Stars of stage and screen including Olivia Colman, Helena Bonham Carter, David Suchet, Dame Penelope Keith, Timothy West, Jamael Westman, Tobias Menzies, Aimee Lou Wood, Grace Saif, Dame Penelope Wilton, and Julie Hesmondhalgh have joined forces to perform Shakespeare’s 154 sonnets for Jermyn Street Theatre, a 70-seat studio in London’s West End.
The Sonnet Project launched on the theatre’s social media channels on 21 March, when Hannah Morrish performed Sonnet 1. One sonnet has appeared every day since then, with the cycle due to complete with Sonnet 154 in late August. David Suchet, star of Agatha Christie’s Poirot but also a veteran of numerous Royal Shakespeare Company productions, performed Sonnet 34 on Shakespeare’s birthday. Continue reading “News: stars come out to support the Jermyn Street Theatre”
No amount of prosthetics can stop this from being my…Darkest Hour
“The deadly danger here is this romantic fantasy of fighting to the end”
Eesh. The world already has too many Churchill films, never mind the fact that two big ones were released in the same year (Brian Cox’s Churchill was the lower profile one here). And for me, there’s nothing here in Joe Wright’s direction or Anthony McCarten’s writing that merits the retread over much-covered ground.
That is not the prevailing opinion obviously, as the film’s seven Oscar nominations testify, but it is what it is. No amount of latex makes Gary Oldman’s performance palatable (and isn’t it odd that he’s getting such acclaim for a role in which he is unrecognisable), and it is a crime in the ways in which the likes of Patsy Ferran and Faye Marsay are under-utilised, nay wasted. Continue reading “Oscar Week Film Review: Darkest Hour”
“To do nothing is the hardest job of all”
It’s taken a little time to getting round to watching all of The Crown because, in a first for me, I found it impossible to binge-watch the show. Even with Netflix kindly providing offline downloads just at the point where I had a lot of travelling to do, Peter Morgan’s drama was lots of fun to watch but rarely captured the buzzy energy that has accompanied much online programming. Because it many ways it isn’t like much of Netflix’s previous output, it really is an encroachment into BBC Sunday night and as such, I felt it worked best spread out in almost weekly installments.
That’s partly down to the nature of the subject material, we’re not likely to get many surprises in a detailed retelling of the history of the House of Windsor. But it is also due to Morgan’s writing which tends a little to the formulaic, especially in the middle part of the series, which is when my interest was most in danger of waning. The opening two episodes started brightly but once the shock of becoming monarch was over, the rhythm became very much one of someone close to the queen has an issue and she has to weigh personal desires against public duty, the latter always winning out. Continue reading “TV Review: The Crown, Series 1”
“The country needs to be led by someone strong”
You’d be hard-pressed not to know that Netflix have a new series called The Crown as a substantial portion of the £100 million plus budget has clearly been spent on blanket marketing coverage. And like a good punter brainwashed by adverts, I’ve watched the first two episodes to get a sense of what it is like.
Written by Peter Morgan and directed by Stephen Daldry, its credentials are impeccable and there is a slight sense of stepping on the BBC’s toes here, something alluded to in pre-show publicity that informed us the Beeb were less than willing to share archive footage from Buckingham Palace. But with as considerable and lavishly-spent a budget as this, the comparison isn’t quite fair as the ambitions here are most grand. Continue reading “TV Review: The Crown Episodes 1 + 2”
“The proof of our success is we’re victims of it”
The news of a sequel to the better-than-I-thought-it-would-be The Best Exotic Marigold Hotel was received with something of a heavy heart, the automatic assumption being that it wouldn’t, couldn’t, match the success of the first film. But dangnabbit if ain’t actually, possibly, slightly better. Managing the not inconsiderable feat of reuniting the vast majority of the ensemble with writer Ol Parker and director John Madden, The Second Best Exotic Marigold Hotel navigates many of the pitfalls of sequels to produce a story that is at times, deeply moving.
It manages this by emphasising its strengths in its stunning array of acting talent and really capitalising on the universe it built up. Though there are a couple of new faces (Richard Gere and Tamsin Greig), the film focuses on a genuine continuation of story and character. We return to the Indian city of Jaipur where Dev Patel’s Sonny and Maggie Smith’s Muriel’s retirement home is going great guns and they’re looking for finance for a new location, dependent on the results from an anonymous inspection (which is where Gere and Greig come in, thankfully briefly). Continue reading “DVD Review: The Second Best Exotic Marigold Hotel”
“You won’t see better for your grey pound”
The opening quarter of John Madden’s film The Best Exotic Marigold Hotel might leave you wondering about the state of British comedy and our collective tastes, given that it really was quite the box office success in 2011. A unconnected collection of retired and retiring Brits all decide to up sticks and move to a hotel in the Indian city of Jaipur, though it turns out the judicious use of Photoshop means it is not quite the luxurious venue it has set itself up to be. Their reasons for going are various – personal, medical, debt-fuelled – and as we delve into each of these characters, we see how their journeys are just as much emotional as they are physical.
The film’s success was practically guaranteed with its luxurious casting of the crème de la crème of this particular age bracket – Judi Dench, Celia Imrie, Bill Nighy, Ronald Pickup, Maggie Smith, Tom Wilkinson, Penelope Wilton, its pretty much a dream collection and they add a veneer of class to the whole film which pulls it through its undoubtedly tricksier moments. These come during the aforementioned opening section which seems to set the film up as a broad culture-clash comedy, poking easy fun at the discomfort of elderly travellers arriving in a completely foreign land. Is it funny? Are racist comments in this context acceptable because they’re delivered with a wonderfully acerbic bite by Maggie Smith? I guess it is a decision you make for yourself but it feels a fine line. Continue reading “DVD Review: The Best Exotic Marigold Hotel”
“Ponces and spies, Anthony. The people with most to hide never have moustaches.”
In retrospect, I can’t even begin to comprehend why it has taken me so long to getting round to watching Cambridge Spies (the obvious lack of time given how much theatre I see aside) – a quality BBC drama with a properly thesp-heavy cast about spies, with gayness involved, and Imelda Staunton as the Queen (Mother). But regardless, it has taken me this long and of course I’m kicking myself as I thought it was a brilliant piece of drama. Over four parts, Peter Moffat takes us through the key years of four of the Cambridge Five Soviet spies from their recruitment at Trinity College through to the defection of two of them nearly 20 years later.
It was a story I knew little of, so there was a genuine frisson in watching how it all unfolded, not knowing what would happen next, but the real thrill was in the excellent character work from the four leads – Toby Stephens as Kim Philby, Tom Hollander as Guy Burgess, Rupert Penry-Jones as Donald Maclean and particularly Samuel West as Anthony Blunt. From their idealistic anti-fascist student days when the Soviet Union seemed like the only real option to stand against the encroaching terror, the wisdom of the KGB’s recruiting plan was borne out by the ascendance of these four into the higher echelons of the British state, from where they would be able to provide the most important of secrets. Continue reading “DVD Review: Cambridge Spies”
“He did do it, didn’t he?“
One of the side-effects of seeing so much theatre is that there is less time available to imbibe other forms of culture and for me, it has meant that I watch hardly any television these days. I rely on the iPlayer (although too much of what I download ends up lingering unwatched and then expiring) and other catch-up TV services, or else I add the DVD to my ever-growing pile of things to watch on a rare quiet day. Which means it frequently takes me ages to catch up, even with things that I am most looking forward to, one of which was the second series of Peter Morgan’s The Jury which played on ITV last year.
To be honest, calling it a second series is something of a misnomer as it bears no real connection to the first one from 2002, aside from being a show about a jury, which is something of a shame as that show remains one of the televisual highlights of my life. It was one of the shows that introduced me to love of my life Helen McCrory and also featured a smoking hot pre-Hollywood Gerard Butler, but also played out as a rather satisfying combination of character study and legal drama. This time round, the case in question was a retrial of a triple murder, but the focus is as much on the lives of the twelve people eventually selected as jurors. I’m not quite sure why Morgan decided to revisit the format, as in the end it was to somewhat lesser effect for me. Continue reading “DVD Review: The Jury (Series 2)”
“Let us not waste our time in idle discourse”
Waiting for Godot was one of the huge hits of the theatrical calendar last year, starring as it did the heavyweight talents of Ian McKellen and Patrick Stewart, running for most of the summer at the Theatre Royal Haymarket and has been reinstated there again now Breakfast at Tiffany’s has finished.
There’s clearly a business case for bringing this production back as it was so successful and keeping as stellar a name as Ian McKellen to get the bums on seats again, but surely the main draw was seeing the combination of McKellen and Stewart and I do find the recasting decisions a little curious, part of me thinks they should have gone the whole hog in order to create an entirely new production. Continue reading “Review: Waiting for Godot, Theatre Royal Haymarket”
Featuring two very acclaimed actors in the lead roles, Waiting for Godot has been somewhat of a surprise success in the West End this year, extending its run right through the summer. This is clearly partly down to the calibre of the leads, Sir Ian McKellen and Patrick Stewart are two major dramatic heavyweights, but it has also been a bit of a triumph for a straight drama production in these troubled economic times.
Apparently voted the most significant English language play of the twentieth century, Waiting for Godot is a play about two men, Vladimir and Estragon who are, unsurprisingly, waiting for someone called for Godot. We never get to meet Godot, or find out who he is, and so the titular ‘waiting’ forms the backbone of the play as we watch these two men pass the time in a multitude of ways, whilst debating the meaning of life and existence. Twice, they are visited by a man called Pozzo and his slave Lucky. Continue reading “Review: Waiting for Godot, Theatre Royal Haymarket”