Fresh from Broadway, hit musical Waitress proves funnier and lighter than you might expect at the Adelphi Theatre
“Let’s see the next amazing thing baking does now”
True story, I didn’t love Waitress when I first saw it in my Broadway Blitz of 2016. But as it sometimes the way, upon listening to the cast recording again and then again, I fell for the show that way, and so was delighted with news of its UK premiere at the Adelphi Theatre.
To think of it as a big Broadway show is to misinterpret what it is trying to do though. Jessie Nelson (book) and Sara Bareilles’ (music and lyrics) adaptation of Adrienne Shelly’s 2007 indie flick is a subtler thing than much West End fare, an intimate story of pies, pregnancy and just how much we’ll put up with. Continue reading “Review: Waitress, Adelphi Theatre”
“You are the chief executive officer of the human race”
It was quite interesting to rewatch Series 8 of Doctor Who, one which I hadn’t revisited at all since it originally aired, as my memories thereof were not at all positive. And whilst disappointments remained – Robin Hood, 2D cartoons, the treeees! – there was also much to enjoy that I’d forgotten about. The smash-and-grab of Time Heist, the simplicity of ghost story Listen, and the ominous darkness of the finale.
I’m still in two minds about Peter Capaldi’s Twelve though, I want to like him so much more than I do, and I think you do get the sense of him feeling his way into his irascible take on the role. Jenna Coleman’s Clara benefits from being released from the yoke of impossibility to move to the forefront of several episodes and if she’s still a little hard to warm to, that finale really is superbly done. And then there’s Michelle Gomez, stealing the whole damn thing magnificently! Continue reading “Countdown to new Who: Doctor Who Series 8”
“So why did you pick him?”
Having got together early on in their uni days, Rafe and Pete are suffering something of a seven year itch. More specifically they’re wondering what it would be like to be with someone else sexually and so they’ve invited their friend Michael around with their own indecent proposal – a night with each of them, separately, to satisfy their curiosity, of which they will then never speak again. Naturally though, the course of sexual experimentation never does run smooth, especially once Michael’s partner Andrew is factored into the equation.
Jake Brunger’s Four Play – first commissioned by the Old Vic New Voices scheme – sees a bit of a leap from his last work, the musical adaptation of Adrian Mole Aged 13 ¾ at Leicester’s Curve, but you can still see the connections in the emotional knots that people end up tying themselves into. Rafe and Pete’s intensely committed relationship may contrast with the more open partnership between Michael and Andrew but at the heart of the problems that spiral out of the formers’ proposition, is a similar lack of honesty about what each wants when it comes to sex, love and commitment. Continue reading “Review: Four Play, Theatre503”
“The loss of his arm had apparently dulled his senses”
Tennessee Williams’ One Arm started life in the 1940s as a short story, was turned into a screenplay which remained unproduced in the 1960s and now finds itself adapted into a stage play by Moisés Kaufman, receiving its UK premiere directed by Josh Seymour at the Southwark Playhouse. Champion boxer and serving in the American navy, Ollie Olsen life is turned upside down when he loses his arm in a car accident and turning to prostitution, finds himself sucked into a world of increasing darkness and ending up on death row. From his cell, he reflects on his life and the strange contours of its journey.
Kaufman is perhaps best known for The Laramie Project (which Seymour directed in Leicester in 2012) and elements of that patchwork approach remain here, as this play has snippets from the screenplay quoted directly, including scene transitions and settings, upping the metatheatricality around Ollie’s story. But as it progresses, this device loses prominence amongst an increasing sense of Ollie’s fevered dreamworld taking over, allowing Seymour to bring out more of his own theatrical vision as with the incorporation of John Ross’ movement. Continue reading “Review: One Arm, Southwark Playhouse”
“There’s no room for cynicism in the reviewing of art”
One might equally say there’s no room for cynicism in my reviewing of Mike Leigh’s work, such a fan of his oeuvre am I and the laidback, gruff charms of Mr Turner are no exception, confirming the iconic director in the full flush of his prime. Timothy Spall has already been deservedly rewarded for his wonderfully harrumphing performance of the last 10 years of the life of this most famous of painters and it is a compelling portrait, of a man established in his world as a bachelor, a master painter, and later a lover. Leigh’s episodic style fits perfectly into this biographical mode, dipping in and out of his life with the precision of one of Turner’s paintbrushes, colouring in a captivating collage of his later life.
Spall is excellent but around him, the women in his life provide some of the most hauntingly beautiful moments of the film. As Sarah Danby, the mistress and mother of the two daughters he would not recognise, Ruth Sheen is piercingly vivid, her barely contained fury resonating deeply. As Hannah Danby, her niece who was Turner’s long-suffering and long-serving housekeeper, Dorothy Atkinson is painfully brilliant as a woman subjugated and subdued by his wanton sexual advances, the psoriasis that afflicted her, and her deep love for the man. As “self-taught Scotswoman” and scientist Mary Somerville, Lesley Manville near steals the film in a simply beautiful self-contained vignette. Continue reading “Film Review: Mr Turner (2014)”