The Crown returns with Olivia Colman and Tobias Menzies at the helm, and Helena Bonham Carter stealing the show
“Everyone at the Post Office is delighted with the new profile”
Gotta get those hits…who knows how far behind I am, given I’m 9 hours ahead of the UK at the moment, but I thought I’d jot down my initial thoughts on the first three episodes of series 3 of The Crown (all written by Peter Morgan and directed by Benjamin Caron), as Netflix kindly offered them up as holiday entertainment. (And since I’m away, I’ve been a little insulated from all the Prince Andrew drama, which from over here almost feels like a random bit of guerilla marketing).
- I wonder if I have a little hangover from just how good Claire Foy was, but I’m 100% feeling Olivia Colman in the role yet. She doesn’t seem quite as subsumed into the character, in the way that Foy’s every minutely detailed movement seemed to be. That said, there’s some scorching moments when Jason Watkins’ Harold Wilson dares to suggest her response to the Aberfan tragedy is lacking.
- The excellent Tobias Menzies hasn’t really had enough screen time yet to have his Prince Philip make an impact, though I’ve every faith.
- The casting of Helena Bonham Carter as Princess Margaret is inspired, the extravagance of the character is perfectly suited to her but she’s bringing a real depth at the same time.
- And I have to say I miss Matthew Goode’s hugely erotic insouciance as Antony Armstrong-Jones, Ben Daniels’ much more wearied take hasn’t quite ticked my boxes yet.
Elsewhere, the headlong rush through the years means that we’re doomed to the smallest contributions from some excellent actors – Samuel West’s Anthony Blunt and Angus Wright’s MI5 bod were gone too soon, though I live in hope of more from Penny Downie’s Duchess of Gloucester, Aden Gillett as Richard Crossman and Sinéad Matthews as Marcia Williams (seriously, her accent is a thing of pure beauty).
And given the budget is allegedly in the many millions, it certainly looks a treat once again. From glistening palatial lushness to agonisingly destroyed villages, these are fully realised worlds no matter how short a space of time we end up spending in them. Caron’s direction also makes room for a more uncomplicated cinematic as well though, choosing iconic visual to close out each episode – the regal silhouette, juxtapositions of Margarets old and new, the children playing. This is a Crown that has lost none of its lustre.
Photo: Sophie Mutevelian
The best TV show you haven’t heard about? Harlots just might be it!
“When the time comes, I hope your quim splits”
I suppose that it is good that we have so many more options for good television to be made these days. The flipside to that is that it can be harder to keep track of it all. Harlots is fricking fantastic, a hugely enjoyable and high quality drama but airing on ITV Encore (and Hulu in the US), it has languished in the doldrums of the unfairly unheralded.
A glance at the castlist shows you how much of a waste this is. Samantha Morton and Lesley Manville at the head, Jessica Brown Findlay, Hugh Skinner and Dorothy Atkinson among the supporting, Fenella Woolgar, Danny Sapani and Kate Fleetwood popping up now and again too. This is luxury stuff and yet criminally few know about it. Continue reading “TV Review: Harlots Series 1”
“I need to change what I can accept”
I only booked for Dessert at the Southwark Playhouse because of the extraordinary Alexandra Gilbreath, one of our finest – and somewhat unheralded – actors. I was no real fan of Oliver Cotton’s previous play Daytona and I’m a couple of decades too young to be excited by the prospect of Trevor Nunn directing. And lest you think me harsh, this was borne out by the audience in SE1 being much more like a typical Chichester crowd than I’ve ever seen here before.
And Dessert more than matches up to the billing by taking place during the final course of a dinner party hosted by an uber-wealthy British couple for an uber-wealthy American couple whose main topic of conversation is the number of millions a chance find of a painting can be flogged for. The menu is interrupted by a visitor but as so much of the play hinges on this late arrival, discretion will be deployed here. Continue reading “Review: Dessert, Southwark Playhouse”
Christine Edzard will be writing and directing a new version of The Good Soldier Schwejk, based on the satirical Czech novel by Jaroslav Hašek, and creating a daring theatrical and filmic experience.
Published in serial form, The Good Soldier Schwejk became an instant success. Hažek died in 1923 leaving the novel unfinished. By 1926 it was translated into German and spread across Europe, acquiring cult status. Since then, the good soldier has appeared in many forms across the world, as a powerfully comic symbol of anti authoritarianism, anti militarism and resistance.
Edzard will present a contemporary ‘take’ on Hašek’s original, in an unconventional, rule-breaking adaptation. The subject of Edzard’s film is in fact a play, a comedy, which she has scripted as a live, cabaret style performance. Her Schwejk will be filmed from curtain up to curtain down as performed over the course of a week in the intimate wooden theatre at Sands Studios in Rotherhithe. The compression of Hažek’s sprawling novel into cabaret form will add bite and contemporary relevance to the satire. The Cabaret form also reflects the background of Schwejk’s original creator – Jaroslav Hašek was a frequent performer of politically engaged cabaret in Prague.
A small cast:
will take on multiple roles and there will be live music and (partially scripted) audience participation. Editing will take place after the shoot in the normal way
It all sounds very intriguing indeed (follow their Twitter here for more info) and I’m pleased to be able to share some rehearsal images for Good Soldier Schwejk with you below. Continue reading “Round-up of news and treats and other interesting things”
This year’s iteration of the Norfolk and Norwich Festival 2017 runs from 12 – 28 May and with it comes a substantial programme of circus, literature, classical and contemporary music, dance, family activities, performance, theatre, visual arts and The Adnams Spiegeltent that befits the fourth biggest arts festival in the country.
Eyecatching inclusions include
“I can’t handle another book right now”
Quite the coup for the Rose Kingston this, not just in John Malkovich’s London debut as a director but in the English language premiere of Zach Helm’s 2006 play Good Canary. The two go hand in hand though, Malkovich having previously helmed its opening run in France (as Le Bon Canari) and then its subsequent production in Mexico (El Buen Canario), a clear affinity for the material bringing him back time and again.
The play is a hard-hitting, at times searing, examination of mental illness and how they intersect both with the creative process and the reality of being a woman in the contemporary USA. On top of the world after great notices for his first novel, Harry Lloyd’s Jack is mulling over a big bucks offer for the next but his wife Annie, Freya Mavor, is self-medicating her mental health with a hefty speed addiction and neither are clear what impact such a change might have on their lives. Continue reading “Review: Good Canary, Rose Kingston”
“The crisis is over. Isn’t it…?”
The Hampstead Downstairs continues its strong run of programming with The Argument, further developing already existing creative relationships. This is William Boyd’s first original play, following his adaptation of 2 Chekhov short stories in Longing which played the main house in 2013, and it is directed by Anna Ledwich, who helmed the Olivier-nominated Four Minutes Twelve Seconds here in 2014.
Though it is a much abused term when it comes to theatre marketing, The Argument really does fall into the category of dark comedy. Pip and Meredith are just back from seeing some popcorn flick at the cinema and a disagreement about the flimsiness of the plot snowballs into a titanic argument about the very nature of their relationship, which then cracks under the strain. In a series of two-handers, Boyd then shows us how the ripples of this quarrel impact on their best friends Tony and Jane and her parents Chloe and Frank, provoking new arguments too. Continue reading “Review: The Argument, Hampstead Downstairs”
“You’re a blockbuster buster”
It’s been five years since the Menier’s glorious revival of Sweet Charity so London has been waiting a wee while for the misadventures of Charity Hope Valentine to return to our stages but with this semi-staged concert version at Cadogan Hall, it’s been largely worth the wait. A cast led by Denise Van Outen, the Royal Philharmonic Concert Orchestra, and an ensemble of bright young things from ArtsEd Ensemble combine to joyous effect and with barely a week’s rehearsal, it’s all the more impressive for that.
Van Outen makes a great Charity, infusing a wonderfully wry sense of humour into her demeanour which cleverly reinforces her indefatigable spirit. Supremely confident vocals and a smooth move or two in Matt Flint’s choreography make her a constant joy to watch and one could well imagine her nailing the role in a full-blown production too, especially if she were joined by Michael Xavier as the various men she encounters. Never mind the frozen peaches and cream, HE’S the stuff of dreams whether the appealing nerdishness of Oscar or the hapless lothario that is Vittorio, his lusciously rich voice undoubtedly one of the best in British musical theatre. Continue reading “Review: Sweet Charity in concert, Cadogan Hall”
“It’s things like using force together,
Shouting till you’re hoarse together,
Getting a divorce together”
Sam Mendes’ production of Stephen Sondheim’s Company was a big success at the Donmar Warehouse in 1995 and subsequently transferred to the Albery Theatre (now the Noël Coward). A recording of the show can be found in full on YouTube at the moment but I restrained myself to just listening to the cast recording, which I have to say was something of a disappointment in the end despite seeming promising.
It’s quite an odd thing to listen to, often frustratingly inconsistent as in the normally reliable Anna Francolini’s ‘Another Hundred People’ in which a broad Noo Yoik accent fades in and out in a most distracting manner. Sophie Thompson battles gamely with ‘Getting Married Today’ but without the assured brilliance of her acting to complement it, the vocal alone doesn’t really pass muster. Continue reading “CD Review: Company (1996 London Cast Recording)”
“There must be no squeamishness over losses”
In the centenary year of the beginning of the First World War, many a theatre has programmed accordingly but few can lay as effective a tribute as the Theatre Royal Stratford East with their revival of Joan Littlewood’s Oh What A Lovely War which premiered here a little over 50 years ago. The play came in for some stick from that enlightened soul Michael Gove who denounced its political revisionism (and gave it a healthy dose of publicity to boot) but in the final moments of this emotionally exhausting show, only the most totally deluded of fools would have politics on their mind in the face of such unutterable loss of life, something that continues in battlefields today.
There is no denying that the show wears its politics clearly on its sleeve. Devised by Littlewood and Theatre Workshop in the 1960s, its depiction of the class lines within the armed forces speak firmly of its time, and it is interesting to see how the American efforts are viewed at a time before any “special relationships” had been forged. But truly at its heart is the experience of the ordinary soldier and Lez Brotherston’s design never lets us free of the unflinching barrage of information and imagery – projections simulate what life might have been life, a constantly scrolling panel of statistics keep the human cost at the front of our minds. Continue reading “Review: Oh What A Lovely War, Theatre Royal Stratford East”