“I’m full of all commotion like an ocean full of rhum”
The Gershwins’ Porgy and Bess (as it appears to be styled here, in case you confuse it with Jedward’s Porgy and Bess) made for a striking component of the Open Air Theatre’s programme this summer. More folk opera than musical, it is perhaps a more challenging choice than usual but none the worse for it, the musical and dramatic spectacle heightened by an impressionistically remarkable design by Katrina Lindsay and director Timothy Sheader’s resourceful production which hammers home its musical strength.
From its tragically inclined leads, Nicola Hughes’ sensational Bess with her substance abuse issues and Rufus Bonds Jr’s impassioned dignity as Porgy, through brilliant support from the likes of Golda Roshuevel’s Serena and Sharon D Clarke’s Mariah, to the polar opposites of Jade Ewen’s impossibly pure Clara to croons the iconic lullaby ‘Summertime’ and Cedric Neal’s sleazily cocky ‘Sportin’ Life’ who swaggers through ‘It Ain’t Necessarily So’ as he ensnares Bess with his wares, the sheer size and quality of this ensemble is truly something to behold. Continue reading “Review: Porgy and Bess, Open Air Theatre”
Elevator Pitch is a brilliantly ingenious short which manages to pack in a huge amount into its couple of minutes, layer upon layer builds up as the fourth wall is continually smashed by an intern trying to make a pitch to a film producer. Highly recommended. Continue reading “Short Film Review #45”
“Do you know what would make me feel less old?”
Tom MacRae’s 2011 sitcom Threesome was the first original scripted comedy commissioned by British satellite channel Comedy Central. Starting off as a flatshare comedy about 3 college friends making the most of carefree living in their twenties, the big shift comes after a huge night out which ends up with them regretting a drunken threesome. And this being tv-land, it is not Amy’s boyfriend Mitch who impregnates her but rather their friend Richie, who just happens to be gay. And really being tv-land, they opt to have the baby altogether, raising it as a threesome.
Working their way through the tropes of pregnancy-based comedy, this offers a rather neat twist on the standard gags (Sylvestra Le Touzel makes a great ante-natal class leader), allowing for the complementary characteristics of the trio to make up just about enough maturity for one adult – at least at the beginning of the series – as they each come into their own, Stephen Wight’s Mitch doing the most obvious maturing as the father-to-be of a son who isn’t genetically his. Continue reading “DVD Review: Threesome (Series 1)”
“They’ve set up a new unit”
Series 1, and particularly episode 1, of Luther has to rank as one of my favourite bits of television in recent years, so it was great news to hear that a second season had been commissioned. But given that my main enjoyment came from the ladies of the show, it was perhaps unsurprising that my enjoyment didn’t quite reach the same level. Taking place months after Series 1 finished, rebel detective John Luther has now joined the Serious and Serial Crimes division after some time off following the shocking events of the season finale. There, he continues to deal with the worst of human nature and utilising his own inimitable approach to catching these criminals.
For our purposes here on a Ruth Wilson level, there’s no denying that the character of Alice really has run its natural course and so it feels like a bit of a cheat having her be the first face we see just to recap the events of the series 1 finale. She reappears a couple of times after that but not in any meaningful way for the main story, so it’s a bit of a letdown. And Saskia Reeves’ Rose is not given the farewell she deserves as Luther’s former boss which feels a real shame, the impact of his repeated actions on her life and career could have been something rather interesting to explore. Continue reading “DVD Review: Luther Series 2”
“Administrate it to buggery”
Steve Marmion’s opening season as artistic director for the Soho Theatre continues with Mongrel Island, a new play by Ed Harris, which follows on both thematically, in its utterly surreal exploration of the mind and memory and in retaining part of the same company, who played in Anthony Neilson’s Realism which has just finished its run in the main theatre. Harris sets his play in the workplace, an office where a group of people are going about the deathly dull business of a massive data transfer, a job so mind-numbing yet all-compassing that it soon starts to take over their whole lives.
Marie, Only Joe and Elvis toil away under the watchful, twitching eye of boss Honey, but when Marie, a charming turn from Robyn Addison, takes on extra hours in order to try and get a few days off to visit her father, the already odd atmosphere in the office takes a turn for the even more surreal. Harris’ writing is strongest when he is evoking the grim realities of an uninspiring working life, the inane chat to fill the silence, the casual cruelty born simply of the need to entertain, the sexual connections made to alleviate the boredom. Simon Kunz’s vicious Only Joe and Shane Zaza’s Elvis with his head seemingly in the clouds entertaining greatly here, Elvis’ storytelling having a particularly surreal poetic beauty even when talking about giant prawns battling polar bears. Continue reading “Review: Mongrel Island, Soho Theatre”
“What good is it going to do you, moping about your flat all day”
New Artistic Director for the Soho Theatre, Steve Marmion, has chosen an ambitious way to start his tenure using one company to perform two plays – one English premiere of an Edinburgh hit and one new commission – both exploring matters of the mind and sanity. The first of these is Anthony Neilson’s Realism, the story of a man who wants to spend his Saturday doing ‘f*** all’, just curled up on his sofa. This he does, but what Neilson explores is that even in the act of physically doing nothing, the mind remains highly active and can take us on a marathon of a journey that can be just as exhausting as actually running one.
So the tiniest action our protagonist carries out: opening the post, putting a load of washing in, making some toast, triggers memories and trains of thoughts, delving into the full gamut of the emotionally bruising recent past, sexual fantasies and as far back as childhood but also spinning off into fantastical moments and imagining his own funeral. The hugely endearing Tim Treloar takes us on his journey with great skill, negotiating the peaks and troughs as his conscious and sub-conscious clash in the most bizarre of ways. Continue reading “Review: Realism, Soho Theatre”