Ruth Wilson excels in the intriguing Mrs Wilson, a drama that couldn’t possibly be true…
“You know all you need to know”
Mrs Wilson begins with ‘the following is inspired by real events’ but the truth is even more than that, as main protagonist Alison Wilson is played by Ruth Wilson, who just happens to be her granddaughter. For the story is taken from the extraordinary revelations of her own family history and adapted into a three-part serial here, which is marvellously tense and beautifully filmed.
We begin on an ordinary day in the early 60s as Alison nips home from her job to make a lunch of cold cuts for her novelist husband Alec. He doesn’t make it down to the table though as he’s kicked the bucket and instantly, hints of mystery abound as she hides his wallet and makes a surreptitious phone call. What she doesn’t expect is the knock on the door a few days later from a woman who claim to be his wife. Continue reading “TV Review: Mrs Wilson”
“You don’t know anything about anything, George, and if what they say about the movies is true, you’ll go far”
The end of the silent movie era and the arrival of the talkies has proved fertile ground for many a storyteller, not least Betty Comden and Adolph Green’s immortal Singin’ in the Rain, but Moss Hart and George S. Kaufman’s Once In A Lifetime has a serious claim to being one of the first, premiering as it did in 1930 and its influence is plain to see. It has received major revivals from Trevor Nunn at the RSC (1979) and Edward Hall at the National (2005) and now it is the turn of Richard Jones at the Young Vic, in a production notable for marking the theatrical stage debut of Harry Enfield.
In a new adaptation by Hart’s son Christopher, Once In A Lifetime follows the trials and tribulations of three workaday vaudeville artists from New York who decide to throw in their lot and ship out to Hollywood. With the first ever talking motion picture doing great business, they opt to capitalise on the trend by opening an elocution school to help all those actors who suddenly need to speak on screen but even in its earliest days, the crowded corridors of Tinseltown prove a tough nut to crack with any number of wannabe starlets, studio heads and screenwriters competing for the limelight. Continue reading “Review: Once In A Lifetime, Young Vic”
“I don’t tell the truth, I tell what ought to be the truth. And it that’s sinful, then let me be damned for it!”
As if you could hide the truth about this, surely destined to be one of the shows of the year. Benedict Andrews’ thoughtful updating of Tennessee Williams’ A Streetcar Named Desire makes it seem like the play has always lived in this era and these characters always as freshly vibrant as they are here. The work of Gillian Anderson, Vanessa Kirby and Ben Foster as Blanche, Stella and Stanley is extraordinarily done – the disturbing sheen of sexual violence a tangible and thoroughly believable threat throughout as Andrews pulls no punches in showing us how brutal this world is.
There’s no escaping it either as Magda Willi’s framelike design constantly revolves in front of us as we’re sat in the round. This choice works on so many levels – the dizzying descent that characterises Blanche’s downfall, the relentless passage of time, the voyeurism it provokes from the audience as we crane to see what it sometimes hidden from view (just like the passive neighbours in the New Orleans neighbourhood). It’s not always easy or comfortable but given what we’re watching, why the hell should we be?! Continue reading “Review: A Streetcar Named Desire, Young Vic”