I succumb easily to the charms of Paddington 2 and Hugh Grant having the time of his life
“Exit bear, pursued by an actor”
In a year when sequels have outperformed expectations (at least mine anyway), I should have heeded the signs that Paddington 2 heralded back last winter that sequels were ‘in’. Paul King’s follow-up to his 2014 warm-hearted original, reintroducing us to our ursine Peruvian hero, occupies a similar space of resolutely British family films that are a cut above.
Written by King and Simon Farnaby, the film is unafraid to take its audience seriously and for every adorably sweet sequence, there’s genuine peril and even darkness in there too. Hugh Grant is the main antagonist, an actor called Phoenix Buchanan who has been reduced to making dog-food adverts and his ne’er-d-well ways see Paddington framed for a crime he did not commit. Continue reading “Review: Paddington 2 (2017)”
If female-fronted lawyer shows are your bag (and why wouldn’t they be!), the twin joys of The Split and The Good Fight have marvellous to behold
“Kill all the lawyers”
If I’m completely honest, Abi Morgan’s The Split did leave me a tad disappointed as it veered away from its legal beginnings to something considerably more soapy over its six episodes. The personal lives of the Defoe clan well and truly took over at the expense of any of the cases they were looking after and even if that family includes Nicola Walker, Annabel Scholey and Deborah Findlay, it’s still a bit of a shame that it ended up so schlocky. Continue reading “TV Review: The Split / The Good Fight”
Paying tribute to the NHS in its 70th year, the specially-commissioned monologues of The Greatest Wealth made for a great night at the Old Vic
“It’s a wonderful idea
It’s a marvellous idea
It’s such a very good idea”
It’s no exaggeration to say that I wouldn’t be here but for the NHS – it changed my life as a young boy, it saved my life as a teenager who didn’t look both ways. A story I imagine which finds resonance with so very many of us in the UK but as this venerable institution marks its 70th birthday, it finds itself under siege more than ever. So what better time to reflect on what has been, what is and what yet might be for our National Health Service.
Curated by Lolita Chakrabarti and directed by Adrian Lester, The Greatest Wealth took the form of a series of specially-commissioned world-premiere monologues, each responding to a particular decade of the NHS’s existence. Exploring the myriad ways in which it has become an integral part of the social and economic fabric of the nation, it proved a varied and thoughtful evening.
Continue reading “Review: The Greatest Wealth, Old Vic”
All hail the return of Nicola Walker to our TV screens in new Abi Morgan drama The Split
“Divorce shouldn’t be easy”
Just a quickie to cover the first episode of this new legal drama which looks extremely promising, not least because of a swooningly wonderful cast. The aforementioned Nicola Walker, Annabel Scholey and Fiona Button as sisters, the ever-marvellous Deborah Findlay as their fearsome mother, people like Stephen Tompkinson and Meera Syal as clients, hunky Dutchmen like Barry Atsma looming on the sidelines, and the likes of Rudi Dharmalingam and Kobna Holdbrook-Smith also on the fringes.
Photograph: Mark Johnson/BBC/Sister Pictures
“Contradictions, city of extremes, anything is possible in Bombay dreams.
Some live and die in debt, others making millions on the internet”
True story, until last week I thought Bombay Dreams was written by Andrew Lloyd Webber. Not having seen it onstage nor listened to it before, all I knew was the Lord’s name was attached to it and assumptions were thus made – it’s even his name that appears first on the album cover. But peruse a little closer and you see he’s just ‘presenting’ as one of the original producers, cast your eyes a little further down and A.R. Rahman is revealed as the composer. This may of course be old news to you but for me, it was a revelation before I’d even started!
This was multi-award-winning composer Rahman’s first effort for the stage and the palpable effort to mesh his unique take on Indian music with the world of musical theatre is obvious from the off. The musical soundscape that begins ‘Bombay Awakes/Bombay Dreams’ is layered and intriguing but the mood is shattered as soon as Don Black’s lyrics crash in (see the quote up top for a sample) and the combination is cringeworthily fatal. And across the score as a whole, the sense of compromise, of trying to serve two masters whilst pleasing none is too evident. Continue reading “Album Review: Bombay Dreams (2002 Original London Cast)”
“I’ve seen many things, my friend. But you’re right. Nothing’s quite as wonderful as the things you see”
So as David Tennant’s Ten regenerates into Matt Smith’s Eleven, Doctor Who also changed showrunner/lead writer/executive producer/oddjob man as Steven Moffat took over the reins from Russell T Davies. The pressure was on both to deliver – the relatively unknown Smith had low expectations, Moffat had sky-high ones due to his much-garlanded writing – and I don’t think you can argue that they didn’t. Smith revealed an impossibly ancient soul to his youthful frame with a Doctor unafraid to be as angrily dark as hyper-actively quirky. And Moffat constructed a complex series, introducing the depths of new companion Amy Pond slowly, and building to a multi-stranded timey-wimey finale that makes the head hurt just to think about it.
Elsewhere, the overused Daleks returned in multicoloured format, the Weeping Angels were much more successfully reprised in a stonking double-header, the Silurians also came back, and Arthur Darvill’s Rory grew in stature to become an effective second companion as opposed to a third wheel. Oh, and Helen McCrory stole the show, but then you knew I’d say that didn’t you 😉 Continue reading “Countdown to new Who: Doctor Who Series 5”
“I want you beyond what I can say beyond what I got words for”
The warnings come early as you queue to get into the Royal Court upstairs – “if you’ve got coats and bags, check them into the cloakroom or keep them on your knees” – and they’re well-founded, for Merle Hansel’s spectacular redesign of the auditorium puts the audience on swivelling stools in the centre, with the company on raised strips of narrow stage around us on three sides.
It’s an arresting start and an entirely appropriate one too, for debbie tucker green’s a profoundly affectionate, passionate devotion to someone (-noun) comes with all the gnomic but still conversational energy of her best writing. And as dialogue pings from one side of the room to the other to the other as the actors prowl its borders, we can twist and turn as we please, to focus where we will or follow the action like head-bobbing tennis spectators. Continue reading “Review: a profoundly affectionate, passionate devotion to someone (-noun), Royal Court”
Hamilton-mania never dies down – as the first news about the UK cast arrives, the original Schuyler Sisters are reuniting this weekend!
Continue reading “Round-up of news and treats and other interesting things”
Best Actor in a Play, sponsored by Radisson Blu Edwardian
Ian Hallard for The Boys in the Band
Ian McKellen for No Man’s Land
Jamie Parker for Harry Potter and the Cursed Child
Kenneth Branagh for The Entertainer
Ralph Fiennes for Richard III
Best Actress in a Play, sponsored by Live at Zédel
Billie Piper for Yerma
Helen McCrory for The Deep Blue Sea
Lily James for Romeo and Juliet
Michelle Terry for Henry V
Pixie Lott for Breakfast at Tiffany’s Continue reading “2017 What’s On Stage Award nominations”
“Is it not strange…”
The Faction weren’t kidding when they said they were breaking out of the rep model that has characterised their output for the last few years. Earlier this summer saw them take Vassa Zheleznova to the Southwark Playhouse and now they’re appearing at the reFASHIONed Theatre. What’s that I hear you cry, why it’s a pop-up space on the lower ground floor of Selfridges just past the luggage where a newly commissioned version of Much Ado About Nothing is paying its own tribute to Shakespeare400.
Director Mark Leipacher and co-director Rachel Valentine Smith have slimmed the play down to a neat 90 minutes, without too much damage (unless you’re a big fan of the Watch) and with a nod to the sleekly contemporary surroundings of the reFASHIONed space, introduced digital cameos to supplement their 9-strong cast. So Simon Callow and Rufus Hound pop up on CCTV footage as Dogberry and Verges, and Meera Syal appears regularly onscreen as a reporter for Messina News, filling us in on the breaking news whether on TV or on Twitter-streams. Continue reading “Review: Much Ado About Nothing, reFASHIONed Theatre”