio, stretches the seating round all four sides as well as into a set of nooks and crannies and wheelchairs downstairs. This is fine on two sides with the usual red seating but with the others, a single row of seats has been placed behind a heavy thick rampart meaning that visibility of a third of the stage is compromised and only partly rectified by leaning forward.
Combined with the dreaded unreserved seating and the sheer arrogance of the audience members who refused to budge up like everyone else did in order to maintain ‘their’ spot and forcing some extraordinary contortions in order to allow many people to pass them, I couldn’t help but feel this was a configuration that had its audience too far back in its mind than is truly acceptable. Continue reading “Review: The Changeling, Young Vic”
“Begonias, and… petunias, and… um, impatiens and things”
Capitalising on the unexpected runaway success of London Road, the National Theatre have now released a cast recording of the verbatim musical by Alecky Blythe and Adam Cork. I revisited the show last week – review can be read here – and so it was quite nice to be able to get this more permanent reminder. It is such an unconventional suite of music but as with anything, repeated exposure brings about a kind of familiarity and so the musical vocabulary used here has now been assimilated, its complexity less bamboozling now and a greater appreciation easier to reach.
The show looks at the sense of community that is built up amongst the residents of London Road in Ipswich as the impact of the murder of 5 prostitutes flows out around them: the road had been where the prostitutes touted for business and it eventually turned out that the murderer, Steve Wright, had recently moved into a house on their street. But the play avoids sensationalism and focusing on the murders and murderer by centring on this group of residents and how they felt as the murders were happening and then their lives turned upside down by the revelation that Wright was living in their midst and the media furore that surrounded the ensuing trial. Continue reading “Album Review: London Road cast recording”