Or to give it its true title, Ruth Wilson in His Dark Materials, the BBC scores big with Jack Thorne’s crafty and considered adaptation
“They speak of a child who is destined to bring the end of destiny”
There was never really any chance that I wouldn’t like His Dark Materials but as Series 1 draws to a close, I’m still amazed by how much I loved it. Given the complexity of Philip Pullman’s world-building as written, Jack Thorne’s adaptation of the first novel Northern Lights cleverly opted to tread its own path, moving revels and plot points here and there, plus weaving in elements of The Subtle Knife (the second) to wrongfoot and thrill anyone who thought they knew what they were expecting. With some stonking production design and top-notch VFX bringing the daemons (and more) to life, it has been simply fantastic (read my thoughts on episode 1 here).
Dafne Keen has been a revelation as Lyra Belacqua, the girl on whom so much rests in a world not so different from our own. So adult in so many ways as she battles everything to save her friend Roger (Lewin Lloyd – heartbreakingkly good), she’s also touchingly young in others (especially where Pan – voiced so well by Kit Connor- is concerned), as her understanding of the world can’t help but be coloured by her comparative inexperience, buffeted by devastating waves of parental ineptitude and cruelty. Revelations about those parents, about the mysterious substance Dust too, underline the sophistication of the writing here,never once looking down at its audience,no matter their age. Continue reading “TV Review: His Dark Materials Series 1”
On the two viewings I’ve managed so far, I’m pretty sure Mamma Mia! Here We Go Again is the epoch-defining film that we don’t deserve but which we sorely need
“When you’re gone
How can I even try to go on?”
I was lucky enough to see an early screening of Mamma Mia! Here We Go Again last week and I thought it was fricking fantastic. But as the occasion fuelled by an afternoon tea that was heavy on the bubbles and the raucous atmosphere of a stagey audience and not quite bold enough to stick by the courage of my convictions, I opted to wait until seeing the film a second time before officially declaring my opinion.
And I have to say I really do think this is a superb film. The sequel that no-one really knew they wanted, whipped together in under 12 months once the green light had been given, that somehow manages to do everything you expect it to, and but better, and infinitely more moving than it has any right to be. I knew I’d shed a tear or three of joy but there was more than one moment where I was just sobbing, so rich is the emotion here. And that’s only fitting considering the bittersweet melancholy that is ABBA’s true calling card, rather than the cheesiness they are famed for. Continue reading “Film Review: Mamma Mia! Here We Go Again (2018)”
“How can I hope to make you understand”
Though my life has long been filled with musicals, Fiddler on the Roof has never been the one. I’ve only ever seen it the once (2013’s touring version) and though I quite enjoyed it then, I can’t say I was hankering after seeing another production. And though Daniel Evans’ hands are sure indeed when it comes to classic musicals, I found something rather uninspired both about the choice of programming it for his new Chichester home (although it is an absolute banker) and in his production.
It is perfectly decent, and the quality is solidly good throughout. Omid Djalili is an effective presence as Tevye, Tracy-Ann Oberman is very good as Golde, and it is always nice to see Louis Maskell onstage. But Evans is a director (and artistic director) who has made my heart sing with glorious revivals such as My Fair Lady and Show Boat (and Company and Me and My Girl) and I missed that kind of magic emanating from the unforgiving vastness of the Chichester Festival Theatre’s main stage. Continue reading “Review: Fiddler on the Roof, Chichester Festival Theatre”
“Man is a giddy thing”
Much Ado About Nothing
Quite a bold gambit here, as Jessica Swale’s Sicily-set scenes are interpolated with Jeremy Herrin’s glorious 2011 production. And most glorious within that production, Eve Best’s heart-breaking, life-affirming recounting of a star dancing is placed front and centre. So Katherine Parkinson and Samuel West are up against it a bit, swanning luxuriously but longfully around the Villa Ida in Messina, never too far from Best and Charles Edwards doing Beatrice and Benedick as well as they ever have been done.
All’s Well That Ends Well Continue reading “The Complete Walk, from the comfort of your sofa #9”
“Solly Shimshillewitz? Why didn’t they just call you “Jewie-jew-jew-jew-jew” and be done with it?”
Not having seen the film of The Infidel before catching the musical adaptation at the Theatre Royal Stratford East, I quickly rectified that with a cheeky online rental on my new iPhone 6+ (plug!). Written by David Baddiel and directed by Josh Appignanesi, it was a moderate success in 2010 although watching it now, I was struck by how comparatively muted the humour was and impressed that Baddiel and co saw musical theatre as the best way to translate the story for the stage as it isn’t immediately obvious.
Omid Djalili takes on the role of Mahmud, the British Muslim whose life is turned upside down when he discovers that he is in fact adopted and is Jewish by birth to boot, and impresses in the everyman part of the role, emphasising the story’s point about how we all wear our beliefs differently but no less strongly. He’s a little more restrained than I was expecting though and Archie Panjabi, good as she is, feels miscast as his wife, their relationship improbably imbalanced and so lacking the deep-seated connection that ought to be holding them together even during the most strained times. Continue reading “DVD Review: The Infidel (2010)”
“My uterine contractions have been bogus for some time”
The adage about theatre audiences turning to comedies in times of economic hardship is being increasingly borne out in the West End and with the arrival of What the Butler Saw at the Vaudeville, the Strand gains its second 1970s would-be laugh-fest. But as with The Sunshine Boys, my funnybone was far from tickled as this is a world of humour I just do not get. In Alice Power’s efficient, if needlessly quirky in its protuberances, set design, Joe Orton’s farce plays out in a psychiatric clinic in which all manner of mayhem is unleashed when a government inspector pays a visit at the same time as a doctor tries to seduce a young woman applying to be his secretary whilst his wife has her own sexual shenanigans to hide.
Orton’s intentions were clearly to subvert the farcical form here, to provoke traditional audiences out of their comfortable glow with his deconstruction of sexual and societal values, but this production simply doesn’t reflect that intelligence. What we get instead is something that plays as a straight-up farce. And for fans of the genre, there are some moments to enjoy, especially in the hands of Tim McInnerny’s sweatily lascivious Dr Prentice and Samantha Bond’s nymphomaniacal wife. But the production starts off in such a high-octane gear that there’s nowhere left to go but increasingly overboard in the endless chase for cheap laughs. Continue reading “Review: What The Butler Saw, Vaudeville”
“Be the flame, not the moth”
Taking in Lasse Hallström’s 2005 film version of Casanova was quite an odd experience in the end, a rather overwhelming sadness at Heath Ledger’s passing struck me from the off, in a manner that hadn’t hit me before, even whilst watching his final performances in The Dark Knight and The Imaginarium of Doctor Parnassus much closer to his untimely death in 2008. But I was resolved to watch as many films with Helen McCrory in as possible and so I continued with it.
She plays Casanova’s mother and so her appearance was limited to an opening sequence which set the scene for the film, her leaving him with his grandmother as a young boy and then disappearing from his life. [SPOILER ALERT] She then reappears in the finale in the nick of time to save Casanova’s bacon and is involved in the swashbuckling, sword-brandishing showdown as all those trying to catch up with the lusty lothario chase him through the streets of Venice. It’s a small role, and one that sadly allows little opportunity for McCrory to really make her mark, one would be hard-pressed to really remember her in this particular film, but sometimes that is just the way it goes. Continue reading “DVD Review: Casanova”
BEST ACTRESS IN A PLAY
Rachel Weisz – A Streetcar Named Desire at the Donmar Warehouse
Alison Steadman – Enjoy at the Gielgud
Fiona Shaw – Mother Courage & Her Children at the NT Olivier
Helen Mirren – Phedre at the NT Lyttelton
Juliet Stevenson – Duet for One at the Almeida & Vaudeville
Lesley Sharp – The Rise & Fall of Little Voice at the Vaudeville
THE CAPITAL BREAKS BEST ACTOR IN A PLAY
Jude Law – Hamlet, Donmar West End at Wyndham’s
David Harewood – The Mountaintop at Theatre 503 & Trafalgar Studios 1
Dominic West – Life Is a Dream at the Donmar Warehouse
Ken Stott – A View from the Bridge at the Duke of York’s
Mark Rylance – Jerusalem at the Royal Court Downstairs
Samuel West – Enron at the Royal Court Downstairs Continue reading “2010 What’s On Stage Award nominations”