A superb cast including Roger Allam elevates a fine production of Rutherford and Son at the National Theatre
“There’s not a scrap of love in the whole house”
It’s grim up north. I can say this as an absent son of t’other side of the Watford Gap. But in Githa Sowerby’s Rutherford and Son, it really is tough-going. Roger Allam’s mightily bearded Rutherford is a ferociously brutal industrialist from the north-east of England who is fierce at home as in the glassworks he runs but down a generation, there’s a growing tendency towards not putting up with such levels of grimness.
One of his sons bogged off to London and has come back with a working class wife and child, the other wants to find God in Blackpool and his daughter has pretty much been the downtrodden whipping boy for 30-odd years. But it is the beginning of the twentieth century and change is afoot – political and personal, societal and sexual and writ large in the generational struggle here, it can be powerfully affecting. Continue reading “Review: Rutherford and Son, National Theatre”
No amount of prosthetics can stop this from being my…Darkest Hour
“The deadly danger here is this romantic fantasy of fighting to the end”
Eesh. The world already has too many Churchill films, never mind the fact that two big ones were released in the same year (Brian Cox’s Churchill was the lower profile one here). And for me, there’s nothing here in Joe Wright’s direction or Anthony McCarten’s writing that merits the retread over much-covered ground.
That is not the prevailing opinion obviously, as the film’s seven Oscar nominations testify, but it is what it is. No amount of latex makes Gary Oldman’s performance palatable (and isn’t it odd that he’s getting such acclaim for a role in which he is unrecognisable), and it is a crime in the ways in which the likes of Patsy Ferran and Faye Marsay are under-utilised, nay wasted. Continue reading “Oscar Week Film Review: Darkest Hour”
“He wants people to face the consequences of what they say and do”
On the twelfth day of Christmas, Black Mirror gave to me…the bees, THE BEES!
After a slight hiccup in previous episode Men Against Fire, feature-length episode Hated in the Nation restored Black Mirror to its rightful glory to round off this third series. Adopting something of a police procedural approach and aligning itself closer to today’s society than the majority of previous instalments, this was a proper thriller and hugely enjoyable with it.
In a world where mini-drones have replaced the collapsing bee population, Kelly McDonald’s DCI Karin Parke is investigating a series of deaths where the victims are celebrities who have recently provoked the ire of social media. Along with newly transferred colleague and tech wiz Blue (Faye Marsay), solving the crimes leads them down a merry path of murderous hashtags, governmental misdemeanours and social responsibility. Continue reading “12 Days of Christmas – Black Mirror 3:6”
Actor In A Leading Role:
Colin Connor, A View From The Bridge, Octagon Theatre, Bolton.
Actress In A Leading Role:
Barbara Drennan , A View From The Bridge, Octagon Theatre, Bolton. Continue reading “The 2015 Manchester Theatre Awards winners in full”
Actor In A Leading Role
Colin Connor in A View From The Bridge at Octagon Theatre, Bolton
Rob Edwards in An Enemy Of The People at Octagon Theatre, Bolton
Jonjo O’Neill in The Crucible at the Royal Exchange
Sam Swann in Pomona at the Royal Exchange
Actress In A Leading Role
Scarlett Brookes in Educating Rita at Oldham Coliseum
Barbara Drennan in A View From The Bridge and The Family Way at Octagon Theatre, Bolton
Kathryn Hunter in Kafka’s Monkey at HOME
Maxine Peake in The Skriker at the Royal Exchange Continue reading “The 2015 Manchester Theatre Awards nominations”
“How is a woman to have a husband when all the men belong to their mothers?”
You have to respect the huge ambition behind Husbands and Sons, Marianne Elliott and Ben Power’s adaptation of three DH Lawrence plays which sees each of them run simultaneously in the round in the Dorfman. It manages this by taking the Holroyds from The Widowing of Mrs Holroyd, the Gascoignes from The Daughter-in-Law and the Lamberts from A Collier’s Friday Night and imagining them living on the same street in the East Midlands village of Eastwood. And spread over three weeks in October 1911, the interlocked, if not intersecting, dramas of their lives play out, dominated by the long shadow of the pit.
Initially it’s a dizzying affair, as the eye and the ear deals with the three separate domestic establishments. Bunny Christie’s design takes a visual cue from the Lars von Trier film Dogville with the fully furnished houses demarcated by white lines on the floor and labelled by name, doors (and coats, weirdly) are mimed with accompanying sound effects. And with a nod to the fixedness of this arrangement, ticket-holders in the pit swap seats at the interval, getting to sit in the corresponding place on the other side of the auditorium, offering an alternative perspective on the goings-on. Continue reading “Review: Husbands and Sons, National Theatre”
“If you never want to see me again, you never have to see me again”
In another universe, I’ve written a brilliant, brand new review of this well-deserved West End transfer of the recent UK touring production of Nick Payne’s Constellations. But in this one, I wanted to get home early to take part in a Twitter discussion about blogging, I’ve got too much 9 to 5 work to do before heading off my hols, and I’ve already reviewed the show four times in each of its different major productions – so you’ll have to make do with a link to my review from the beginning of the tour. But rest assured, I’d happily continue seeing this show in all its heart-breaking glory on a regular basis.
Running time: 70 minutes (without interval)
Booking until 1st August
“An indented rule indicates a change in universe”
When a rooftop beekeeper and quantum cosmologist meet-cute at a party, the first few lines of Nick Payne’s play Constellations suggest a rom-com in the making as time restarts and a new possibility plays out, it’s clear that there’s something much more eloquently sophisticated at work here. Premiering at the Royal Court upstairs, Michael Longhurst’s production manages to be both intimate and epic, the story of two people somehow expanding to fill several universes of heartfelt emotion.
When a rooftop beekeeper and quantum cosmologist meet-cute at a party, the first few lines of Nick Payne’s play Constellations suggest a rom-com in the making as time restarts and a new possibility plays out, it’s clear that there’s something much more eloquently sophisticated at work here. Transferring from the Royal Court upstairs to the Duke of York’s in the West End, Michael Longhurst’s production sacrifices nothing in the scaling up to the larger venue and if anything, gains in epic power.
When a rooftop beekeeper and quantum cosmologist meet-cute at a party, the first few lines of Nick Payne’s play Constellations suggest a rom-com in the making as time restarts and a new possibility plays out, it’s clear that there’s something much more eloquently sophisticated at work here. Marking the Broadway debut for all concerned, Michael Longhurst’s production manages the transatlantic transfer seamlessly and one wonders where the show could end up next.
Woking. After successes in the West End and on Broadway, Nick Payne’s play Constellations is now touring the UK, starting off at the New Victoria Theatre in Woking. Which is as good a place as any to see a rooftop beekeeper and quantum cosmologist meet-cute at a party and find themselves exploring the many possibilities that their relationship could take as scenes are played and replayed, shifting their journey together subtly but ineffably into new places.
Sally Hawkins and Rafe Spall. Perfect casting for the effervescent, wise-cracking Marianne and the slightly nerdish but endlessly endearing Roland, their intensity beautifully matched especially in the poignant flashforwards.
Sally Hawkins and Rafe Spall. That perfect casting retained for the transfer, their ease with each other and the technical challenges of the script even smoother than before and if the larger venue challenged them at all, there was no evidence of it.
Ruth Wilson and Jake Gyllenhaal. All change for Broadway – Wilson’s immense subtleties (is that an oxymoron?) made an ideal, if less kooky, Marianne and Gyllenhaal gave an interestingly judged performance as Roland, less obviously blokey but no less moving.
Louise Brealey and Joe Armstrong. And to the tour, Brealey really makes her mark with a more brittle, abrasive interpretation that contrasts so effectively with the warmer moments, and Armstrong exudes a hugely likeable affability that you would certainly chase across universes to find and keep.
Can I really put my finger on why I like this play so much? Why I think it is one of the smartest pieces of new writing that I’ve seen in recent years? I’m not sure that I can.
It’s to do with the way it wears its scientific concepts so lightly – I mean I couldn’t tell you anything about quantum physics right now but during the play, it feels like maybe I could.
It’s to do with the all-too-human instinct to wonder what if I’d done that differently, what path might that have led me down.
It’s to do with the expression of such powerfully felt emotion that yet feels intelligently reasoned.
It’s to do with free will.
It’s to do with love.
I cried a little bit. Well quite a bit.
I cried so much I couldn’t speak for about quarter of an hour afterwards.
I cried a lot, but a New Year’s Day hangover probably had something to with my emotional state too.
I cried a surprisingly small amount, almost just the artful single tear in fact.
Tom Scutt’s design is inspired – I don’t tweet him. Atom-based clusters of balloons trail from the corridor into the theatre, hexagonal tiles mark out the physical space the actors occupy, and Lee Curran’s lighting tracks the darkening mood perfectly.
Tom Scutt’s design is inspired – I don’t tweet him. Some of the finer details are lost in the larger space but the evolving scale of the work is artfully done, capturing something even grander about the emotional contours of the play. This time, it is the sound design by David McSeveney that resonates stronger, delineating each fundamental shift so clearly.
Tom Scutt’s design is inspired – I tweet him, I don’t meet him. It looks as good as ever but the detail of Curran’s lighting is what captures my attention – the shift in the flashes of colour through to blood red, the antiseptic white of the harsh future scenes, the individual balloons picked out in lights with their own secrets.
Tom Scutt’s design is inspired – I tweet him, I don’t meet him and now I probably never will. Since the show has been end-on, there’s been a key scenic detail that I’ve missed every time. Every time. There aren’t enough potential universes to explain this. I need to go again.
Can I put my finger on why I like Constellations so much?
Even on my fourth viewing, there are details that come to me anew.
There are details that have still yet eluded me.
There are scenes that somehow pack a gut-punch as fierce as the first time – why wouldn’t language shift that way.
There are replayed scenes that I could continue to watch over and over – notes in hand or not 🙂
And in perfect keeping with the theme of the show, Michael Longhurst has kept the production the same but different, or is it different but the same in a remarkable way. Marianne may wear an almost identical outfit whether it’s Hawkins, Wilson or Brealey wearing the shoes but she has exuded such a singular sense each time which has been breathtaking to behold. And partnered by the affable/affectionate/rumpled charms of Spall/Gyllenhaal/Armstrong, they’ve all been Marianne and Roland but their own Marianne and Roland and brilliantly so.
Running time: 70 minutes (without interval)
Photos: Helen Maybanks
Booking until 17th May, then touring to Liverpool Playhouse, Bristol Old Vic, Nuffield Theatre Southampton, The Lowry Salford, Cambridge Arts, Richmond Theatre and Theatre Royal Brighton
“Why would he do something like that? We’ve got caravans, we’ve got a games room that caters for people in wheelchairs”
My favourite thing about Happy Valley is actually the association the title has for me and my family – it was the name of the Chinese takeaway opposite my Aunty Jean’s house where we’d often get our Saturday tea. It’s a lovely fond memory that sits rather at odds with the realities of this recent TV series which I finally caught up with and which reunites what looks like becoming one of the best creative partnerships we have in the country – writer Sally Wainwright and actor Sarah Lancashire. Baftas all around I shouldn’t wonder.
The location may be similar to the rather more bucolic Last Tango in Halifax – Happy Valley is set in nearby Hebden Bridge – but we’re in a much grittier world of suburban disillusionment as this police drama takes in kidnap, rape and murder, all underscored by the pervasive influence of a spiralling drugs problem throughout the town. Wainwright being a more sophisticated writer than most though, ensures that her drama takes in the full breadth of the experience, examining the aftermath of the crimes just as much as the deeds themselves. Continue reading “TV Review: Happy Valley”
Leanne Best for The Match Box at The Tricycle
Lucy Ellinson for Grounded at The Gate
Vicki Lee Taylor for On A Clear Day You Can See Forever at The Union
Phoebe Waller-Bridge for Fleabag at Soho
Joe Armstrong for The Dumb Waiter at The Print Room
James Cooney for Bottleneck at Soho
Michael Pennington for Dances of Death at The Gate
Jamie Samuel for Jumpers for Goalposts at The Bush
Best New Play
Bottleneck by Luke Barnes at Soho
Jumpers for Goalposts by Tom Wells at The Bush
The Match Box by Frank McGuinness at The Tricycle Continue reading “2014 Offie Award Finalists”