Sexed-up rather than subtle, I can’t help but be won over by this fresh take on Oscar Wilde’s The Importance of Being Earnest at the Vaudeville Theatre
“I hope you have not been leading a double life…that would be hypocrisy”
I find it increasingly hard to get too excited about the prospect of Oscar Wilde these days, hence having been a rare visitor indeed to Classic Spring’s year-long residency at the Vaudeville. My problem is that, as with Noël Coward’s work, there’s an insistence on the specificity of its staging which means it is far too easy to feel like you’ve seen it all before, silk pyjamas, bustles, handbags, the lot. So the notion that Michael Fentiman’s The Importance of Being Earnest has ruffled a few feathers by daring to do something different, plus the kind of casting that I could never resist, meant that I had to see for myself.
And ultimately, there’s something laughable in the idea that there’s only the one way to do Wilde. It’s more that ‘certain people’ prefer it done the way they’ve always seen it done, which is all well and good (if soul-destroying) but to bemoan a lost art because someone is finally ringing the changes? Shove a cucumber sandwich in it mate. What’s even funnier is that you’d be hard-pressed to tell the difference really, it’s not as if this production is set in space, or it’s being mimed, or it’s been directed in a…European way. It has just had a good shaking down, the dust blown off the manuscript, the cobwebs swept from the velvet curtains, and an enjoyable freshness thus brought to proceedings which are sexed-up rather than subtle. Continue reading “Review: The Importance of Being Earnest, Vaudeville”
If female-fronted lawyer shows are your bag (and why wouldn’t they be!), the twin joys of The Split and The Good Fight have marvellous to behold
“Kill all the lawyers”
If I’m completely honest, Abi Morgan’s The Split did leave me a tad disappointed as it veered away from its legal beginnings to something considerably more soapy over its six episodes. The personal lives of the Defoe clan well and truly took over at the expense of any of the cases they were looking after and even if that family includes Nicola Walker, Annabel Scholey and Deborah Findlay, it’s still a bit of a shame that it ended up so schlocky. Continue reading “TV Review: The Split / The Good Fight”
All hail the return of Nicola Walker to our TV screens in new Abi Morgan drama The Split
“Divorce shouldn’t be easy”
Just a quickie to cover the first episode of this new legal drama which looks extremely promising, not least because of a swooningly wonderful cast. The aforementioned Nicola Walker, Annabel Scholey and Fiona Button as sisters, the ever-marvellous Deborah Findlay as their fearsome mother, people like Stephen Tompkinson and Meera Syal as clients, hunky Dutchmen like Barry Atsma looming on the sidelines, and the likes of Rudi Dharmalingam and Kobna Holdbrook-Smith also on the fringes.
Photograph: Mark Johnson/BBC/Sister Pictures
“Give me the history of the Congo in four and a half minutes”
There’s an ingenious moment in the middle of They Drink It In The Congo when a PR guy has to step in for an ailing colleague at an imminent press conference and utters the line above. The answer he gets exposes not only the vast complexity of the socio-political issues in the Democratic Republic of Congo but also the way in which Westerners seek to reduce them to manageable soundbites so that they can be dismissed as problems easily solved
Which in a nutshell is the key issue at the heart of Adam Brace’s new play for the Almeida. Aware of the impossibility of doing Congolese history justice in a couple of hours, he approaches the issue from an alternative angle, the impossibility of “doing something good about something bad”. Daughter of a white Kenyan farmer, Stef now works for a London NGO and is excited to be given the opportunity to organise ‘Congo Voice’, a new arts festival raising awareness of the issues there. Continue reading “Review: They Drink It In The Congo, Almeida”
“I must speak or burst”
Short and sweet cos it is in the last week and I’m running out of time… the Globe’s production of John Ford’s ‘Tis Pity She’s A Whore
got the kind of publicity money can’t buy when TfL banned their posters for being overtly sexual (in a way that David Gandy’s underwear ads are apparently not) but it was sufficiently good a piece of theatre that one imagines it would most likely have sold out the candlelit atmosphere of the Sam Wanamaker Playhouse regardless.
Michael Longhurst navigates the complex plot expertly to give us a clear-sighted view of what is going on but completely free from judgement, even as the goings-on are pretty scandalous. Annabella and Giovanni are fiercely in love, a passion that gets her pregnant – only small catch is that they are siblings with varying motivation. And the society around them that bubbles with hypocrisy and sexuality also has its complexity portrayed – there’s good and evil in us all, it’s just about what you can resist.
Continue reading “Review: ‘Tis Pity She’s A Whore, Sam Wanamaker”
“They don’t photograph just anyone you know”
You will of course be aware that it was Helen McCrory Weekend the weekend before last and in recognition of thereof, up popped two related treats: the announcement of her appearing in The Last of the Haussmans with Julie Walters and Rory Kinnear at the National Theatre and a new TV film she was in, We’ll Take Manhattan. I duly caught up with the show on iPlayer this weekend and though she gave an epic performance, I can’t say I cared that much for it.
The show followed the story of David Bailey, Aneurin Barnard in leather jacket, as he emerged as a photographic force to be reckoned with in the early 1960s, shaking up the whole fashion industry with an iconic photo shoot in New York starring his muse Jean Shrimpton, Karen Gillan marking out her possible post-Doctor Who options. McCrory starred as Lady Clare Rendlesham, fashion editor at Vogue and the representative of the old guard that Bailey so detested and wanted to be rid of. Continue reading “TV Review: We’ll Take Manhattan”
“Now that the House of Commons is trying to become useful, it does a great deal of harm “
Oscar Wilde’s An Ideal Husband, a tale of morality, blackmail and political corruption, arrives at the Vaudeville Theatre on the Strand for a winter residency, featuring the husband and wife team of Alexander Hanson and Samantha Bond alongside the luminary talents of Elliot Cowan and Rachael Stirling in the lead roles.
On the surface, Wilde’s play is the saga of a rising political star, Sir Robert Chiltern, whose career is threatened by the villainous Mrs Cleveley who is possession of the knowledge of the past indiscretion which led to him securing a small fortune and the undying respect of his virtuous wife. Mrs Cleveley wants his support on a new scheme and is willing to blackmail him to get her way, but when his wife Gertrude finds out the truth, her perfect ‘ideal husband’ is besmirched, she declares she can no longer love him and it is left to their dear friend Lord Arthur Goring. But on closer examination, it is becomes a passionate plea for true love to be willing to forgive everything, something given extra poignancy when one considers that Wilde’s affair with Lord Alfred Douglas would become public and wreck his life within the very year this play was first produced. Continue reading “Review: An Ideal Husband, Vaudeville”
“And these people think we’re twats? Are we going to just sit here and take it…”
Posh, a new black comedy by Laura Wade at the Royal Court, follows a group of young toffs, calling themselves the Riot Club, as they meet up to get thoroughly drunk or “chateaued” and trash the private dining room of the Oxfordshire gastropub where they are spending the evening. It is apparently inspired by Oxford University’s Bullingdon Club which has given us such scions of society as David Cameron and Boris Johnson though I can’t see either of them making the trip to see this as it does rather skewer their antics (that said, the vast majority of the audience had a much closer affinity to the title than I would have imagined, and on cheap Monday prices too, shame on them!)
The writing is beautifully delicious in places, I loved the quip about reading languages in Newcastle (you’d have to, up there!), the scene with the prostitute with a mind of her own is wonderfully awkward and so much of the dialogue has clearly been finely crafted, reflecting the intelligence, no matter how odious they get, of many of these chaps. Wade also captures the righteous indignation of those who feel their birthrights have been slowly eroded but yet insist on the maintenance of the system of privileges that accompanies membership of the upper classes. Continue reading “Review: Posh, Royal Court”
The third play in the Donmar’s residency at the Wyndham’s Theatre is Madame de Sade, a slightly obscure work by the Japanese playwright Yukio Mishima, which fulfils Michael Grandage’s promise to bring lesser-known works into the West End alongside the classics. Unfortunately, as many reviews have already said, this is not really a play that stands up to the exceptionally high standards already set by this season, despite the efforts of an excellent cast.
The play tells the story of the life of the Marquis de Sade just before the French Revolution in three short acts, moving a few years through time with each act, but tells it through the eyes of six different women who have varying relationships with him, and the Marquis himself does not actually make an appearance. The women are his wife, his mother-in-law, his sister-in-law, a servant in his house and two other ladies and they each represent a single viewpoint which rather limits the opportunities for the actresses to display their talents.
Continue reading “Review: Madame De Sade, Donmar at Wyndham’s”