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”
“Eä, Arda, Ainulindalë.
Aratar, Maiar, Rána, Nénar”
Believe it or not, there was a time when I lived in London and I only saw a handful of shows a month, actually making considered decisions about what I wanted to see. And I have to say the musical of Lord of the Rings did not make the cut (obvs I wasn’t aware of who Rosalie Craig was at that point, or else I would have gone!). The show lasted just over a year at the Theatre Royal Drury Lane and probably lost a shit-ton of money (it allegedly cost £12 million to make) but we do have a cast recording to remember it by.
And what a rather odd-sounding show it is, little surprise really when you consider that producer Kevin Wallace brought on three different composers to complement the book and lyrics by Matthew Warchus and Shaun McKenna. So Bollywood supremo A. R. Rahman, Finnish folk group Värttinä and Lloyd Webber-wannabe Christopher Nightingale all contributed to an altogether epic score, but one which sprawls in an unwieldly manner as these three strands struggle to cohere into an effective whole.
Continue reading “CD Review: Lord of the Rings (2008 Original London Production)”
“You’re like the sea, always changing”
Recent weeks have seen a couple of instances where theatre has successfully challenged my preconceptions: A Midsummer Night’s Dream saw me reassess Filter and David Eldridge surprised me with some fantastic writing that really resonated with me in In Basildon. Ibsen however has been a major stumbling block for me – I’ve tried my best, taking in several productions of his work but that connection has never emerged, the reason for his continued popularity completely eluding me. So it would be a lie for to me to say that I went to the Rose Kingston’s new production of The Lady from the Sea with a completely open mind – I was amenable to having my mind changed but it was with a heavy heart that I went there.
I’ve seen the play once before – ironically in a version by David Eldridge at the Royal Exchange in Manchester – and it was not a happy experience. Ibsen’s story focuses on the nymph-like figure of Ellida, settled uneasily in a marriage of convenience to Dr Wangel as memories of her past continue to have a strong pull on her. Wangel tries to facilitate resolution by inviting a man from her past to stay but he stirs up great emotional swells that threaten to pull Ellida back to her beloved sea. Continue reading “Review: The Lady from the Sea, Rose Kingston”
“You do not question the received wisdom”
Ghosts, or Ghostsssss as it seems to be called in this production (this was an early preview), marks the directorial debut of Iain Glen, who also stars here alongside Lesley Sharp. Shocking beyond belief when originally performed in the nineteenth century as one of the first plays to mention syphilis (the ghost of the title) and a damning indictment of Victorian morality: today it has lost this scandalous aspect so the focus necessarily becomes more on the devastating effect of keeping damaging secrets and how the sins of the father are revisited on his son.
The play centres around Mrs Alving (Lesley Sharp), a embittered widow whose husband was a notorious philanderer yet Victorian wisdom and the advice of her spiritual advisor Pastor Manders (Iain Glen) dictated that she stay by his side regardless, despite society knowing full well what he was like. The return of her son Osvald (Harry Treadaway) who she sent to Paris to escape the corruption of his father marks the possibility of a new beginning but it seems history is doomed to repeat itself as those ghosts keep on whispering. Continue reading “Review: Ghosts, Duchess Theatre”
“Is the craft of our mind’s eye so skilful in its artistry, the fake becomes the thing itself?”
Written in 1635 by Pedro Calderón de la Barca, La Vida Es Sueño is considered one of the most significant plays in Spanish literature and enjoys a stature similar to Hamlet. It is presented here at the Donmar Warehouse in a new translation and version by Helen Edmundson and entitled Life is a Dream. Despite being nearly 500 years old, its central issues of the nature of reality and the possibilities of freedom in a cruel world have a remarkably current feel.
Set in Poland, the play focuses on Segismundo, played here by Dominic West, the young heir to the throne who has spent his life imprisoned in a tower because omens foretold that he would one day overthrow his father, the king. Given the chance to prove fate wrong and released into court, the prince lives up to his savage reputation and so is swiftly returned to jail where he is persuaded that all he thought he saw was a dream, hence the title. When he is then released a second time, events take a different turn as Segismundo has matured and learned about the consequences of his actions, especially as a future king, but also he realises that if indeed life is a dream, then it should be lived to the full. Continue reading “Review: Life is a Dream, Donmar”