Pinter Four serves up something of a difficult double bill at the Harold Pinter Theatre, but Bríd Brennan and Janie Dee are there to help us through the dark times
“Rationality went down the drain donkey’s years ago and hasn’t been seen since”
Thing about blogging is you can’t hide from the past, or your past opinions, so the fact that the first time I saw Harold Pinter’s Moonlight was one of the most torturous hours I’d spent in a theatre up until then is no secret. So the fact that it was included along with Night School in the double bill that makes up Pinter Four gave me significant – Pinteresque even… pause.
But that was seven years ago, people change, as do tastes, and the luxury casting of the Pinter at the Pinter season made it an attractive enough proposition to revisit. And am I a now Moonlight convert? Not exactly, but it did prove a less painful experience, even if it does still maintain a power to elongate time which is exacerbated by its coolly distant demeanour. Continue reading “Review: Pinter Four, Harold Pinter Theatre”
“For whatever reason, he spared a hamster”
When you see as much theatre as I do, it can be difficult to keep up to date with cinematic releases – if I have a night off, I rarely want to spend it in a dark room… – but I have tried my best this year to see at least some of the Oscar-nominated films, so that I can chip in once they’ve been distributed in a way that will doubtless cause some controversy or other.
Continue reading “2017 Oscars – pre-ceremony thoughts”
“Why would the devil be interested in you?”
And so the penny drops, John Logan’s Penny Dreadful comes to an end after 3 highly atmospheric seasons of gothic drama, anchored by a sensational performance from Eva Green that ought to have been way more recognised that it was. It’s taken me a little while to get round to watching the series after writing about the first episode so apologies for that, but sometimes, life (and summer holidays) just get in the way. Beware, spoilers will abound.
In some ways, the ending of Season 2 acted as a finale that really worked, the key characters left shell-shocked by what had befallen them and scattered across the globe, as manifested in a gloriously down-beat last half-hour of Episode 10. And so the main challenge of Season 3 was to find a way to reconnect their stories in a way that was at least thematically interesting, if not necessarily the most dramatically satisfying. Continue reading “TV Review: Penny Dreadful Season 3”
“Hanna, what did your mum die of?
I have a deal of affection for Joe Wright’s Hanna, a film I saw at the cinema as part of a birthday treat back in 2011 and so watching it again for the first time has that special layer of extra memory attached to it. Which it kind of needs as I’d forgotten how loopy the revenge thriller is. Saoirse Ronan’s Hanna has been raised as a crack assassin since birth by her ex-CIA father Eric Bana but hidden away in the isolated Arctic tundra as current CIA supremo, Cate Blanchett’s insanely fruity Marissa, wants them both dead to protect a secret they possess.
One day, Hanna declares that she’s ready to take on their nemesis and the ensuing cat-and-mouse chase takes our characters from Finland to Morocco, Spain to Germany, all to the beats of a thumping soundtrack from The Chemical Brothers. Wright folds in elements of The Brothers Grimm into the story too to evoke a very dark fairytale feel. And it’s one that works intermittently, the hyper-stylised violence hits hard and provides the energy that is sorely needed in some of the quieter sequences. Ronan is a mesmeric screen presence as this impossible girl and proves a dab hand at doing her own stunts. Continue reading “DVD Review: Hanna”
“I wanted something to be true but it wasn’t”
In the rehab unit of St Vincent’s Hospital, 21 year old Canadian soldier Michael Armstrong is back home recovering from his war wounds after a IED blast in Afghanistan. But though his physical wounds are healing, there’s more than a hint of post traumatic stress disorder about the young man as he seems happiest hiding away under his bed and chatting with the imaginary presence of his friend and comrade Robbie. A half-forgotten decision to let a girl guide read to him to earn a Community Service merit badge rouses him out of his stupor as it turns out his particular helper wheelchair-bound Halley, is a fearsome whirlwind of good intentions and over the six weekly visits it takes her to get the award, the pair find themselves connected in ways they could never have imagined.
Colleen Murphy’s new play Armstrong’s War may be having a criminally short run at the Finborough before its official premiere in Canada later this year, but this production touched me like hardly any other play I’ve seen recently and left me confident it is one of the better pieces of theatre I have seen all year. The way in which this unlikely pair develop such an intense relationship is extraordinarily done over 90 short minutes, the depth of the emotion it provokes is devastatingly honest and true, the performances under Jennifer Bakst’s direction unflinchingly raw and exposed, all combining to create the kind of theatre that lingers long in the mind. Continue reading “Review: Armstrong’s War, Finborough”
“You’re just a sex object, no-one would have you”
I did a lot of travelling this weekend so I got to catch up on a fair bit of DVD watching on the train: some were directly theatre-related and others not, but the cast of Tamara Drewe was so thesp-heavy I couldn’t resist jotting down a few thoughts about this film. Any film that opens with a shirtless Luke Evans and having his role as a sex object acknowledged within the first 15 minutes is surely onto a good thing and combined with Roger Allam’s deliciously fruity turn of phrase, the film made a bright start which endeared me greatly.
The film, directed by Stephen Frears, has a screenplay by Moira Buffini derived from Posy Simmond’s graphic novel-style drawings and is set in the sleepy village of Ewedown where everyone knows each other’s business and can’t help but poke their nose in. When Tamara, an appealing turn from Gemma Arterton, returns after her mother’s death to sell up the old family house, she thinks that she’ll be heading straight back to her adopted London lifestyle, but a new affair with rock star Ben, Dominic Cooper in fine form, keeps her a little longer and allowing old feelings and passions to stir in several men of the village, making life most complicated for all. Continue reading “DVD Review: Tamara Drewe”
My heart sank when I saw the running time for this play: another play at the Royal Court over 3 hours long. After Grasses of a Thousand Colours sucked the life out of my companion (he left after two hours) and numbed my bum unforgivably, I even thought about shifting these tickets to someone else. But upon reflection, I remembered that the playwright, Jez Butterworth, was also responsible for the excellent Parlour Song which I enjoyed hugely at the Almeida earlier this year, and so off I trotted to Sloane Square.
Jerusalem is a new play, a dark comedy, which purports to be a critical look at what it means to be English in these times and specifically explores this issue of identity in rural England. Set on St George’s Day, the central character is a man called George Byron who lives in a caravan, and who has built up a little community of sorts around him, living a life of general hedonism and with little care for traditional ideas of society. However, Byron’s easy life looks to be coming to a halt as the walls start closing in on him: his children, eviction notices and angry fathers are just some of the things he has to face up to. Continue reading “Review: Jerusalem, Royal Court”