“I just popped into Pineapple for this”
There may be few real surprises to be had at Stepping Out but what Maria Friedman’s production here at the Vaudeville does, is to conjure a marvellously congenial atmosphere which is ideally suited to the play. Written in 1984 by Richard Harris and set the year before, to call this period comedy dated is beyond stating the obvious, its female characters wafer-thin, its gender politics non-existent.
But if it isn’t feminist with a capital F, there’s certainly lower-case feminism at work here, not least in the fact that it offers up 8 out of its 9 roles to women – bucking the male:female ratio that is stubbornly persistent in the West End. We follow this group of women, and the solitary man, as they muddle their way through a weekly tap class, building to the inevitable performance that they have to pull off. Continue reading “Review: Stepping Out, Vaudeville”
“No one wants to be average”
The Royal Court has tried different ways of showcasing the work of the new writing talent that it so vitally nurtures and this autumn sees them try out Live Lunch, a set of six new plays – written from scratch over the summer – which fit into the lunch break (assuming you work nearby!) and to which the audience is invited to bring their own lunch. I brought a sandwich but wimped out of eating it and I’m glad I did because it meant I could focus entirely on the rather brilliant piece of writing that opened the season – Luke Barnes’ The Girl Who Looks Up At The Stars.
In the world of up-and-coming writers as they’re termed here, Barnes has already upped and come into the realm of ‘writers whose work I will definitely go and see’. His Bottleneck was a heartbreaking delight and the underdog charm of The Saints was a highlight of the summer for me, and there was no disappointment here with a tough but tender portrayal of a young woman struggling to hold onto her dreams in the drudgery of life in a depressed town in the north west of England. Continue reading “Review: The Girl Who Looks Up At The Stars – Live Lunch at the Royal Court”
Mr John from Julian Kerridge on Vimeo.
Sometimes, it’s the smallest things that are most affecting and Julian Kerridge’s 2005 film debut Mr John is full of gorgeous, intimate details that make it a most charming prospect. Benedict Wong’s Mr John is an agoraphobic television critic but the arrival of a pretty upstairs neighbour, in the form of Nicola Stephenson’s Carol, forces him to look at the limits of his world anew. Their burgeoning relationship is a delight to behold – the gift of a casserole, a love for volcano documentaries, the re-organisation of a video collection – the quirky aspects of what makes her utterly adorable is perfectly played by Stephenson, the wry smile as she walks down the steps at the end enough to melt any heart. And Wong is appealingly nerdish as Mr John, initially disgruntled at the intrusion into his hermit-like existence but soon won over and willing to confront his greatest fear. Just lovely. Continue reading “Short Film Review #25”
“Will you just shut up about your blimmin’ horse”
Those of you that know me, or have read a few reviews on here, will know that I have something of an aversion to puppets, specifically puppetry that tries to be realistic in its portrayal – Avenue Q’s fluffy monsters are fine in that respect – but something about the mimicry of ‘real life’ has never been something I have enjoyed watching and indeed freaks me out a little bit. Throw into the mix horses, an animal of which I am not keen, and it is perhaps unsurprising that I have never been to see War Horse. Nor had I ever intended to, but I made the mistake of saying that the only way I would go was if someone bought me a ticket for my birthday…and lo, guess what happened…
Adapted by Nick Stafford from Michael Morpurgo’s children’s book, War Horse has been one of the biggest theatrical success stories of recent years: originally playing at the National Theatre in 2007, then returning for a revival the next year and then transferring into the West End in March 2009 where it has become one of the best selling shows in town, a genuine fixture at the tucked-away New London Theatre where its success shows no signs of abating, especially in the reflected glow of its award-winning sister production on Broadway. Quite why this is, I have to say still eludes me having seen the show, I couldn’t tell you what the magic ingredient is in here that has led to its enduring achievements aside from offering one of the most overly sentimental theatrical experiences possible. Continue reading “Review: War Horse, New London Theatre”
Marking my first visit to the National Theatre since moving to London, His Girl Friday is a play which has been adapted by John Guare from 2 sources: the 1928 play The Front Page by Ben Hecht and Charles MacArthur and the 1940 film adaptation His Girl Friday by Howard Hawks which inverted the gender of the lead protagonist. Thus a madcap romantic element to this story of energetic newshound Hildy Johnson and her editor (and ex-husband) Walter Burns who will stop at nothing to stop her impending wedding to another man. In the midst of all of this is the scoop of the century which Hildy cannot resist as she revels in the world of cutthroat journalism.
As the central couple, Zoë Wanamaker and Alex Jennings were simply fabulous, the electricity between them just crackles with suppressed sexual energy as it is clear that this couple really does belong together and their fights full of whip-sharp wisecracks and putdowns are a joy to watch as the intersection of their professional and personal relationships makes for a whole lotta farcical fun and they are both excellent at showing how dog-eat-dog their world is. Continue reading “Review: His Girl Friday, National Theatre”