Along with the rest of theatreland, I’m already over-excited and impatient for all of these.
Filming begins today on new productions of Alan Bennett’s critically acclaimed and multi-award-winning Talking Headsmonologues, which first aired on BBC Television in 1988 and 1998. Ten of the original pieces will be re-made with the addition of two new ones written by Bennett last year. They are produced by Nicholas Hytner’s London Theatre Company and Kevin Loader.
Lots of exciting news coming out of the National Theatre today, including actors Nicola Walker, Giles Terera and Kristin Scott Thomas, directors Simon Stone, Lynette Linton and Nicole Charles, and returns for Small Island, Beginningand The Ocean at the End of the Lane
The National Theatre has today announced nine productions that will play on the South Bank in 2020-2021 alongside previouslyannounced shows. These run alongside their international touring productions, three plays that will tour to multiple venues across the UK and a West End transfer. The NT also announces today that it will increase the quantity of low-price tickets on the South Bank by 25%, with 250,000 available across the year at £20 or less.
Ahead of the film’s release on 6th March 2020, a new trailer has been released for Military Wives
“You may not need the choir…but those women do”
From the director of The Full Monty, Military Wives is inspired by the true-life story of the choirmaster Gareth Malone, who took a group of military wives under his wing, when he was working on the hit BBC show The Choir. It looks set to be a proper good Brit-flick, one to weep at at the cinema and being inspired by, at least until you get home (I never have quite managed to get around to joining a choir…). It hits the big screen in March 2020.
Military Wives stars Oscar Nominee Kristin Scott Thomas (Darkest Hour) and BAFTA Nominee Sharon Horgan (Catastrophe) who work with military wives, to form the very first military wives choir, using the camaraderie they find in singing together, to face some of life’s most difficult moments as they attempt to carry on without their loved ones.
Flying against the wind with this I know, but the second series of Fleabag leaves me rather cold…
“I think you’ve played with my guinea pig long enough”
I’m not sure why I’ve never succumbed to the Fleabaglove that has swept the nation. Whether onstage or on screen, Phoebe Waller-Bridge’s magnus opus has never quite done it for me but what do I know – the return of the show, to a West End theatre no less, sold out quickly and the column inches about this second series of the TV show have been mounting up.
And ever the contrarian, this follow-up hasn’t really tickled my fancy either. The one thing that I think it did brilliantly was in its use of the fourth wall, particularly how Andrew Scott’s hot vicar was able to see through it for the loneliness avoidance technique it was and for pure storytelling, I thought it worked very well in terms of humanising a character who has always been rather arch. Continue reading “TV Review: Fleabag Series 2”
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”
Irène Némirovsky’s novel Suite Française has one of those origin stories you’d scarcely believe if you read it in a novel itself. In 1942, Ukrainian-Jewish Némirovsky was deported from the France where she had lived more than half her life, having written two parts of an intended sequence of five novels in the previous couple of years. She spent time at Pithiviers and then Auschwitz where she was murdered, leaving notebooks with family members who could not bring themselves to look at them until they were to be donated to a museum whereupon they were amazed to find complete novels as opposed to mere scribblings – thus Suite Française was published in 2004 to considerable acclaim.
And where such stories go, film must follow and so a movie adaptation made its way to cinemas in 2015, directed by Saul Dibb and co-written with Matt Charman. Suite Française follows life in a village outside of Paris in the first few months of occupation in 1940 and as with several of the films I’ve watched recently, concerns itself with the lack of moral clarity at that time, refusing to depict the world in black and white with choices made easy with hindsight, but rather investigating the realities of living through such a time of crisis and the lengths to which people will go to to survive. Continue reading “DVD Review: Suite Française (2015)”
The boldness of Shakespearean adaptation can be a car crash when it goes wrong but when it is right, as in this 1995 version of Richard III, it is utterly thrilling. From the crashing of a tank through walls and subsequent gory executions into the jaunty sway of 1930s music, Ian McKellen and Richard Loncraine’s idiosyncratic reshaping of the story, first seen at the NT in 1992, is cannily and compellingly done. And because it has been done well, one is far more inclined to grant the liberties that have been taken with the text, because they’re reasoned and reasonable.
Relocated to a parallel version of 1930s Britain in which years of civil war has bred fascism, Richard of York’s rise to power has never seemed quite so chilling as it does here. An ingenious use of British landmarks put to different use cleverly disorients the audience but never so much that it seems too far beyond belief. So Battersea Power Station becomes a coastal military base, St Pancras is substituted for Westminster, and the visuals are just stunning throughout, culminating in a genuinely breath-taking rally. Continue reading “DVD Review: Richard III (1995)”
It doesn’t feel too much to ask for a film starring Dames Maggie Smith and Kristin Scott Thomas to be worthy of their talent but inMy Old Lady, there’s a definite sense of squandering in the air. Written and directed by the American Israel Horovitz, and adapted from his own play, the film makes good use of its Paris location, deep in the Marais, but elsewhere lacks any real sense of justification.
Kevin Kline plays New Yorker Mathias, a recovering alcoholic and failed playwright who journeys to the French capital on learning his father has left him an apartment there in his will. The valuation of 12 million euros pleases him but the discovery of a sitting tenant in the form of Smith’s 92-year-old Mathilde does not. For his father bought the place as a viager, an archaic French legal curiosity that allows the previous owner to remain there ‘til they die, receiving a monthly stipend in lieu of the price of the house. Continue reading “DVD Review: My Old Lady”
Not content with becoming a Dame Commander of the Order of the British Empire earlier this year, Kristin Scott Thomas was also awarded an upgraded Légion d’honneur (from chevalier to officer to be precise) in what has become something of a banner year for her. She’s also completing the not-inconsiderable feat of stepping into Helen Mirren’s award-winning shoes as Her Royal Highness Elizabeth II in Peter Morgan’s The Audience, whilst Dame Helen reprises the role and the award-winning on Broadway.
Morgan’s revival has updated the play a little from its first outing – Tony Blair is in, Jim Callaghan is out, the recent election gets its mention with a barbed Miliband joke, but essentially it remains the same non-confrontational easy-Sunday-evening –television style viewing. The parade of PMs mostly play off a sole predictable character note, the Queen gets an easy ride of it with a strange intimation of where her personal politics might lie, there’s not a dramatic surprise to be had in here nor anything truly arresting through all its luxuriousness. Continue reading “Review: The Audience, Apollo”