Film Review: On Chesil Beach (2017)

On Chesil Beach proves a most painful watch indeed

“Minor seventh might be better”

Dominic Cooke’s theatrical résumé includes such triumphs as Follies and Ma Rainey’s Black Bottom so a measure of anticipation about his feature film debut was surely not unexpected. But I should have remembered he was also responsible for the challenges of The Low Road and In The Republic of Happiness and for me, it was to this end of the scale that On Chesil Beach tips.

An adaptation of Ian McEwan’s 2007 novella by the man himself, we’re in the world of classic 1960s English sexual repression. New graduates Edward and Florence come together in a theoretically perfect courtship but when they come together disastrously in marriage, their sexual inexperience on their Dorset honeymoon proves utterly and completely life-changing. Continue reading “Film Review: On Chesil Beach (2017)”

2017 Offie Award Winners

Offies Awards - Off West End Theatre Awards

Best Female 
Louise Jameson in The Diva Drag at The Hope 
Lydia Larson in Skin A Cat at The Bunker
Sarah Ridgeway in Fury at Soho Theatre 
Jenna Russell in Grey Gardens at Southwark Playhouse

Best Supporting Female 
Lynette Clarke in Karagula at The Styx
Joanna Hickman in Ragtime at Charing Cross Theatre
Sasha Waddell in After October at The Finborough

Best Male 
Fiston Barek in The Rolling Stone at The Orange Tree 
Phil Dunster in Pink Mist at The Bush 
Paul Keating in Kenny Morgan at The Arcola
John Ramm in Sheppey at The Orange Tree Continue reading “2017 Offie Award Winners”

2017 Offie Award Finalists

Offies Awards - Off West End Theatre Awards

Best Female 
Louise Jameson in The Diva Drag at The Hope 
Lydia Larson in Skin A Cat at The Bunker
Sarah Ridgeway in Fury at Soho Theatre 
Jenna Russell in Grey Gardens at Southwark Playhouse

Best Supporting Female 
Lynette Clarke in Karagula at The Styx
Joanna Hickman in Ragtime at Charing Cross Theatre
Sasha Waddell in After October at The Finborough

Best Male 
Fiston Barek in The Rolling Stone at The Orange Tree 
Phil Dunster in Pink Mist at The Bush 
Paul Keating in Kenny Morgan at The Arcola
John Ramm in Sheppey at The Orange Tree Continue reading “2017 Offie Award Finalists”

Review: As You Like It, National Theatre

“I had rather have a fool to make me merry than experience to make me sad”

For regular theatregoers, it can sometimes feel a bit hard to get excited about the umpteenth production of a play, so much so that I almost didn’t see the winning combination of the much-loved Blanche McIntyre and Michelle Terry until the very end of their run at the Globe this summer. So the news that Polly Findlay was also tackling As You Like It for the National was tempered a little (though it is the first time in 30 years it has played there) but as Rosalind was announced (Rosalie Craig poached from the cast of wonder.land to replace an indisposed Andrea Riseborough), the excitement began to build and the inevitable ticket was purchased and boy am I glad that I did. 

For the transformation of the set into the Forest of Arden is a moment of genuinely breath-taking theatre, Lizzie Clachan pulling the rug from under us and her design to create a most singular vision. And it is one in which enchantment slowly grows with sylvan sound effects created by company members onstage and a choir singing Orlando Gough’s contemporary and complex score (akin if alike to the one he composed for Bakkhai). There’s a lovely conceit in which Alan Williams’ Corins, nominally a shepherd but here more like a forest deity, summons the music every time love is needed to cast its spell, enhancing the magical feel. Continue reading “Review: As You Like It, National Theatre”

TV Review: Humans Series 1

“You’re just a stupid machine aren’t you”

I wasn’t going to write Humans up but I’ve spoken so enthusiastically about it with several people since I watched the whole thing in three days and so thought I’d better recommend it even further. If there’s any justice in the world, Gemma Chan will win all sorts of awards for her performance as Anita (later Mia), the Synth or human-like android that has become the must-have accessory for domestic service in this parallel present-day universe. 

Anita is bought by the Hawkins family who soon start to twig that something isn’t right in the way she is behaving and as Sam Vincent and Jonathan Brackley’s drama continues over its 8 episodes, we come to see that the lines between human and machine have been considerably blurred by technological advancement and its potential to be exploited identified as a key priority for the nefarious powers-that-be.

Continue reading “TV Review: Humans Series 1”

DVD Review: Shakespeare in Love

“Theatre is the handmaiden of the devil”

With a theatrical version of Shakespeare in Love about to open in the West End, I thought I’d revisit the 1998 film as I’m not entirely sure that I’ve seen it since it was first released. It is still surprising to see that it managed to win seven Academy Awards and whilst I like both Gwyneth Paltrow and Dame Judi Dench, looking at their competition it is a little galling to think that they were recognised for these roles. And in the light of the huge authorship furore that erupted around Anonymous, it is interesting to see how little comparable fuss the level of invention here caused.

 
To be fair, Marc Norman and Tom Stoppard’s film makes no pretence to be literarily or historically accurate (given the paucity of source material, it’s hardly surprising) but because the approach here is a hugely affectionate one towards the Bard, rather than challenging popular notions about him, it is clear something of a free pass has been given here. So we see Joseph Fiennes’ Shakespeare working on a comedy called Romeo and Ethel, the Pirate’s Daughter and being inspired by the everyday chatter and the tumult of his personal life to amend the play and write his famous words.  Continue reading “DVD Review: Shakespeare in Love”

Review: Wolf Hall/Bring Up The Bodies, Swan Theatre

“He needs to be on the side of the light”

Hilary Mantel became the first woman to win the Booker Price twice when the literary behemoth that was Wolf Hall was followed up by the equally considerable Bring Up The Bodies. And whilst we wait for the third part of her Thomas Cromwell trilogy – The Mirror and the Light – thoughts have turned quickly to adaptation. The BBC will be airing a six-part version by Peter Straughan in the future but the RSC have readied a theatrical interpretation of the novels by Mike Poulton which is now playing in the Swan Theatre in Stratford-upon-Avon. The shows can be seen separately, but are clearly designed to fit together (Wolf Hall has as close as the theatre gets to a cliffhanger ending!) and there are opportunities to see them on the same day.

At first glance, they may not seem the most likely choice for staging – set in the court of Henry VIII as he looks for ways of getting rid of his first wife Katherine of Aragon so that he might plant Anne Boleyn in her stead, these are all-too-familiar events. But Mantel’s magic was to tell the story through the eyes and mind of Thomas Cromwell, the wily commoner who worked his way up through the ranks to become one of the most influential man in the realm. Additionally, her magnificent present-tense prose brought Tudor England to life like never before, a rich attention to detail making this universe feel new-minted, as if anything could happen, not just what the history books say. Continue reading “Review: Wolf Hall/Bring Up The Bodies, Swan Theatre”

Review: The Machine / The Masque of Anarchy, MIF

“And these words shall then become
Like Oppression’s thundered doom
Ringing through each heart and brain.
Heard again—again—again—“

A sneaky brief return trip to Manchester allowed me to take in two more of the shows in this year’s Manchester International Festival and whilst one was definitely world class, the other didn’t quite match up for me. Starting with the latter, Matt Charman’s play The Machine dramatises the iconic chess series between Garry Kasparov and the IBM computer Deep Blue and delves way back into their respective pasts to see how they came to be – Kasparov driven to grandmaster status by his determined mother, Deep Blue brought into being by an equally fierce creator, the Taiwanese Dr Feng-hsiung Hsu.

In Campfield Market Hall, Josie Rourke’s production of this sprawling play feels very much like a sub-Enron pastiche, borrowing heavily from the visual audacity of that Headlong play but floundering in the far greater space of this stage. The scale means that the play often achieves the level of spectacle but it rarely feels like great theatre. Multiple scenes wind back through history to trace the progress of the entities that would contest this match-up and there’s undoubtedly strong work from Hadley Fraser and Francesca Annis as Kasparov and his fearsome mother, and Kenneth Lee as the prof, helped out by Brian Sills’ grandmaster employed to teach strategy to the computer.  Continue reading “Review: The Machine / The Masque of Anarchy, MIF”

Review: The Low Road, Royal Court

“You do compete for the good opinion of society, do you not?”

*This review is a bit spoilerific so don’t read on if you don’t want aspects of the play, and others, to be revealed to you* 

When people ask me to describe the plot of a play, I almost always end it with “…and then the aliens arrive” because that’s the way my mind works and generally speaking, it’s a safe assumption that the playwright won’t have gone there. So imagine my surprise when they actually arrived in the second act of Salad Days, it was like all my Christmases at once and because of the daffy silliness of the whole shebang, it was able to pull it off. Working in similarly offbeat surprises into straight drama is perhaps a more difficult job though and one which arguably has to work harder to make a success of it.

The scope of Bruce Norris’ new play The Low Road would seem to preclude the need for such an approach. A sprawlingly epic trawl through the growth of our (western) economic system told through the fable-like tale of Jim, an entrepreneurial young man roaming through an 18th century America whose single-minded financial knowledge and ambition prefigures the capitalist mind-set that is so familiar to us today. A post-interval modern-day interlude draws explicit parallels and connections between the actions and attitudes of now and then to reinforce its main thesis about the triumph of individualism. Oh, and there’s an epilogue. Continue reading “Review: The Low Road, Royal Court”