“I’m paid to make men believe what they want to believe”
‘Spectacular, spectacular!’ It’s donkey’s years since I’ve seen Baz Luhrmann’s 2001 hit film Moulin Rouge, I probably watched it too many times in a short period of time so I remember declaring myself over it but for a goodly while, I was very much under its spell. And giving it another spin now reminded me why. Its bold and brash vision is just as arresting today as it was over a decade ago and the sheer cinematic vision that it indulges in as sumptuous and inventive as any pastiche-jukebox musical (gotta love a Wikipedia descriptor!) made since, managing that rare feat for a musical of being nominated for best film at the Oscars.
From the fiercely romantic and indeed passionate love story between penniless writer Christian (a fresh-faced Ewan McGregor) and ailing star courtesan Satine (a luminous Nicole Kidman, to a soundtrack that iconoclastically cherry-picks musical snippets from the entire 20th century to create a fabuous collage of sonic invention, the film leaps from the screen with glitter and glee. The costume and production design (Angus Strathie, Catherine Martin and Brigitte Broch) is lavish beyond belief, the choreography recalls a marvelous sense of Parisian decadence and the whole thing constantly teeters on the brink of overwhelming. Continue reading “DVD Review: Moulin Rouge”
“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”
“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”