After a premiere in Birmingham last year…
Sean Mathias’ production of The Exorcist has resurfaced in the West End just in time for Hallowe’en in the hope of recreating the chills and thrills of the 1973 movie, despite the fact that it is notoriously difficult to get horror right in the theatre.
We saw a preview and there may have been wine involved, hence the gif mood-board presented here rather than your fully-fleshed review. So… Continue reading “Review: The Exorcist, Phoenix”
“I want you to love me more than you love Him”
Like the warmth of a hug you didn’t know you needed, the tender beauty of Geoffrey Nauffts’ Next Fall creeps up on you gradually as an initially comic tone melts into something infinitely more moving. Though the play hooks on a dramatically convenient device to bring together a group of people, the way that it explores the various intersecting relationships between them all is a masterpiece of quietly compelling emotion and perfectly honed construction – one can well see why it was a much-nominated success during its 2010 Broadway run.
Adam and Luke have been together for several years now, navigating the twists and turns of their relationship like old pros, like Adam’s insecurities as he’s just that little bit older than Luke and Luke’s refusal to come out to his family back in Florida even though he’s out and proud in their pokey New York apartment. At the heart of that decision though is something more fundamentally serious – Luke’s devoutly Christian beliefs which fly right in the face of Adam’s atheism, an issue which is interrogated sensitively but deeply as Nauffts asks us what it really means to have faith as we flashback to key points in their time together. Continue reading “Review: Next Fall, Southwark Playhouse”
“Get ready for spooky time”
To criticise a film about time travel for not possessing the most stringent internal logic might seem perverse (though it has never stopped those who watch Doctor Who…); to criticise a Richard Curtis film for being utterly daft feels likewise misintentioned, his work is what it is. But there’s something really rather frustrating about his 2013 work About Time that is determined to have its cutesy cutesy pie and eat it, saccharine sweetness and all.
It is as much a father/son love story as it is a boy/girl romance in which Domhnall Gleeson’s nerdishly appealing Hugh-Grant-a-like Tim, is the son of an upper-class boho family – troubled-but-not-too-much sister (Lydia Wilson), check; slightly doolally uncle (Richard Cordery), check; perfect parents (Lindsay Duncan and Bill Nighy), check. And wouldn’t you know it, it turns out the men in this family have the power to travel back in time by closing their eyes and squeezing a fist. Continue reading “DVD review: About Time”
“All over the country, women are getting less because they’re women”
I thought this would make an appropriate film review for International Women’s Day, it being a celebration of the sewing machinists whose ground-breaking 1968 strike at the Ford Dagenham plant laid the basis for the Equal Pay Act of 1970, enshrining the right of equal pay for equal work. Nigel Cole’s 2010 film, written by William Ivory around the real life events, has been turned into a musical which will be opening at the end of the year, Gemma Arterton taking the lead role under Rupert Goold’s direction, but she has a lot to live up against the glorious Sally Hawkins and what is a rather lovely film.
Made in Dagenham very much fits into the well-established working class Brit flick template – think The Full Monty, Brassed Off, Calendar Girls… – in that it is never particularly challenging, it revels in period cliché and can definitely be described as heart-warming. But also like those films, it does have a little grit at its base, realism (of sorts) is allowed to temper the optimism that drives this huge moment of social change, the individual struggles of these women co-existing with the collective battle to great effect and backed by a super cast, it is frequently moving. Continue reading “DVD Review: Made In Dagenham”
“Dat’s de stuff! Let her have it! All togedder now! Sling it into her! Let her ride! Shoot de piece now! Call de toin on her! Drive her into it! Feel her move! Watch her smoke!”
I loved Eugene O’Neill’s Anna Christie at the Donmar last year and thought his Long Day’s Journey Into Night was truly exceptional when I caught it earlier this year, so the prospect of one of his lesser known works – The Hairy Ape – at the ever-inventive Southwark Playhouse was one that intrigued and so I let myself be talked into catching it just before it closed. It is definitely closer to the former of the above-mentioned plays in its primal expressionism, tales of the sea and the search for belonging.
In the engine room of a transatlantic liner, Yank is the king of his world, leading his team of workers as they shovel away. His certainties are stripped away when a young upper class lady makes her way below-deck, leaving shocked and horrified at what she sees but opening Yank’s eyes to life beyond what he knows. His reaction is to try to find out what disgusts her but he soon discovers that she represents a whole world that doesn’t or won’t accept him. Continue reading “Review: The Hairy Ape, Southwark Playhouse”