A whole lot of post-apocalyptic hurly-burly and sadly not much more besides – the National Theatre’s Macbeth really is something of a red-trousered disappointment
“You have displaced the mirth”
Brexit has ruined Britain. The war of the Scottish Secession has laid ruin to much of the land north of Hadrian’s Wall. The lawless society that has resulted is a place where people once again use plastic bags willy-nilly (for tidying up after beheadings, as party hats – take your pick), where no-one has a mobile phone (presumably because roaming charges have been re-introduced), where the Look at my fucking red trousers meme has translated into despotic rule.
Such is the world of Rufus Norris’ Macbeth which is set ‘now, after a civil war’, hence my slight embellishment of said setting. I should add that I thought of much of this while watching the production, an indication of the level of engagement that it managed to exert. It wasn’t always thus – a bloody prologue is viscerally and effectively done and the entrance of the witches has a genuine chill to its strangeness. Continue reading “Review: Macbeth, National Theatre”
“I know your moustache…”
What to do when you want your new film to be a new version of one of Agatha Christie’s most famous whodunnits? Well if you’re Kenneth Branagh, you call in some of your mates to play the main characters, friends like Dame Judi Dench, Johnny Depp, Michelle Pfeiffer, Olivia Colman, Penélope Cruz, Daisy Ridley, Leslie Odom Jr., Josh Gad, and Willem Dafoe. Plus you can also get some real talent to fill the minor roles – blink and you might miss the likes of Paapa Essiedu, Miranda Raison, Hadley Fraser, Adam Garcia, even Sergei Polunin.
But if you’re Kenneth Branagh, you also cast yourself as Hercule Poirot and as he’s directing himself, there’s a sense that the sharing of some much-needed constructive feedback didn’t happen. For as his ridiculously huge moustache is placed front and centre in scene after scene, this Murder On The Orient Express feels nothing so much as a vanity project. Which is all well and good if you like that sort of thing, and I quite like Branagh as it happens, but it is absolutely fatal in a story that is intrinsically about the ensemble. Continue reading “Film Review: Murder On The Orient Express (2017)”
“I would you were as I would have you be”
Emma Rice’s Summer of Love got off to a slightly sticky start at the Globe with a mystifying take on Romeo and Juliet from Daniel Kramer and as we move onto Twelfth Night, which she is directing herself, there’s a similarly uncompromising attitude in place. For the production reminded me nothing so much as a camp episode of Monarch of the Glen (sadly not Monarch of the Glum) and whilst it is often fun to watch, it’s not always the most effective treatment.
Rice’s iconoclastic approach is there from the get-go – a prologue set onboard the SS Unity before its shipwreck sees the company dancing merrily to Sister Sledge. And once in this decidedly Celtic Illyria, Orsino has a Lionel Richie mullet, Andrew Aguecheek is a would-be b-boy, serenades are played on cassette decks…why we’re in 1979, as good a time as any to explore cross-dressing hijinks of gender exploration. Continue reading “Review: Twelfth Night, Shakespeare’s Globe”
“Is there no way for men to be, but women must be half-workers?”
Whichever way you cut it, I still find that Cymbeline is a tough play to love and it’s not for a lack of trying on my part. I struggled with it at the Sam Wanamaker earlier this year and I’ll be trying out the RSC’s version once it hits the Barbican later this month. As for now, it’s Matthew Dunster’s turn to have a go at the play, this time outside at the Globe and in keeping with the new regime, the play has been “renamed and reclaimed” as Imogen, as befits the part of Cymbeline’s daughter who has in fact twice as many lines.
Even with Maddy Hill (an unexpectedly moving Titania, among others, in Go People’s A Midsummer Night’s Dream) in the title role and a wonderfully diverse ensemble incorporating a signing deaf actor among others, Imogen remained difficult. For all the contemporary gangland setting (Jonathan McGuinness’ king is now a drug lord), Imogen’s o’er-hasty marriage to the feckless Posthumus (a good Ira Mandela Siobhan) and subsequent devotion to him even as he proves himself to be a righteous cock doesn’t quite fly. That said, the energy in the show is one that proves largely irresistible as sexy shenanigans, modern sounds, and kick-ass choreo combine to memorable effect. Continue reading “Review: Imogen, Shakespeare’s Globe”
“All along knowing that no-one has returned to care”
Barely managing six months in the West End in 2013/4, I think it’s fair to say the musical adaptation of From Here to Eternity
underwhelmed. And though I was reasonably fair to it at the time, I can’t say that it has aged well, upon returning the live cast recording that was made before the final curtain fell, blame seeming to fall evenly between composer Stuart Brayson, lyricist Tim Rice and book writer Bill Oakes.
And with weaknesses on all sides like this, very much exposed in the medium of record, it’s not too hard to see why the show didn’t achieve anywhere near the levels of success it was aiming for. There’s so little sense of the main thrust of the story coming through, or indeed any of the strands put forward being sufficiently developed, to make you care about any of the relationships or the plight of the men.
Oakes’ book moves inconsistently around all of them and Brayson’s score does little to provide any covering connective tissue. His musical influences pull from too broad a canvas to provide aural cohesion and far too few of the songs are focused on advancing narrative – the coupling of Warden and Karen (whose surf-soaked bodies provide the iconic image) are given hardly any musical time together, quite Darius Campbell and Rebecca Thornhill are meant to do to generate chemistry in solo numbers is beyond me.
Robert Lonsdale and Siubhan Harrison as the other couple fare a little better but again, are more apart than together musically. What we’re left with is a grab-bag of tunes, barely scratching the surface of anything, least of all the men of G Company whose tragic fate ends up feeling like divine retribution for being horrific human beings. There’s undoubtedly some halfway striking musical moments – the startling melody of ‘Thirty Year Man’ provides real interest, Ryan Sampson’s sardonic ‘I Love The Army’ threatens to show some character but all in all, it’s little surprise we’ve gone from here to obscurity.
“Everybody’s very very nervous”
The theatrical production of London Road
was a major success for the National Theatre, the opening run first extending in the Cottesloe and then being rewarded with a later transfer to the much larger Olivier – I was first blownaway by its originality
and then later comforted by its message
in the aftermath of the 2011 riots. So the news that director Rufus Norris was making a film adaptation was received with apprehensive anticipation, could this strikingly experimental piece of theatre possibly work on screen.
Writer Alecky Blythe uses a technique whereby she records interviews with people which are then edited into a play but spoken verbatim by the actors, complete with all the ums and aahs and repetitions of natural speech. And in 2006, she went to Ipswich to interview a community rocked by a series of murders, of five women in total, all sex workers, and set about telling a story not of salacious deaths but of a community learning to cleave together in trying times. Oh, and it’s all set to the most innovative of musical scores by Adam Cork, elevating ordinary speech into something quite extraordinary.
Continue reading “Film Review: London Road”
“It seems every man has had enough of me”
Starting quite literally with the Fall of Man, Carol Ann Duffy’s contemporary verse adaptation of medieval morality play Everyman sees Rufus Norris direct his first production since taking up the reins of Artistic Director at the National Theatre and finds him in a rather provocative mood. Through 100 minutes of boldly imagined drama, it’s hard not to feel that there’s an element of grabbing this institution by the lapels and giving it a good old shake. Not so much in establishing a definitive vision for the future per se but more in establishing just how wide its parameters will be.
Norris and designer Ian MacNeil work cleverly within the constraints of the Travelex budget to provide impactful moments with – variously – Tal Rosner’s video wall, a powerful wind machine, William Lyons’ music which combines shawms with Sharon D Clarke most effectively and bags of rubbish. Javier De Frutos makes a significant contribution too as choreographer and movement director, the wordless opening sequence of a coke-and-Donna-Summer-fuelled birthday party makes for a bold beginning. Continue reading “Review: Everyman, National Theatre”
“Now is the winter of our discontent”
Like an addict that really should know better, I held out from seeing Richard III for the longest time, safe in the informed knowledge that I most probably wouldn’t like it. But sure enough when a ticket became available for the final matinée performance, off I obediently trotted to that most uncomfortable of theatres Trafalgar Studios for the latest instalment in Jamie Lloyd’s Trafalgar Transformed season. And guess what, I didn’t like it.
Clearly my opinions had already been shaped by friends and colleagues reassuring me it really wouldn’t be my cup of tea but the lure of a good cast is always strong and in some respects, this was true. Gina McKee’s defiant Queen Elizabeth, Jo Stone-Fewing’s oleaginous Buckingham, Maggie Steed’s mad Queen Margaret all emerge with credit but in the title role, Martin Freeman is much more of a debit, offering up a decent enough performance but one lacking any real gravitas. Continue reading “Review: Richard III, Trafalgar Studios”
“I got the ‘ain’t where I wanna be’ blues”
Suffering the fate of a fair few musicals that have taken up residence in the slightly-too-out-of-the-way Shaftesbury Theatre, From Here To Eternity announced its early closing last year and since then the end has drawn even closer with the final date being moved from the end of April to 29th March. I wasn’t blown away by it on first viewing but I had thought I might be tempted to see it again to see how it stood up to repeated viewing and also to get another listen to Stuart Brayson’s naggingly persistent score. But to be honest, it didn’t really work out that well.
A sadly small audience robbed the theatre of atmosphere despite the cast’s best efforts – it was however nice to see Marc Antolin doing well standing in for Ryan Sampson as Maggio – and there is no escaping the strange weighting of the show towards trying to make empathetic figures out of a largely objectionable group of people, especially in the racist, adulterous, misogynistic, homophobic bullying G Company. Continue reading “Re-review: From Here To Eternity, Shaftesbury”
“Don’cha like Hawaii?”
From Here to Eternity marks the return of noted lyricist Tim Rice to the London stage with this new adaptation of this World War II story, probably best known in its film incarnation and its iconic shenanigans in the surf. This treatment harks back to the original novel to introduce darker elements to the story yet it has also been transformed into a traditional West End musical, which brings with it a certain style that doesn’t always sit too well together with the material.
Set in the adulterous, misogynistic, homophobic, racist and bullying atmosphere of the G Company barracks in Hawaii in the summer of 1941, Bill Oakes’ book – based on James Jones’ novel of his own experiences – has a strangely disjointed quality as it struggles to weave together its three main strands. First Sergeant Milt Warden is hot for his captain’s lascivious wife; new arrival Private Robert E Lee Prewitt is less concerned about joining the corps’ boxing team and falls in love with call girl Lorene instead; and Private Angelo Maggio spends his time ducking and diving, making a quick buck by fraternising with the island’s gay population. Continue reading “Review: From Here To Eternity, Shaftesbury Theatre”