Join Academy Award-winning filmmaker, Taika Waititi as he reads James and the Giant Peach by Roald Dahl, in full across 10 episodes, to raise money for @Partners In Health.
Over the series, Taika will be joined by Utkarsh Ambudkar, Cate Blanchett, Jamie Cullum, Benedict Cumberbatch, Roman Griffin Davis, Cara Delevingne, Cynthia Erivo, Beanie Feldstein, Josh Gad, Chris Hemsworth, Liam Hemsworth, Mindy Kaling, Nick Kroll, Kumail Nanjiani, Lupita Nyong’o, Sarah Paulson, Billy Porter, Gordon Ramsay, Eddie Redmayne, Ryan Reynolds, Ben Schwartz, Meryl Streep, Tessa Thompson, Olivia Wilde, Ruth Wilson and Archie Yates, with a select number of celebrities still to be announced.
If you can, please visit http://www.pih.org/giantpeach to donate NOW. The Roald Dahl Story Company and their partners will be matching every single donation. New episodes released every Monday, Wednesday and Friday at 6pm BST / 1pm EST / 10 PST. Continue reading “Lockdown treat: Taika Waititi and friends read James and the Giant Peach”
On the one hand, so much to love with such an inordinate array of talent assembled to mark Sondheim’s 90th birthday. But on the other, where’s the editor, there’s a real sense of the rambling here too. Fortunately as this has been put together in lockdown (and very well too) it is easier than ever to skip to the bits you want (in the spirit of these times, I ain’t telling you who disappointed me).
For me, I loved the unexpectedness of Katrina Lenk’ ‘Johanna’, the cuteness of Beanie Feldstein & Ben Platt’s ‘It Takes Two’, and the energy of Alexander Gemignani’s ‘Buddy’s Blues’. And of the heavy hitters in the finale, Donna Murphy and Patti LuPone nailed ‘Send in the Clowns’ and ‘Anyone Can Whistle’ respectively, and there’s huge fun (if not finesse) in Christine Baranski, Meryl Streep & Audra McDonald giving us their ‘Ladies Who Lunch’. Continue reading “Lockdown Review: Take Me to the World: A Sondheim 90th Birthday Celebration”
Legendary Broadway composer Stephen Sondheim will be toasted with an all-star birthday concert, streaming live on Sunday 26th April. Hosted by Raúl Esparza, with musical direction by Mary-Mitchell Campbell, and coinciding with the 50th Broadway anniversary of Sondheim’s Company, Take Me to the World: A Sondheim 90th Birthday Celebration can be seen for free on YouTube.
This once-in-a-lifetime event, benefiting ASTEP (Artists Striving to End Poverty), will include a range of songs from the Sondheim catalogue performed by many of the artists who delivered iconic turns in his musicals, including Meryl Streep, Bernadette Peters, Patti LuPone, Mandy Patinkin, Audra McDonald, Christine Baranski, Donna Murphy, Kristin Chenoweth, Sutton Foster, Brian Stokes Mitchell, Kelli O’Hara, Aaron Tveit, Maria Friedman, Katrina Lenk, Michael Cerveris, Brandon Uranowitz, Elizabeth Stanley, Chip Zien, Alexander Gemignani, Iain Armitage, Stephen Schwartz and, from the cast of Pacific Overtures at Classic Stage Company, Ann Harada, Austin Ku, Kelvin Moon Loh and Thom Sesma.
54 years is quite the wait for a sequel but Mary Poppins Returns is full of nostalgic sweetness and charm
“Are you sure this is quite safe?
‘Not in the slightest. Ready!'”
54 years is quite the wait for a sequel but the sweetness and charm with which Mary Poppins Returns lands on our screens makes it pretty much worth it. It’s a film that does more than wrap you up in a warm blanket of nostalgia, it tucks you in, throws another log on the fire and makes you a steaming hot chocolate (no marshmallows though!).
Set 30 years after the much cherished original, the story (by David Magee, Rob Marshall and John DeLuca based off of PL Travers’s original tales) sees us rejoin Cherry Tree Lane where the adult Michael Banks (Ben Whishaw) lives with his young family (Pixie Davies, Nathaniel Saleh and Joel Dawson). But much like the other long-held sequel of the year, a sadness fills the house for a mother has died. And Michael’s artistic inclinations and part-time job at the bank aren’t bringing in enough to keep them from repossession. Who could possibly save the day…? Continue reading “Film Review: Mary Poppins Returns (2018)”
On the two viewings I’ve managed so far, I’m pretty sure Mamma Mia! Here We Go Again is the epoch-defining film that we don’t deserve but which we sorely need
“When you’re gone
How can I even try to go on?”
I was lucky enough to see an early screening of Mamma Mia! Here We Go Again last week and I thought it was fricking fantastic. But as the occasion fuelled by an afternoon tea that was heavy on the bubbles and the raucous atmosphere of a stagey audience and not quite bold enough to stick by the courage of my convictions, I opted to wait until seeing the film a second time before officially declaring my opinion.
And I have to say I really do think this is a superb film. The sequel that no-one really knew they wanted, whipped together in under 12 months once the green light had been given, that somehow manages to do everything you expect it to, and but better, and infinitely more moving than it has any right to be. I knew I’d shed a tear or three of joy but there was more than one moment where I was just sobbing, so rich is the emotion here. And that’s only fitting considering the bittersweet melancholy that is ABBA’s true calling card, rather than the cheesiness they are famed for. Continue reading “Film Review: Mamma Mia! Here We Go Again (2018)”
All hail Mamma Mia! As we tentatively await the sequel, I revisit a film I can’t ever imagine not loving
“I won’t be muscled out by an ejaculation”
With Mamma Mia! Here We Go Again just about to hit cinemas, I thought I’d revisit the original Mamma Mia! film to remind myself of its pleasures, Pierce Brosnan’s singing and all. Released in 2008, it managed that trick of defying a lukewarm critical reception to garnering huge popularity, something repeated by The Greatest Showman (it’s almost as if film critics can’t quite imagine audiences wanting to see a harmlessly fun musical…).
And that’s what this is in the end, lots of fun and silly with it. Based on the iconic jukebox musical of the same name, it’s a whole load of ABBA songs strung together on a gossamer-light plot of romantic comedy gold. Where it succeeds, as with the musical, is in taking the job at hand most seriously, whilst never taking itself too seriously at all. Songs are in the right places, serving as motors in the narrative, and there’s an integrity to the whole thing, even when its daft as a brush.
Continue reading “DVD Review: Mamma Mia! (2008)”
Star names can’t hide the dullness here
“My decision stands, and I’m going to bed”
No. No, no, no. No. The fact that The Post has any Oscar nominations is testament to how much in thrall to star power the Academy is. And fair enough, the trifecta of Steven Spielberg, Tom Hanks and Meryl Streep is a weighty one. But this is a dull film, rushed through production to try and capitalise on topicality, that is being severely over-recognised here.
“What do you do when you’re not sure?”
John Patrick Shanley’s play Doubt, a Parable comes lauded with garlands – Tony Awards, a Pulitzer Prize for Drama, a Hollywood adaptation with none other than Meryl Streep – so it must be a modern classic right? But, written in 2004, with all of the hindsight of how cases of historical sexual abuse in the Catholic church have been (mis-)handled, I find its dramatic ambivalence hard to stomach.
Shanley sidestepped the issue by setting his play in 1964 where a scandal is brewing at the St Nicholas Church School in the Bronx. Or is it? Ferociously strict principal Sister Aloysius is convinced that there is inappropriateness occurring between parish priest Father Flynn and the school’s first black pupil, but her views are coloured by her loathing of Flynn’s modernising ways. Continue reading “Review: Doubt – a Parable, Southwark Playhouse”
“If things don’t wobble when you walk, you should eat more dinner”
Between Maureen Lipman in the West End and Meryl Streep in Hollywood, the story of notorious singer Florence Foster Jenkins has become much more widely known over the last decade. It does however remain one that I had somehow avoided and so the chance to see see the Peter Quilter play Glorious! with the marvellous Stella Gonet in the lead was one I gladly took. It also meant my first trip to the Frinton Summer Theatre out by the seaside in Essex.
Foster Jenkins’ insistence on pursuing a career as a soprano of note had one major flaw in her lack of singing ability but with a family legacy able to pay enough yesmen to shield her from any negative reaction and the force of her good nature, a striking journey was established. And in Quilter’s play, it a journey we witness through the eyes of her new pianist Cosmé McMoon, taken on to accompany Foster Jenkins at her 1944 concert at none other than Carnegie Hall. Continue reading “Review: Glorious, Frinton Summer Theatre”
“Gods of the theatre, smile on us”
No matter the star quality of the names associated with The Frogs – Meryl Streep and Sigourney Weaver were in the original student company who performed it in a Yale swimming pool in 1974, Nathan Lane was one of the co-writers who expanded it for a Broadway run in 2004 – but there’s no escaping the fact that it is one of Sondheim’s rarely performed musicals. It’s a descriptor that rightly causes a deal of trepidation – more often than not there’s a good reason that works collect dust on the shelf and the hunt for worthy rediscoveries only rarely turns up a diamond.
Another way of looking at it is that you need to kiss a lot of frogs to find a prince and if this isn’t an outright amphibian, it’s also by no means royalty. Loosely based on a 405 BC play by Aristophanes but sending up Greek comedy at the same, we follow Michael Matus’ Dionysos and his slave Xanthias, played by George Rae, as they journey to Hades to find someone who can “enlighten the easily misled and coerced masses of Earth”. They light on George Bernard Shaw as a saviour but Shakespeare has something to say about it, as do Herakles, Charon, Pluto and a chorus of frogs… Continue reading “Review: The Frogs, Jermyn Street”