Created by playwright Ella Hickson (The Writer) and sound designers Ben and Max Ringham, ANNA is directed by Natalie Abrahami with real ingenuity, as individual audio headsets are used to give us a unique perspective on a play, directly from the viewpoint of Phoebe Fox’s Anna. It didn’t work for me.
Playing with form, Ella Hickson’s The Writer is a bold new production from Blanche McIntyre at the Almeida. This review also plays with form…
“I want awe. I feel like I need blood. All the time. And anything less than that makes me feel desperate. It makes me feel like I want to die.”
Running time: 2 hours (without interval)
The Writer is booking at the Almeida Theatre until 26th May
PS: I did really enjoy, I’m just going to let other people do the heavy lifting in probing it apart!
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”
“On the dank and dirty ground…”
Joe Hill-Gibbins’ idiosyncratic 2015 take on Measure for Measure filled the Young Vic with inflatable sex dolls so it should come as little surprise that for his A Midsummer Night’s Dream, he and designer Johannes Schütz have transformed the stage into a muddy paddock. With just a mirrored back wall to add to the set, the scene is thus set for an exploration of the “subconscious” of this most oft-seen (particularly in the year gone by) of Shakespeare’s plays.
There’s some great work, delving into the murkiness of the relationships here. Far from spirits “of no common rate”, these royal fairies feel like a real married couple in the throes of having to work things out yet again, Michael Gould’s Oberon’s manipulations as much as anguished as angry, and Anastasia Hille’s Titania relishing the removal of the ball and chain as she plays sex games with Bottom, roleplaying the attending fairies in a witty twist. The intensity of their connection repeats itself later in another clever connection. Continue reading “Review: A Midsummer Night’s Dream, Young Vic”
“A good Labour woman…”
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”
“Eddie Carbone. Eddie Carbone. Eddie Carbone.”
What more is there to say about a play that was my undoubted favourite production of 2014 (out of more than 380 lest you forget!) and which did more than I could have possibly imagined to finally introduce the spectacular creative force of Ivo van Hove to a wider audience. Not much as it turns out! The Young Vic’s extraordinarily successful A View From The Bridge has now transferred into the West End, setting up shop in the relative intimacy of the Wyndham’s and remains one of the most highly recommended shows that I could urge you to go and see.
My original review is here and I stand by everything in it, van Hove’s recasting of Arthur Miller’s classic still burns with its unstoppable, slow-building tragic force and even in this larger space, maintains the same level of punishing emotion. I hadn’t intended to revisit in all honesty, having seen the original run twice but the announcement of onstage seating – to replicate something of the feel of Jan Versweyveld’s original staging – hooked me back in. When the pricing was finally announced, I balked but the simultaneous release of a new date, complete with tickets for the front row of the balcony (one of the best West End bargains for my money), meant I was helpless to resist. Continue reading “Review: A View From The Bridge, Wyndhams”
“He was mad and French and horny”
Part 2 of The Secrets failed to live up to Nick Payne’s opening salvo if I’m completely honest. Sarah Solemani’s The Conversation, in which she also stars, centres on a young couple on the eve of their wedding as an ill-advised secret sharing session opens up a whole can of worms as Charlotte’s revelation that she once had a threesome is blown out of the water by her discovery that Tom was once accused of rape.