“If one had the power to put it to right it was one’s duty to do so – for the sake of other towns, for the sake of humanity”
Lars von Trier’s films are usually highly divisive (for the people working on them as much as the people watching them) but I have to say I love Dogville. Perhaps love is the wrong word for so brutal a film but I just find it so fascinating in the way that it exposes humanity for who we really are and the depths to which we too easily sink in the name of self-interest.
Visually it is unique as it strips away all the artifice of the film set to leave nothing but chalk outlines of the scenery of the Colorado mountain township of Dogville where the story takes place. Such a bare staging heightens the theatricality of the piece and also its nature as a parable, one that those who dislike the film seem intent to ignore, an irony von Trier would certainly relish. Continue reading “DVD Review: Dogville”
“Things just come out of my mouth which are true”
Truth be told, I wasn’t intending to go back to The Elephant Man. It was probably my least favourite of the plays I saw on Broadway at New Year (so of course it would be the one to transfer lock, stock and barrel to London) but I won a pair of tickets through my efforts on the Seatplan website and able to take a friend, I decided it was worth the revisit at the Theatre Royal Haymarket. The irony of Americans bringing us a version of Victorian London from the Great White Way aside, little has changed about my opinion in that it really isn’t that grand at all.
That’s not to detract from the now Tony-nominated efforts of Bradley Cooper, who plays the physical condition of Joseph Merrick without make-up or prosthetics but purely through the contortions of his face and body. An early scene where Merrick’s physical attributes are described and Cooper layers them onto his body one by one is expertly done but as the play progresses, it remains an effortful performance that never achieves, or allows for, emotional truth, so focused is the actor on the physicality. Continue reading “Review: The Elephant Man, Theatre Royal Haymarket”
Best Performance by a Leading Actor in a Play
Steven Boyer – Hand to God as Jason/Tyrone
Bradley Cooper – The Elephant Man as John Merrick
Ben Miles – Wolf Hall Parts One & Two as Thomas Cromwell
Bill Nighy – Skylight as Tom Sergeant
Alex Sharp – The Curious Incident of the Dog in the Night-Time as Christopher Boone
Best Performance by a Leading Actress in a Play
Geneva Carr – Hand to God as Margery
Helen Mirren – The Audience as Queen Elizabeth II
Elisabeth Moss – The Heidi Chronicles as Heidi Holland
Carey Mulligan – Skylight as Kyra Hollis
Ruth Wilson – Constellations as Marianne
Best Performance by a Leading Actor in a Musical
Michael Cerveris – Fun Home as Bruce Bechdel
Robert Fairchild – An American in Paris as Jerry Mulligan
Brian d’Arcy James – Something Rotten! as Nick Bottom
Ken Watanabe – The King and I as The King of Siam
Tony Yazbeck – On the Town as Gabey Continue reading “69th Tony Award nominations”
“I did not think of all these things, because there was no one to bother to think them for”
Of all the shows that I saw on Broadway, I really wouldn’t have picked this one to be the one that transfers to the West End. But to the Theatre Royal Haymarket it doth come after a commercially successful run. And oh the irony, casting someone named Sexiest Man Alive as the noted Victorian ‘freak’ Joseph Merrick, aka The Elephant Man. The selling point of Scott Ellis’ production of Bernard Pomerance’s 1977 is most definitely three time Academy Award acting nominee (seriously, how did that happen?!) Bradley Cooper and in the grand tradition of things that Oscar likes, he’s feigning a disability in what I found to be a somewhat disturbing performance.
The script determines that no make-up or prosthetic should be used, that Merrick’s deformity should be portrayed only through physicality, and whilst that offers up a veritable challenge to any actor wishing to take on the role, it also throws up big questions that this production comes frustratingly close to interrogating in an interesting way. Putting so fêted and objectified an actor on stage and having society’s reactions in the play range from outright horror to morbid fascination feels like the beginnings of an interesting commentary on today’s obsession with celebrity – indeed, were I directing it I’d’ve had Cooper play no disability at all, to really highlight how we respond to those who are ‘different’. Continue reading “Review: The Elephant Man, Booth Theatre”
I’m going to New York and this time, nobody’s gonna stop me… At the third time of trying (after traumatic passport lost and a wedding cancellation (someone else’s I should add), I will finally be making my way over to the Great White Way over New Year and though it will be my first trip there, I’m thinking I’m pretty much going to spend most of it in the theatre (where else!). I can do the touristy stuff next time because at the moment I’m just dazzled by the opportunities to see some proper famous people on the stage, shallow fame whore that I have turned out to be.
But even then, the people who I’m most excited about aren’t necessarily the ones you might expect – Bradley Cooper is headlining The Elephant Man but it’s Patricia Clarkson who’s most exciting me in that cast, Ewan McGregor may be the biggest name in Stoppard’s The Real Thingbut it’s the opportunity to see Maggie Gyllenhaal and Cynthia Nixon that is getting me there and if Hugh Jackman is the main draw in The River, it’s the unexpected appearance of our very own Cush Jumbo that is most intriguing. That said, there’s no point in me pretending that I’m more excited about Ruth Wilson than Jake Gyllenhaal in Nick Payne’s extraordinary Constellations – we’ll call it the most high-scoring draw ever.
Continue reading “Blogged: Stars in my eyes”
I have a thing about spiral staircases and though the one at the heart of The Last Ten is squared off, it is still freaky as shit. A genuinely disturbing film that is ingeniously conceived and shot by David Higgs with some fantastic cinematography from Nicole Heiniger, it’s all about the perspective as a single camera looking down the middle of a stairwell captures the story of a man returning home to find…well, that would be giving it away. Hitchcock-inspired brilliance, just don’t watch it on your own, or in the dark.
Continue reading “Short Film Review #55”