“First, a story”
When The Last Five Years announced an extension of a week just after opening, it meant I was able to nab a pair of cheap tickets down the front, conveniently on the side where the shirtless scene happens, and take a friend. And I’m glad to I got to revisit the show, both to see it (literally) from a different angle and also to experience it with understudy Samuel Thomas playing Jamie, as Jonathan Bailey was suffering from an indisposition.
My original review of Jason Robert Brown’s production of his own musical can be read here and as per, it still stands. Samantha Barks has really got the role of Cathy down to perfection with a beautiful line in rueful, reflective humour alongside that gorgeous voice. And Thomas did a great job as Jamie, perhaps more of a vocal match for his co-star as evidenced in a stellar ‘Nobody Needs To Know’ – my only note would be his clock dancing could be a little freer (and that’s only because I’ve seen Bailey do it, my friend thought he ‘clocked’ just fine!). Continue reading “Re-review: The Last Five Years, St James”
“The whole situation’s been really quite dreadful”
Based on Vera Brittain’s First World War memoir, Testament of Youth hit cinemas in late 2014, perfect timing to capitalise on the rising star of Alicia Vikander whose moment would culminate in winning an Academy Award for The Danish Girl. Her work here in this film is equally spectacular though, directed by James Kent and written by Juliette Towhidi, an elegiac beauty washes through the whole production as Vera’s determination first to study at Oxford and then to help with the war effort plays out.
We first meet Vera in the good company of three good-looking men and as the film progresses, it’s refreshing to see that her journey isn’t defined by them, merely informed. Kit Harington’s poet Roland, Colin Morgan’s shyly besotted Victor, Taron Egerton’s faithful brother (who shares his sister’s eye for a good-looking chap and when it’s Jonny Bailey, who wouldn’t!). And as war plucks each of them from their country idyll, her relationship with each has to bend and reshape. Continue reading “DVD Review: Testament of Youth (2014)”
“I’m not always on time
Please don’t expect that from me”
I think I have to rank Jason Robert Brown’s The Last Five Years as one of my favourite new musicals (it was first performed in 2001) as any show with such a sequence of extraordinary songs as ‘A Part Of That’, ‘The Schmuel Song’ and ‘A Summer In Ohio’ at its heart surely deserves. I had the privilege to be introduced to the show by the Paul Spicer and Julie Atherton-starring version in 2009, I loved it again with Jon Robyns and Danielle Hope a couple of years ago, and I was a fan of last year’s film version and how it adapted the show’s unique structure for a different medium.
The show’s conceit is that he tells the story of a relationship between 2 twenty-something New Yorkers both from start to finish and from finish to start at the same time. So Jamie’s narrative commences in fresh hope at the beginning and Cathy’s opens at a moment of real heartbreak and as they move along their timelines, there’s one moment where they crossover, where they actually interact, a moment of glorious happiness made all the more tragic for already knowing how it is going to end. Continue reading “Review: The Last Five Years, St James”
“Let’s be clear, there’s nothing ironic
About our love of Manolo Blahnik”
So in a slightly odd turn of events, as Rupert Goold’s American Psycho opens for previews on Broadway, the London Cast Recording of the Almeida’s Winter 2013/14 production is finally released. That London run was well-received by me, so much so that I went back (not just to post the pics of one of its nifty ad campaigns) twice and Duncan Sheik’s music was a big part of that, very much appealing to the 80s kid in me.
Sheik’s score is bathed in a glossy sheen of electronica, predominantly made up of original songs but also featuring covers of some 80s classics – Human League, Tears for Fears, even Phil Collins in radically reharmonised version of ‘In The Air Tonight’. And it’s the ideal partner for this adaptation of Bret Easton Ellis’ novel and surprisingly, it holds up really well, even without the vivid visuals (not least of Matt Smith’s abs). Continue reading “Album Review: American Psycho (London Cast Recording)”
“Everyone fucks everyone, eventually”
I wrote here about the first episode of Crashing, Phoebe Waller-Bridge’s sitcom for Channel 4, and though it didn’t really float my boat, I did persevere with the rest of the series. Truth be told though, it was just more of the same – I continued to like what I liked about it and similarly, what substantially rubbed me up the wrong way continued to bug me.
Namely, the thoroughly unlikeable nature of Waller-Bridge’s self-played lead Lulu, crashing into the lives of old friend Anthony and his fiancée Kate and doing her utmost to fuck up their relationship in order to act on their hitherto unexplored lifelong sexual tension. Not that characters have to be likeable to be good but I found nothing redeemable in Lulu, just a thoroughly obnoxious selfishness that turned me off pretty much the whole show. Continue reading “TV Review: Crashing Series 1, Channel 4”
“Someone needs an orgasm”
After the Olivier Award-nominated success of her solo show Fleabag, Phoebe Waller-Bridge has now made the leap to the small screen with Crashing, a new six-part comedy which is airing on Channel 4. Reuniting her with frequent creative partner Vicky Jones, its set-up involves a group of youngish Londoners who have opted out of increasing rental rates and signed up as property guardians for a disused hospital in which they now reside.
It’s hard to judge a series on its first episode alone but it does feel that Crashing has a way to go if it is going to work effectively. The writing does feel rather derivative – I kept having flashbacks to The One, with its repeated fake-outs – and rather too determined to be bolshy and indeed banterish, instead of, well, funny. The jokes about tampons, lesbian porn et al try too hard, the will-they-won’t-hey trope is deployed twice in this first episode alone, there’s work to be done… Continue reading “TV Review: Crashing, Channel 4”
“That’s what we do, we destroy lives…but it’s on your behalf, because you like to read about it”
It’s not quite Beyoncé releasing her latest album without prior notice but it’s not far off. Richard Bean’s new play for the National was something of an open secret even if its specifics were unknown but still, announcing it with five days’ notice and no previews is a pretty bold move. What Great Britain has going for it though is a right-up-to-the-minute immediacy as Bean responds with speed to the scandals that have engulfed certain sections of the tabloid media in recent times and a court case that may or may not have just reached a verdict…
We’re in a satirical, pseudo-recognisable world – a ratings-hungry red-top (called The Free Press) is owned by a foreign-born media mogul who wants to buy a television station (an Irishman called Paschal O’Leary if you will) and has a fiercely ambitious news editor at its helm (a blonde woman called Paige Britain, she didn’t say she was “vindicated” so I have no idea who she was meant to be…). Manipulating their way to a position of huge influence with both Police and Parliament under their thumb, it seems nothing could go wrong. That is, until a little thing called phone hacking breaks into the national consciousness. Continue reading “Review: Great Britain, National Theatre”
“Is everything alright Patrick?”
Third time round for this show, so little to add to my original review and then the subsequent brief re-review. One of my new year’s resolutions is to embrace seeing the shows I love more than once – there’s so much theatre in London and beyond that it has often felt like a crime to view things again rather than going to see something new and though that hasn’t changed, the joy of rewatching things recently has been particularly great. In that spirit, when a random cheap ticket popped up on the Almeida’s website, the prospect of seeing American Psycho again was irresistible.
Some pieces of theatre impress with the depth of their profundity, whilst others glisten with their immediacy, and American Psycho most definitely fits into the latter category. It’s almost like an extended music video with its 80s pop score, extraordinary visual impact and kinetic choreography (I’m on the lookout for a club in which people actually do that ‘hands in the air’ dancing) and the fast-moving pace of Rupert Goold’s production means its thrills are akin to the rush of a rollercoaster and for me, endlessly reconsumable.
Running time: 2 hours 40 minutes (with interval)
Programme cost: £5, and worth the purchase for its great content
Booking until 1st February, run sold out but day tickets and there’s often returns available on the website, checking late at night works
Theatre, theatre, hot men, theatre – as the festive season draws to a close, my annual late present to y’all is the Leading Man of the Year post. Without fail, these are the most popular posts that I do (2012, 2011, 2010) so who am I to argue against the will of the people. Happy new year!
The list is not ranked in any way, purely in terms of an assortment of men who have turned my eye one way or another on the stage this year.
Continue reading “Leading Man of the Year 2013”