“Drink…and let the games begin”
You gotta love an origin story, even for the dark lord himself, as everyone’s misunderstood, no-one’s that bad really. Or so Matt Sazama and Burk Sharpless would have us believe in Dracula Untold, a 2014 Gary Shore film that ultimately did fairly good business. Here, Luke Evans’ Vlad is a good lad who only got the nickname ‘The Impaler’ because he was kidnapped by the Ottoman Empire as a boy and trained into their most deadly assassin.
But he’s escaped now and has a wife and kid so all is good. Or is it? When a Turkish helmet (not a euphemism) is found in a river, Vlad realises that his childhood friend Mehmet, now Mehmet II, played by Dominic Cooper in a huge amount of fake tan (because you know, Hollywood couldn’t possibly try and turn a Turkish actor into a star) is up to no good. So he follows the stream to a cave where Charles Dance is hiding. Continue reading “Hallowe’en DVD Review: Dracula Untold (2014)”
“It seems every man has had enough of me”
Starting quite literally with the Fall of Man, Carol Ann Duffy’s contemporary verse adaptation of medieval morality play Everyman sees Rufus Norris direct his first production since taking up the reins of Artistic Director at the National Theatre and finds him in a rather provocative mood. Through 100 minutes of boldly imagined drama, it’s hard not to feel that there’s an element of grabbing this institution by the lapels and giving it a good old shake. Not so much in establishing a definitive vision for the future per se but more in establishing just how wide its parameters will be.
Norris and designer Ian MacNeil work cleverly within the constraints of the Travelex budget to provide impactful moments with – variously – Tal Rosner’s video wall, a powerful wind machine, William Lyons’ music which combines shawms with Sharon D Clarke most effectively and bags of rubbish. Javier De Frutos makes a significant contribution too as choreographer and movement director, the wordless opening sequence of a coke-and-Donna-Summer-fuelled birthday party makes for a bold beginning. Continue reading “Review: Everyman, National Theatre”
“Now we can go straight into the middle eight”
Now that Spamalot has left the West End (again) (and may well pop up once again given its reliability as a stand-by for quickly vacated theatres), I thought I would give the soundtrack a listen, not least because it has languished on my hard-drive for a good couple of years now without me actually getting round to it. Recorded in 2010 at the Churchill Bromley, the album features the UK cast from that touring production of this Eric Idle and John Du Prez show.
It’s a live recording which means the first thing we hear is applause, something which annoys me disproportionately – why can’t, or don’t, they edit it out – as I don’t want to hear anything that isn’t the people on the stage. Likewise with the laughter throughout, I’m glad the audience were finding it funny but that’s not why people buy soundtracks, to hear others having a good time – is it too much to expect a recording unsullied by the great unwashed?! Continue reading “CD Review: Spamalot UK Cast Album”
An Irish short from 2009 written and directed by Hugh O’Conor, Corduroy is a simply gorgeous piece of film. Inspired by a charity that teaches autistic children to surf, we dip briefly but powerfully into the life of Jessie, a young woman whose Asperger Syndrome has left her deeply depressed. With gentle encouragement from a support worker, she is introduced to the sea and all its power and possibly, just possibly, begins to hope that life might get a little brighter.
It’s extraordinarily acted by Caoilfhionn Dunne as Jessie, movingly understated and painfully authentic in its awkwardness, the glimmers of connection with Domhnall Gleeson’s Mahon are played just right. But it is O’Conor’s direction which is just superb, adroitly suggesting the different way in which people at different points on the autistic spectrum might see and hear the world – audio and visual effects employed with intelligence and compassion to offer insight, understanding, appreciation. Highly recommended. Continue reading “Short Film Review #14”
“What’s happening all over? I’ll tell you what’s happening all over”
2011 really has been a fantastic year for fringe musicals in London. Theatres south of the river like the Landor, the Union and Southwark Playhouse have delivered works of great precision and concentrated passion, but at this late juncture in the year, the team Upstairs at the Gatehouse have redressed the balance northwards with an audaciously thrilling production of Frank Loesser’s classic Guys and Dolls, the first fringe version of it to be seen in London. Noo Yoik gangsters, gamblers, showgirls, missionaries and compulsive eaters all come together as guys chase unattainable dolls and other dolls try to get their guys down the aisle whilst they’re trying to organise a little gambling tournament. And of course it is all accompanied by one of the most glorious scores in musical theatre – no mean feat for a fringe venue to attempt.
The space above the Highgate pub has been opened up marvellously in Racky Plew’s traverse staging which allows Martin Thomas’ free-flowing design to cleverly work in the limited space yet make it feel ideally suited to the purpose. But the main beneficiary of the staging is Lee Proud’s choreography which is outrageously daring (people in the front row are safe, but may flinch!) and breathtakingly executed with style and accuracy by the 12-strong ensemble, the tall drink of ginger ale that is Paul Bullion stood out most for me. From the striking opening routine to the iconic leaping dance of the dice-rolling men to the teasing turns from Miss Adelaide and her counterparts, this is pure quality across the board and incredible to see at such close quarters. Continue reading “Review: Guys and Dolls, Upstairs at the Gatehouse”
“In a thousand years, this will still be controversial”
I’ve never really been a fan of Monty Python and so had never felt the need to go and see Spamalot when it was running in the West End. But when a UK tour was announced, featuring a few interesting cast members, I decided to take the plunge and make my first visit to the New Wimbledon Theatre.
Described as a new musical loving ripped off from Monty Python and the Holy Grail, it is a largely irreverent parody of the Arthurian legend with some self-parodic numbers about musical theatre thrown in for good measure. It features a new book and lyrics from Eric Idle with John Du Prez contributing to the music, but contains a couple of songs from the original film and also possibly the most recognisable song Monty Python ever came up with, ‘Always Look On The Bright Side of Life’. But really, it’s not about the plot, or the killer rabbit, or the French people, or the flying cow, or Finland, it’s about the humour and the silliness and the sheer enthusiasm onstage. Continue reading “Review: Spamalot, New Wimbledon Theatre”