Aimee Lou Wood, Dianna Agron, Kyle Soller, Phoebe Fox, Pippa Bennett-Warner, Aki Omoshaybi and George MacKay have self-filmed video excerpts from the finalist plays for the 2020 Platform Present Playwright’s Prize in isolation during lockdown
My Dad’s a Cunt by Anoushka Warden – Aimee Lou Woods
Aimee Lou Wood played Aimee Gibbs, a central character in two seasons of the Netflix comedy series Sex Education. She will soon to be seen in the feature film Louis Wain alongside Benedict Cumberbatch and Claire Foy.
A fatally muddled tone means Been So Long ends up less than the sum of its parts, despite glorious lead performances from Arinzé Kene and Michaela Coel
“People don’t want inclusivity mate, they want exclusivity. And something for the gluten-intolerant”
I really wanted to like Been So Long, and can imagine it having worked well on the stage (it played the Young Vic in 2009) but something has definitely been lost in translation with this screen adaptation here. It is mildly curious as the film is written by Ché Walker, scribe of the original play and the subsequent stage musical, but maybe this was a step too far?
One of the main problems for me is that crucial issue of tone. As a love story set in contemporary Camden, and in which Camden plays a central role, there’s a tendency towards gritty naturalism, particularly in showing the home lives of its protagonists, new ex-con Raymond (Arinzé Kene) and single mum of a disabled daughter Simone (Michaela Coel). Continue reading “Film Review: Been So Long (2018)”
Sam Mendes’ 1917 is undoubtedly an technically excellent film but the focus on format ends up detracting from the depth of the storytelling
“You’ll be wanking again in no time! ‘Wrong hand’.”
There’s no doubting the technical audacity of Sam Mendes’ 1917. With its ostensibly one-shot, real-time structure (with necessary caveats that it is neither), it is a bravura piece of film-making that elevates this movie from just your average Oscar-baity war flick (cf Dunkirk).
It is clearly a labour of love for Mendes, who directed, co-wrote (with Krysty Wilson-Cairns) and produced 1917, and whose grandfather’s own war experiences inspired the film. And its driving force, following 2 British soldiers tasked with delivering a vital message beyond enemy lines. Continue reading “Film Review: 1917 (2019)”
Only about a week behind schedule, I wanted to round up my thoughts about the National’s Queer Theatre season – links to the reviews of the 5 readings I attended below the cut – and try a formulate a bit of a response to this piece by Alice Saville for Exeunt which rather took aim at the season alongside the Old Vic’s Queers (also I just want to point out too that there are two writers of colour involved – Tarell Alvin McCraney and Keith Jarrett). As a member of the ‘majority’ within this minority, I tread warily and aim to do sowith love and respect.
It feels important to recognise what the NT (and the Old Vic) were trying to achieve though. Queer Theatre looked “at how theatre has charted the LGBT+ experience through a series of rehearsed readings, exhibitions, talks and screenings” and if only one looked at lesbian women, two of the readings were written by women. Several of the post-show discussions at the NT talked specifically about this issue but in acknowledging it, also quite rightly pointed out that there just isn’t the historical body of work to draw from when it comes to wider LGBT+ representation. That’s where the talks and screenings came into their own, able to provide some of that alternative focus. Continue reading “Queer Theatre – a round-up”
#4 in the National Theatre’s Queer Theatre season of rehearsed readings
“I love you… What’s wrong with that?”
Perhaps one of the better known of these plays but still a new one to me, I really wasn’t prepared for the emotional trauma of Martin Sherman’s Bentwhether I was hungover to fuck or not. Harrowing is barely the word to describe this dramatisation of the way in which the Nazis persecuted gay men in Germany before and during World War II and with this reading, directed by Stephen Daldry, taking place on Pride weekend, its impact was all the more emotional.
Russell Tovey (continuing his graduation into a properly fine actor) and George Mackay took on the lovers Max and Rudy, their coming together in the hedonism of Weimar Berlin shattered by the dawning of the Night of the Long Knives, the realisation of just how insidious the Third Reich is, and the astonishing lengths that people will go to in order to protect themselves at the expense of all they hold dear.
2017 marks 50 years since the decriminalisation of homosexuality. The Sexual Offences Act of 1967 was an Act of Parliament that decriminalised homosexual acts in private between two men.
50 years later the lives of queer people are perceived to be very different – equal age of consent, equality law and equal marriage are all heralded as progressive markers in LGBTQIA* equality but has the UK become a queer friendly nation or are homophobic prejudices just as prevalent?
Belonging is a public debate with poncy performance chaired by Scottee. Together with a committee of prominent queers he will explore where queer people sit in our society. A boozy, loose-tongued version of Question Time with less middle aged, middle class white men. Come and mouth off on the eve of London Pride.
When Rupert Goold first announced the #AlmeidaGreeks season with all its familiar titles, I don’t think anyone could have predicted how genuinely epic a sweep of theatrical innovation it would usher in. From the extraordinary Oresteiato the shattering Bakkhaiand Medea, the radical main house programme has been supported by a wide range of supplementary activity, not least the 16 hour, 60+ actor retelling of The Iliad(which can now be viewed in full on the Almeida website).
So it’s only natural that as the season draws to an end, it is bookended by another Homeric extravaganza in The Odyssey, again with 60 odd actors participating in a 12 hour non-stop feat of major storytelling which was live-streamed on t’internet. And conscious of raising the ante, directors Rupert Goold and Robert Icke took us on a literal journey, putting the players in taxicabs, boats, buses, trekking across rooftops and down busy streets to bring Ithaca to Islington as Odysseus winds his way home. Continue reading “Review: The Odyssey, Almeida/Live-stream”
It is a truth that every generation gets their own cinematic version of JM Barrie’s classic Peter Pan whether they want it or not (and this year’s Pan bombing heavily for Joe Wright shows it’s not always a good idea) and in 2003, it was PJ Hogan who took on the boy who never grows up, actually casting a boy in the lead role for once. And I have to say it is a rather sweet version of the story, a charming adaptation that captures much of the child-like glee associated with the story.
There’s nothing particularly innovative about this interpretation, it just does traditional very well whilst still managing subtle differences. Jeremy Sumpter’s sprightly Peter and Rachel Hurd-Wood ‘s impassioned Wendy are just perfect, both on the cusp of young adulthood and giving a real sense of the confusion of first sexual attractions and the world of possibility it opens. And Jason Isaac, doubling as Mr Darling and the dastardly Hook, is rather unexpectedly excellent, full of real menace for once as the pirate king. Continue reading “DVD Review: Peter Pan (2003)”
“You don’t suppose he’s been… ‘No, that’s love not liquor'”
It’s a little surprising and indeed disheartening to see that not even the cachet of two multi-award-winning productions in the last year can guarantee bums on seats on a Friday night at the Young Vic. We must have had 8 empty seats on our row for Eugene O’Neill’s Ah, Wilderness!which is sad to see though to be fair, it wasn’t anywhere near that bad in the rest of the theatre. It just goes to show the unpredictability of the British theatre audience, especially when the lure of a Hollywood star isn’t there.
Personally, I rather enjoyed Natalie Abrahami’s production of this precursor to Long Day’s Journey Into Night, an imagined idealised version of his childhood that is given a further push into a dreamworld by the presence of an adult author-figure interwoven into the action, filling in minor roles where necessary, a persistent reminder that this is the realm of the memory play. It’s a gently intriguing choice, one underlined by the imaginative slant of Dick Bird’s sand-strewn set design and Charles Balfour’s evocative lighting, but it is one which works. Continue reading “Review: Ah, Wilderness!, Young Vic”
“To find out you have a friend you never knew existed, well it’s the best feeling in the world”
I kind of knew that I would like the film Pride, I hoped that I would really like it, but I wasn’t quite prepared for just how much I loved it – the kind of joyous, timeless film-making that makes you want to trot tired old clichés like Great British Classics. But it’s true, it really is. And it is also factually true – based on the real story of an unlikely alliance between a group of gay activists from London and a small Welsh mining community in the heart of the 1984 strike.
Written by Stephen Beresford (whoseLast of the Haussmans probably ranks as one of my favourite new plays of recent years), there’s something just straight up lovely about the culture clash that emerges between the two groups, but also in the way that the assortment of odds and sods on both sides who are completely changed by the experience. I don’t think a coda has ever affected me quite so much in the revelation of finding out what actually happened to these people in real life.