Robert Icke adapts Ibsen to create a vividly powerful The Wild Duck at the Almeida – stunning work
“Henrik Ibsen wrote The Wild Duck in 1884”
The Wild Duck may be a nineteenth century play but this is most definitely at twenty-first century adaptation, Robert Icke continuing his astonishing strike-rate of Almeida successes with yet another. This time it is Ibsen under the microscope but a mark of Icke’s seemingly endless invention is that his approach here repeats little of what he’s done before.
So a scalpel-sharp play about truth and lies becomes refracted through the truth and lies in Ibsen’s own life, the parallels between his own illegitimate issue and Hedwig’s situation brought into the light. The first half sees this done through meta-theatrical interjections, house lights up and actors commenting on the action as much as acting itself. Continue reading “Review: The Wild Duck, Almeida Theatre”
Kenneth Branagh’s Olivier Award-winning theatre company will join forces with RADA for a co-production of Hamlet, to support the transformation of RADA’s Chenies Street site in London, further developing the Academy as a world-leader in dramatic arts training.
The production will feature RADA alumnus Tom Hiddleston in the title role and will play a strictly limited three week run at RADA’s 160-seat Jerwood Vanbrugh Theatre from 1-23 September 2017.
All funds raised will support the RADA Attenborough Campaign, which aims to raise £20million, enabling the regeneration of the Academy’s Chenies Street premises. Continue reading “News: RADA President Kenneth Branagh to direct Tom Hiddleston in Hamlet”
“You are a curiosity”
American versions of Shakespeare (whether his plays or the man himself) are always worth looking up, even if only for a chuckle and new TNT TV series Will is certainly no exception. There’s some weight behind it – it was created by Craig Pearce, the longtime writing partner of filmmaker Baz Luhrmann and has Shekhar Kapur, who directed the award-winning Elizabeth and Elizabeth: The Golden Age, directing and executive producing and in the role of the Bard himself, there’s a potentially star-making role for British newcomer Laurie Davidson.
I watched the first two episodes and they sure make an arresting introduction. You feel Luhrmann’s influence almost immediately as this is no antiquated version of a sedate Elizabethan London, but rather it is one shot through with bright colours and a punk-filled attitude. Literally so, as they have conceived the burgeoning theatre scene of the time as being akin to the contemporary(ish) world of punk rock – theatres filled with patrons in leather and mohicans, the soundtrack filled with the Clash and drunken singalongs to Lou Reed. Continue reading “TV Review: Will, Episodes 1 + 2”
“The whole situation’s been really quite dreadful”
Based on Vera Brittain’s First World War memoir, Testament of Youth hit cinemas in late 2014, perfect timing to capitalise on the rising star of Alicia Vikander whose moment would culminate in winning an Academy Award for The Danish Girl. Her work here in this film is equally spectacular though, directed by James Kent and written by Juliette Towhidi, an elegiac beauty washes through the whole production as Vera’s determination first to study at Oxford and then to help with the war effort plays out.
We first meet Vera in the good company of three good-looking men and as the film progresses, it’s refreshing to see that her journey isn’t defined by them, merely informed. Kit Harington’s poet Roland, Colin Morgan’s shyly besotted Victor, Taron Egerton’s faithful brother (who shares his sister’s eye for a good-looking chap and when it’s Jonny Bailey, who wouldn’t!). And as war plucks each of them from their country idyll, her relationship with each has to bend and reshape. Continue reading “DVD Review: Testament of Youth (2014)”
“But yet the pity of it”
Oliver Parker’s directorial career has taken in glossy takes on Wilde in An Ideal Husband and The Importance of Being Earnest as well as the St Trinian’s films and the recent Dad’s Army remake. But it all started in 1995 with this adaptation, and the word is used advisedly, of Othello. As with many cinematic Shakespearean ventures, it plays fast and loose with the text, cutting large amounts of it and then adding supplementary scenes because the director wants to impose a vision.
The publicity campaign for the film played down its classical roots, focusing instead on the interracial politics of its love story – a hot button topic for the US then, as it is still is now. And well it might, for Parker’s screenplay makes a crucial mistake in rupturing the natural rhythms of the speech, well above and beyond the trimming down which in and of itself, is never a bad thing. Instead, this version feels reductive and rebarbative as it mangles its way through the play. Continue reading “DVD Review: Othello (1995)”
“I’m clean, I’m conscientious and I travel with my own tits”
Where else would you get to see Adrian Scarborough’s Richard III but in passing in a random Kenneth Branagh backstage movie. His movie as a director in which he does not star, A Midwinter’s Tale (or In The Bleak Midwinter as it appears to be known in some places) is a rather sweet comedy that makes for a light-hearted take on the often-time serious Shakespeare for which he was getting increasingly known.
Though fun, it is an acutely observed look at the itinerant life of an actor and the different ways in which people deal with its stresses. Unemployed for a year, Michael Maloney’s Joe offers to help out his sister’s local church by mounting a Christmas production of Hamlet, gathering a cast of similar odds and sods who are also available at the last minute. And together, even with the copious issues this motley crew bring with them, theatrical magic somehow begins to bloom. Continue reading “DVD Review: A Midwinter’s Tale (1995)”
“Did you see how he combined misogyny with just blatant ageism”
A film that passed me by on its 2011 release (possibly as it’s a French film, though English-language), Julie Gavras’ Late Bloomers entertained me much more than the rather tepid critical response had led me to expect. I think this is mainly because the script, written by Gavras with Olivier Dazat, treats its protagonists Adam and Mary with equal importance.
Both heading into their sixties after thirty-odd years of marriage, a mid-to-late-life crisis hits the couple in different ways. He’s an architect who throws himself into working late nights with young associates rather than design retirement homes and feeling neglected, she focuses on her doctor’s advice to keep active after an incident of memory loss leaves her shaken. With three adult children watching haplessly, their parents’ different responses to the reality of ageing threatens to shatter all their worlds. Continue reading “DVD Review: Late Bloomers”
“It took a lot of love to hate him”
On the one hand, Legend has a pair of cracking performances from Tom Hardy, who plays both Ronnie and Reggie Kray, that makes it an instantly interesting proposition. On the other, it’s a rather shallow, even sanitised version of events that delves into zero psychological depth and smacks of a irresponsibly glamourised take on violence that plays up to the enduring roll-call of British crime flicks that just keep on coming.
Writer and director Brian Helgeland begins with the Krays already established as East End hoodlums and tracks their rise to power as they seek to control more and more and have all of the capital under their thumb. This is seen through the prism of Reggie’s relationship and eventual marriage to Frances Shea, the teenage sister of his driver, a sprightly turn from Emily Browning when she’s allowed to act but too often she’s forced to deliver syrupy voiceover. Continue reading “DVD Review: Legend”
“The idea of my life as a fairytale is itself a fairytale”
The recent biopic Diana is a highwater point in films-that-are-so-bad-they’re-good and when Grace of Monaco was similarly lampooned by the unforgiving Cannes audiences, my hopes were raised for an enjoyable time of it. But sadly, Grace of Monaco fails at even being entertaining in its shitness, it is just seriously, badly, dull. Olivier Dahan’s direction is preposterous (those close-ups) and ill-thought-through (more of those close-ups!) and Arash Amel’s script is lazy in the extreme (it plays fast and loose with historical fact for no appreciable gain) and utterly misguided (it asks us to root for the protection of Monaco as a tax haven, save the poor rich people…).
Set at a time of constitutional crisis for the principality as Charles de Gaulle sought to incorporate it into mainland France, the film asks us to believe that Princess Grace, whilst selflessly turning down a return to the Hollywood career that made her name, was able to solve all these crises by winning the hearts of the people with a few French lessons and breaking the French government’s resolve (and apparently solving the war in Algeria) with some simpering speech-making. Never mind that the most of it has been made up by Amel, it is just frightfully dull in the telling of it. Nicole Kidman looks suitably like the epitome of Old Hollywood glamour but cannot do anything to inject any life here. Continue reading “DVD Review: Grace of Monaco”