“The Americans cannot stand it when others take the lead”
What does it take to get peace in the Middle East? Some determined Norwegians and a plate or two of tasty waffles apparently… At a leisurely three hours in length and set around the Oslo Peace Accords, JT Rogers’ Oslo might not on the face of it seem like theatrical gold but it won a Tony on Broadway and such was the confidence in this production that a West End run was booked in to follow its short engagement at the National before a ticket had even been sold.
And it is a confidence that has paid off handsomely. Bartlett Sher’s direction has an epic sweep to its depiction of world affairs but Rogers’ writing shines through its focus on the intimate detail, on the personal struggle, sacrifice and success of the individuals who managed to break the Israeli-Palestinian deadlock and work towards the unimaginable – a lasting peace. History has shown us the reality of that, something acknowledged in a coda here, but it is still thrilling to watch. Continue reading “Review: Oslo, National Theatre”
“It’s the Middle East Shlomo, enemies is what you make”
Only by chance did I find out that The Honourable Woman was leaving Netflix at the end of this month, so I quickly took the opportunity to catch up with Hugo Blick’s political spy thriller and as is so often the case with these things, was left wondering how I could have taken this long to watch it.
Political intrigue and personal drama coming from kidnapped children, suspicious suicides and betrayals ranging from old blood feuds to intra-familial conflict set the scene immediately for a typically dense and complex story from Blick, centred on a refreshingly new take on the Israeli-Palestinian conflict and the seeming impossibility of finding a solution when the wounds of the past are still felt so keenly and deeply. Continue reading “TV Review: The Honourable Woman”
“I thought you hated all that Royal Court stuff”
I never quite got round to watching My Week With Marilyn when it was released in late 2011: it came out at a busy theatre time (as if there’s any other time for me) and clearly I wasn’t in a particularly cinematic frame of mind as this kind of film would normally be catnip to me with its combination of old-school Hollywood and a British thesp-heavy cast. So I’ve only just gotten round to watching it now and though it clearly contains a performance of exceptional grace and ingenuity in Michelle Williams’ portrayal of Marilyn Monroe, I was surprised at how lightweight the film was as a whole.
Based on two books by Colin Clark, a young man so determined to make a career for himself in the film industry that he managed to wangle his first job as a production assistant on the set of The Prince and the Showgirl, a film directed by and co-starring Lawrence Olivier. But working with such a megastar as Monroe does not prove easy: her personal demons constantly threaten to overwhelm her, exacerbating her already-troubled new third marriage to Arthur Miller, and her over-reliance on her acting coach causes much tension as she ends up delaying the making of the film time and time again. In the midst of all the chaos, she lights upon Clark, who is completely bewitched by his idol, as an emotional crutch and he ends up spending a week escorting her about and providing some light escapism from her life. Continue reading “DVD Review: My Week With Marilyn”
George Bernard Shaw’s 1906 medical ethics drama The Doctor’s Dilemma had a lot to live up to as the last time I was in the Lyttelton at the National Theatre was for the superlative The Last of the Haussmans, one of my favourite plays of the year so far, but though it didn’t quite scale those heights for me, it did emerge as a most satisfying night at the theatre. Shaw’s play centres on the newly ennobled Sir Colenso Ridgeon, a doctor who has discovered a new cure for tuberculosis but only has limited space on his trial. When the beautiful Jennifer Dubedat pleads for the inclusion of her talented artist husband, he is torn as his penniless colleague Dr Blenkinsop is also suffering from the disease and so Ridgeon and his colleagues gather to assess and discuss who is the worthier candidate for treatment.
Peter McKintosh’s set design is an effective triumph and ingenious to the extent that it garnered a round of applause at one point (although it will be slightly less surprising to those that saw this play). It possesses the requisite austere grandeur in all its incarnations of artists’ garrets, Richmond eateries, Bond Street art galleries and Harley Street salons into which Nadia Fall places her talented cast. Genevieve O’Reilly brings a stunning self-possessed statuesque dignity to Jennifer, almost too reserved until the devastating turbulence of the final act reveals all she has been concealing, Tom Burke dances across the stage with a quicksilver lightness as the manipulative Dubedat whose artistic talent has to be weighed against his problematic morals and Aden Gillett (who should always wear a full beard, always) is magnificent as Sir Colenso, pondering the titular dilemma with an aptly detached manner as befits his finely aristocratic bearing. Continue reading “Review: The Doctor’s Dilemma, National Theatre”
“That seeming to be most which we indeed least are”
Despite being one of Shakespeare’s more notorious plays, The Taming of the Shrew has enjoyed a long and varied performance history as productions seek to try to present this difficult tale of female subservience in a way that is acceptable to audiences. It has proved trickier though in modern times to square the misogynistic circle and so directors often find themselves upping the innovative ante to unearth interpretations which will prove satisfyingly revelatory. What this often means in practice though is that a high concept is adopted which offers insight into part of the story whilst the rest is left straining to fit in. Lucy Bailey is the latest to try and tame the Shrew here for the RSC in a production which has played a season in Stratford and is now on a short tour of the UK, currently here in Richmond.
The angle that she chooses to focus on is the Induction, the framing device that sets the story in its context – this is all just a performance being put on by a rowdy bunch of friends to delude the drunken fool Christopher Sly. Sly – a bumptious revealing turn from Nick Holder – is kept on stage throughout most of the first half and in some ways, this almost convinces us that what we are watching is but a drunken fantasy. But he is gradually phased out of the show, and so the apparent importance of being reminded that this isn’t real is stripped away and the second half played largely straight as a story that suddenly is to be taken more seriously. Continue reading “Review: The Taming of the Shrew, Richmond Theatre”