Best New Play
Harry Potter and the Cursed Child – Palace
Elegy – Donmar Warehouse
The Flick – National Theatre Dorfman
One Night in Miami – Donmar Warehouse
Best New Musical
Groundhog Day – The Old Vic
Dreamgirls – Savoy
The Girls – Phoenix
School of Rock – New London
Yerma – Young Vic
The Glass Menagerie – Duke of York’s
This House – Garrick
Travesties – Apollo Continue reading “2017 Laurence Olivier Awards nominations”
“So thanks to you, some dork meets a girl, not much of a Christmas story…”
On the sixth day of Christmas, Black Mirror also gave to me…only bloody Jon Hamm!
Well this was a White Christmas but necessarily like the ones you used to know. Black Mirror’s 2014 Christmas special saw writer Charlie Brooker go feature length and director Carl Tibbetts get crazy fortuitous as Jon Hamm just declared his love for the series and his interest in appearing in it one way or another, the result being this interlinked triptych of stories, combining as ever to chilling effect.
Hamm plays Matt, a man working in some unspecified remote location and sharing a cabin with Rafe Spall’s Joe. They’ve been living together for five years without really communicating but this particular morning, Joe wakes up to Matt making Christmas dinner, determined to get the story of how he ended up in this isolated place. And sure enough, it is a tale of human exploitation of technological advancement. Continue reading “12 Days of Christmas – Black Mirror Christmas”
“I’ve never felt at home”
With Hedda Gabler, the ever prolific Ivo van Hove is making his National Theatre debut, so you can forgive him returning to a production which he has launched twice before – with the exceptional Dutch actress Halina Reijn in Amsterdam and with Elizabeth Marvel in New York. This time however, he’s working with a new version of Ibsen’s play by Patrick Marber and has the equally extraordinary talents of Ruth Wilson leading his company. And as with his revelatory A View From The Bridge, this is a contemporary reworking of a classic that will frustrate some with its froideur but left me gasping at its gut-wrenching rawness.
As ever, van Hove’s spatial intelligence lends itself to a re-appreciation of the theatrical space in which he’s working. He’s invited audiences onstage at the Barbican, and backstage too and here in the Lyttelton, the wings are closed off by Jan Versweyveld’s gallery-like white box and so characters make their entrances and exits through the same doors that we use – Judge Brack even arrives via the rear stalls at one point. And van Hove keeps things off-kilter onstage too, often pushing the action out to the far edges, focusing the eye on unexpected details like the eloquent sweep of Hedda’s back, the tapping foot of a nervy ever-watching Berthe. Continue reading “Review: Hedda Gabler, National”
“Of course he has a knife! I have a knife. We all have knives. It’s 1183 and we’re all barbarians!”
It was more morbid curiosity that drew me to this 2003 TV movie remake of The Lion in Winter than anything, its most recent appearance on a London stage hardly setting the world alight, but a cast list that included John Light and Rafe Spall as well as the more luminary lights of Glenn Close and Patrick Stewart (taking the roles made famous by Katharine Hepburn and Peter O’Toole in the 1968 film) added to the appeal. What was interesting though was how much I’d forgotten about James Goldman’s approach to this dynastic struggle, as humourous as it is historical.
So though it might appear dry – Henry II’s determination to overrule his estranged wife Eleanor of Aquitaine in naming their son John (of the Magna Carta) as his successor rather than the older Richard (of the Lionheart) – it’s actually a spiky family comedy-drama as the brothers, completed by Geoffrey the other one, duck and dive through the political machinations of their parents and the ever-present threat of Philip II of France whose sister Alais is contracted to be betrothed to whoever will be heir and is currently Henry’s mistress. Continue reading “DVD Review: The Lion in Winter (2003)”
“When somebody says they love you, it means they see something in you they think is worth something…it adds value to you”
Clearly Nick Payne was onto something. In his play Constellations, the infinite possibilities of the relationship between characters Marianne and Dave – as originally played by Sally Hawkins and Rafe Spall – are explored and wouldn’t you know it, fate conspired to bring them together again (Hawkins and Spall that is) in UK film X+Y, and this time with a different twist on the illness. For one reason or another, I didn’t get round to seeing X+Y (or A Brilliant Young Mind as the US would have it) at the cinema last year, which is madness considering how tailor-made for me this film is, but ultimately I’m quite glad I got to watch it in the privacy of my own home as there was a fair amount of ugly crying by the end!
Which in itself isn’t that surprising as it was written by talented playwright James Graham (The Man, This House) in a beautifully, unashamedly warm-hearted manner. Inspired by documentary Beautiful Young Minds, it follows Nathan Ellis (Asa Butterfield), a teenager somewhere on the autistic spectrum who is something of a mathematical genius. Encouraged by his maths tutor Humphreys (Spall), himself a former prodigy and suffering from his own condition, and the tireless patience of his widowed mother (Hawkins), he’s selected to represent the UK at the International Mathematical Olympiad but to do so means facing up to some major challenges. Continue reading “DVD Review: X+Y”
“An indented rule indicates a change in universe”
When a rooftop beekeeper and quantum cosmologist meet-cute at a party, the first few lines of Nick Payne’s play Constellations suggest a rom-com in the making as time restarts and a new possibility plays out, it’s clear that there’s something much more eloquently sophisticated at work here. Premiering at the Royal Court upstairs, Michael Longhurst’s production manages to be both intimate and epic, the story of two people somehow expanding to fill several universes of heartfelt emotion.
When a rooftop beekeeper and quantum cosmologist meet-cute at a party, the first few lines of Nick Payne’s play Constellations suggest a rom-com in the making as time restarts and a new possibility plays out, it’s clear that there’s something much more eloquently sophisticated at work here. Transferring from the Royal Court upstairs to the Duke of York’s in the West End, Michael Longhurst’s production sacrifices nothing in the scaling up to the larger venue and if anything, gains in epic power.
When a rooftop beekeeper and quantum cosmologist meet-cute at a party, the first few lines of Nick Payne’s play Constellations suggest a rom-com in the making as time restarts and a new possibility plays out, it’s clear that there’s something much more eloquently sophisticated at work here. Marking the Broadway debut for all concerned, Michael Longhurst’s production manages the transatlantic transfer seamlessly and one wonders where the show could end up next.
Woking. After successes in the West End and on Broadway, Nick Payne’s play Constellations is now touring the UK, starting off at the New Victoria Theatre in Woking. Which is as good a place as any to see a rooftop beekeeper and quantum cosmologist meet-cute at a party and find themselves exploring the many possibilities that their relationship could take as scenes are played and replayed, shifting their journey together subtly but ineffably into new places.
Sally Hawkins and Rafe Spall. Perfect casting for the effervescent, wise-cracking Marianne and the slightly nerdish but endlessly endearing Roland, their intensity beautifully matched especially in the poignant flashforwards.
Sally Hawkins and Rafe Spall. That perfect casting retained for the transfer, their ease with each other and the technical challenges of the script even smoother than before and if the larger venue challenged them at all, there was no evidence of it.
Ruth Wilson and Jake Gyllenhaal. All change for Broadway – Wilson’s immense subtleties (is that an oxymoron?) made an ideal, if less kooky, Marianne and Gyllenhaal gave an interestingly judged performance as Roland, less obviously blokey but no less moving.
Louise Brealey and Joe Armstrong. And to the tour, Brealey really makes her mark with a more brittle, abrasive interpretation that contrasts so effectively with the warmer moments, and Armstrong exudes a hugely likeable affability that you would certainly chase across universes to find and keep.
Can I really put my finger on why I like this play so much? Why I think it is one of the smartest pieces of new writing that I’ve seen in recent years? I’m not sure that I can.
It’s to do with the way it wears its scientific concepts so lightly – I mean I couldn’t tell you anything about quantum physics right now but during the play, it feels like maybe I could.
It’s to do with the all-too-human instinct to wonder what if I’d done that differently, what path might that have led me down.
It’s to do with the expression of such powerfully felt emotion that yet feels intelligently reasoned.
It’s to do with free will.
It’s to do with love.
I cried a little bit. Well quite a bit.
I cried so much I couldn’t speak for about quarter of an hour afterwards.
I cried a lot, but a New Year’s Day hangover probably had something to with my emotional state too.
I cried a surprisingly small amount, almost just the artful single tear in fact.
Tom Scutt’s design is inspired – I don’t tweet him. Atom-based clusters of balloons trail from the corridor into the theatre, hexagonal tiles mark out the physical space the actors occupy, and Lee Curran’s lighting tracks the darkening mood perfectly.
Tom Scutt’s design is inspired – I don’t tweet him. Some of the finer details are lost in the larger space but the evolving scale of the work is artfully done, capturing something even grander about the emotional contours of the play. This time, it is the sound design by David McSeveney that resonates stronger, delineating each fundamental shift so clearly.
Tom Scutt’s design is inspired – I tweet him, I don’t meet him. It looks as good as ever but the detail of Curran’s lighting is what captures my attention – the shift in the flashes of colour through to blood red, the antiseptic white of the harsh future scenes, the individual balloons picked out in lights with their own secrets.
Tom Scutt’s design is inspired – I tweet him, I don’t meet him and now I probably never will. Since the show has been end-on, there’s been a key scenic detail that I’ve missed every time. Every time. There aren’t enough potential universes to explain this. I need to go again.
Can I put my finger on why I like Constellations so much?
Even on my fourth viewing, there are details that come to me anew.
There are details that have still yet eluded me.
There are scenes that somehow pack a gut-punch as fierce as the first time – why wouldn’t language shift that way.
There are replayed scenes that I could continue to watch over and over – notes in hand or not 🙂
And in perfect keeping with the theme of the show, Michael Longhurst has kept the production the same but different, or is it different but the same in a remarkable way. Marianne may wear an almost identical outfit whether it’s Hawkins, Wilson or Brealey wearing the shoes but she has exuded such a singular sense each time which has been breathtaking to behold. And partnered by the affable/affectionate/rumpled charms of Spall/Gyllenhaal/Armstrong, they’ve all been Marianne and Roland but their own Marianne and Roland and brilliantly so.
Running time: 70 minutes (without interval)
Photos: Helen Maybanks
Booking until 17th May, then touring to Liverpool Playhouse, Bristol Old Vic, Nuffield Theatre Southampton, The Lowry Salford, Cambridge Arts, Richmond Theatre and Theatre Royal Brighton
“If only we could understand why it is that we’re here and what it is we’re meant to spend our lives doing”
No word of a lie, the moment I heard that it would be Ruth Wilson joining Jake Gyllenhaal in the Broadway production of Nick Payne’s Constellations was the moment that I decided that I would make my own long-awaited debut appearance in New York. It is a play that both captivated and broke my heart at the Royal Court Upstairs and again in its subsequent West End transfer, so I had no worries about it scaling up to the Samuel J Friedman Theatre – the only concern being that Wilson and Gyllenhaal would match up to the incandescent performances of Sally Hawkins and Rafe Spall.
Fortunately they more than meet the challenge, offering up performances that simultaneously echo their predecessors whilst also finding something new, neatly reflecting the multiverse theory that underpins Payne’s writing here. On paper it might seem terribly scientific – “at any given moment, several outcomes can co-exist simultaneously” – but in reality, it is ineffably, unbearably human in the gorgeous contours of Michael Longhurst’s finely tuned production as scenes play and then instantly replay, shifting subtly but crucially each time with the story of Marianne and Roland’s relationship. Continue reading “Review: Constellations, Samuel J Friedman Theatre”
“That is one exceptionally clever squirrel”
A slightly odd addition to the festive film slate, Christopher Smith’s Get Santa has a strangely muted sense of Christmas spirit, which viewed through these Brit flick lenses, never really takes off. Rafe Spall’s failed getaway driver Steve is just out of jail and all he wants is to spend Christmas with his son Tom, a cute Kit Connor. But partner Alison has a new fella, his parole officer is out for blood and his kid seems more preoccupied with the bearded man in a red suit he’s found in the shed.
Of course that turns out to be the real Santa, aka Jim Broadbent, who has crashlanded in Richmond Park taking his sleigh for a test run. And in the course of trying to rescue his reindeer from the pound, he ends up in prison (allowing for the film’s one 24 carat joke as the resident barber does his hair and beard up gang-style to help him blend in) and so it is left to Steve and Tom to save Christmas, even if it means breaking his parole. Continue reading “Film Review: Get Santa”
“Is it possible that some people just aren’t supposed to be married”
Joseph Millson having a threesome and Jane Asher swearing are the main high points in Dan Mazer’s I Give It A Year, a film that could do with a whole lot more. The sheen on Nat and Josh’s whirlwind marriage has worn off a little, leaving them facing serious questions as they approach their one year anniversary. With former loves reappearing, new current attractions popping up and friends and family placing bets on whether they’ll make it to the landmark 12 months, the odds seem unlikely.
Which adds up to the film’s major problem, a distinct lack of any real dramatic imperative in hoping that Nat and Josh stay together. Rose Byrne does her best with a thanklessly constructed part who seems solely designed to frustrate Rafe Spall’s hangdog novelistic intentions but as the film opens with a fast-forward through the heady days of early romance, we’re not left with anything to convince us that we should be rooting for them to actually make it to a year, hell, even the end of the film! Continue reading “DVD Review: I Give It A Year”
“I smoke fish…all the time”
The Guardian have partnered with the Royal Court to create a series of what they are calling microplays (short films by any other name, and I assume they’re trying to differentiate this from the short films that are being done in collaboration with the Young Vic…) on a range of six subjects. Each one – food, fashion, music, sport, education and politics – has seen a Guardian journalist work with a playwright to gain inspiration to create a minutes-long microplay which is then rapidly brought to life by some high-class directors and actors and hosted on the Guardian’s website.
The most recent of these is Death of England, written by Roy Williams and directed by Clint Dyer after a discussion with the Guardian’s Barney Ronay. It features Rafe Spall in scintillating form as a grieving working-class son at his father’s funeral who makes an ill-advised attempt at a eulogy which quickly degenerates into a rant about football and race, conflicted ideas about English identity and the state of the national team and notions of what loyalty really means. It couldn’t be a more hot-button topic if it tried (due to the efforts of my hometown team) but it is Spall’s captivating performance of Williams’ insightful script that really grips.
Continue reading “Review: Off the Page – Microplays 1-3 from the Royal Court and the Guardian”