“You are a curiosity”
American versions of Shakespeare (whether his plays or the man himself) are always worth looking up, even if only for a chuckle and new TNT TV series Will is certainly no exception. There’s some weight behind it – it was created by Craig Pearce, the longtime writing partner of filmmaker Baz Luhrmann and has Shekhar Kapur, who directed the award-winning Elizabeth and Elizabeth: The Golden Age, directing and executive producing and in the role of the Bard himself, there’s a potentially star-making role for British newcomer Laurie Davidson.
I watched the first two episodes and they sure make an arresting introduction. You feel Luhrmann’s influence almost immediately as this is no antiquated version of a sedate Elizabethan London, but rather it is one shot through with bright colours and a punk-filled attitude. Literally so, as they have conceived the burgeoning theatre scene of the time as being akin to the contemporary(ish) world of punk rock – theatres filled with patrons in leather and mohicans, the soundtrack filled with the Clash and drunken singalongs to Lou Reed. Continue reading “TV Review: Will, Episodes 1 + 2”
An amusing tidbit from Paul Chahidi’s Twitter takeover for the Donmar Warehouse, promoting his show Limehouse and the commitment its actors have to the art of the warm-up.
Passenger from HMT Productions on Vimeo.
Aaaarrgghhh – proof positive as if it were ever needed that you shouldn’t ever talk to strangers on the tube. Ed Rigg’s Passenger follows a couple at the end of a long day as they catch the Victoria Line up to Walthamstow Central and make the fatal mistake of making eye contact with the guy sitting opposite after a mildly amusing episode. Sara Vickers and Mark Quartley do a great job at capturing the helpless awkwardness of the situation but Samuel Edward-Cook really excels as the ex-serviceman who won’t leave them alone, invading their headspace as well as their personal space as the encounter becomes more and more chilling. Great work.
Doug Rao came to my attention as part of the Spanish Golden Age ensemble currently at the Arcola and I was intrigued to see he was an acclaimed writer and director as well as an actor. His debut short film War Hero hit the festival circuit in 2007 and it isn’t hard to see how it was considered worthy. A densely packed story set in a military hospital , Rao poses questions about the morality of warfare (particularly in Iraq), its effects on the individuals tasked with carrying out the orders and the collateral damage it inevitably collects.
Continue reading “Short Film Review #30”
“This is not that sort of publication”
I’m rarely lost for an opinion, but I am struggling to decide what I really thought of Lucy Kirkwood’s new play for the Royal Court, the search-term-baiting NSFW (not safe for work). In its 80 minutes, it rips through the way in which magazine industry portrays its images of women from two wildly differing perspectives, both equally entertaining but troubling. But after the attitudes from both ends of the spectrum are laid bare in all their misogynistic glory, the play ends rather than delving deeper into the world that allows this to happen.
The journey there is interesting and insightful, even if I didn’t find it quite as funny as some of those around me (it is actually billed as a “timely new comedy”). In the garishly decorated offices of weekly lad’s mag Doghouse, a huge topless picture of Carrie – their Local Lovely 2012 – is given pride of place to celebrate an upturn in circulation. The mood quickly sinks though as it emerges that Carrie is just 14 and is unaware that her photo was submitted by her boyfriend and a serious damage limitation exercise is instituted. Continue reading “Review: NSFW, Royal Court”
”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”
“We’ve got some of the best sperm in the country in this room”
The Royal Court have adopted the Duke of York’s theatre for the next few months and will be feeding it with a steady stream of its recent successes. Jumpy and Constellations are yet to come, but the season starts off, a little oddly perhaps, with a remounting of Laura Wade’s Posh which first played in Sloane Square two years ago. Then, we were in the run-up to a general election in which Cameron, Osborne et al were the prospective new boys; now of course, they are in power, albeit in a far-from-cosy coalition and Laura Wade has updated her play to reflect the changes in the political and indeed the economic circumstances in this country and beyond.
In some ways, this feels like a fresh lick of paint which brings Posh bang up to date but in others, it also felt like a somewhat unnecessary updating as it focuses the attention on the play being absolutely ‘of the moment’ when it is better than that, its over-riding message is one that withstands the period details around it (surely it won’t be rewritten every time it is produced…or is this just part of the natural evolution of a new play, in which case this is the first time I think I’ve experienced it). That message is a rather pernicious one about the enduring influence of the old boys’ network in the corridors of power and the way in which our ‘finer’ educational institutions inculcate this sense of entitlement and the abdication of any real sense of responsibility. Continue reading “Re-review: Posh, Duke of York’s”
“Let me offer you a different story”
Any film that contains someone being dragged to the theatre saying “there won’t be puppets will there?” is bound to be a winner with me. And if that film has also courted controversy then my interest is bound to be piqued. But the publicity campaign against Roland Emmerich’s Anonymous was so vociferous that it disappeared from cinemas before I got the chance to see it and so I had to wait for it to emerge on DVD. Why so controversial? Emmerich’s (better known for loud blockbusters like Independence Day, Godzilla and The Day After Tomorrow) film is based on the premise that the 17th Earl of Oxford Edward de Vere was in fact the true author of the works normally attributed to Shakespeare. Thus a great outcry was launched, by the people and scholars for whom this is the biggest deal, and the film largely scuppered.
Which ultimately is a shame, as I found it to be rather an enjoyable film and somewhat perversely, the authorship question is just one of many strands of story in what turns out to be a historical political thriller, mainly based around the succession to the throne as Elizabeth I’s reign has produced no (legitimate) heirs. That one of the key players in her court just happens to be a playwright on the sly, who is forced to use a surrogate by the name of William to get his plays staged, is taken as a given here and it makes for an entertaining ‘what if’ scenario. Continue reading “DVD Review: Anonymous”
“Imagination without skill gives us modern art”
Home to the long-running The 39 Steps (which I still haven’t quite gotten round to seeing yet), the Criterion Theatre has been expanding its programming both with late-evening and afternoon events. This Tuesday afternoon saw a performance of Tom Stoppard’s radio play Artist Descending A Staircase by such an attractive cast that it was impossible to resist. The play was performed in front of us to a microphone, although I couldn’t quite figure out whether this was being recorded for real or not, and sound effects created onstage so it was just like watching a radio play being recorded rather than something being acted out and was most amusing with it – not least because we got to see the actors in their civvies and see what their fashion sense is like!
But to the play itself: we open with a scratchy recording of undetermined sounds and soon find ourselves in an attic studio shared by three elderly avant-garde artists with two of them standing over the body of the third at the bottom of the staircase. Beauchamp is the one who made the recording as his art centres on the sounds of everyday life and as he and his colleague Martello hear their dead friend Donner acknowledge the presence of something just before his fall, they each point the finger of suspicion at the other. Continue reading “Review: Artist Descending A Staircase, Criterion”
“Resolve me this question”
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”