Written by Eileen Atkins, Vita and Virginia doesn’t quite capture the intensity of this iconic love affair
“When was the moment of your greatest disillusionment?
‘The first time I saw a penis'”
I didn’t know that Eileen Atkins had written a play about Vita Sackville-West and Virginia Woolf but given that it dates back to 1992 and hasn’t been much – if at all – revived, I could perhaps be forgiven. It is that play Vita and Virginia that she has adapted for the screen with Chanya Button, who also directs, and something of its theatrical nature remains.
Based on their copious letters to each others, Vita and Virginia is perhaps inevitably wordy and this isn’t always a great thing in a film. Set as it is in 1920s bohemian London, you might expect the vibe of a decadent whirl and for a while at least, thanks in large part to Isobel Waller-Bridge’s effectively anachronistic score, this is a most seductive party. Continue reading “Film Review: Vita and Virginia (2018)”
The best TV show you haven’t heard about? Harlots just might be it!
“When the time comes, I hope your quim splits”
I suppose that it is good that we have so many more options for good television to be made these days. The flipside to that is that it can be harder to keep track of it all. Harlots is fricking fantastic, a hugely enjoyable and high quality drama but airing on ITV Encore (and Hulu in the US), it has languished in the doldrums of the unfairly unheralded.
A glance at the castlist shows you how much of a waste this is. Samantha Morton and Lesley Manville at the head, Jessica Brown Findlay, Hugh Skinner and Dorothy Atkinson among the supporting, Fenella Woolgar, Danny Sapani and Kate Fleetwood popping up now and again too. This is luxury stuff and yet criminally few know about it. Continue reading “TV Review: Harlots Series 1”
An excellent Jade Anouka leads the cast of Ella Road’s debut play The Phlebotomist at the Hampstead Downstairs
“All these people are getting their dating profiles blood-verified. You know, shouldn’t we just go for the people we fancy?”
The Phlebotomist may be a little
but it’s also
in the way that it takes a scalpel to a near-future obsession with eugenics that is less dystopian than creepily credible.
Running time: 2 hours (with interval)
Photo: Johan Persson
The Phlebotomist is running at the Hampstead Downstairs until 19th May
“You will take what Daddy gives you”
I have to start this review off with an apology to my Medieval History A-Level teacher Mrs Grist. Despite having spent two years studying the subject, and writing an extended essay on the Capetian King Philip Augustus (who appears as a young man in this play), precious little of the detail has remained in my head. Fortunately James Goldman’s The Lion In Winter, Trevor Nunn’s latest entry in his Theatre Royal Haymarket season, has a rather loose basis in history, coming from the Philippa Gregory-type school of soapy melodrama rather striving for historical accuracy, and so the vagueness of my recollections was just fine as this ends up being more of an Ayckbourn-style domestic conflict piece – Season’s Greetings but with a cast of historical royals instead.
Things get off to a rather shaky start with a huge amount of backstory text scrolling up the screen, which is surrounded by the cheapest-looking holly border straight out of a clip-art folder. It is a rather unwieldy way to convey a ton of information which if significant, ought to be clear anyway from strong playwriting. But in a nutshell, the play is set at Christmastime 1183 in the château of Chinon, Anjou in Western France where Henry II of England has kept his wife, Eleanor of Aquitaine, prisoner for a decade after she led a rebellion against him. Accompanying the warring couple are their three sons, Richard, Geoffrey and John, who are all competing for their father’s favour in order to be named his successor and their guest, King Philip II of France, whose half-sister Alais just happens to be Richard’s fiancée and Henry’s mistress. And for two and a half hour, they all jockey for position with each other, trying to work out who will end up on top. Continue reading “Review: The Lion in Winter, Theatre Royal Haymarket”
“That damned woman”
Cause Célèbre is perhaps one of the most eagerly awaited events of the Terence Rattigan centenary celebrations, being directed by Thea Sharrock who helmed the multi-Olivier-winning After the Dance at the National Theatre last year. She brings this play, the last to be written by Rattigan in 1976 before his death the next year, to the Old Vic featuring the return to the stage of Anne-Marie Duff, alongside Niamh Cusack and a large supporting cast. This was a preview performance and I attended as part of the What’s on Stage group outing.
The play is based on the 1930s real-life story of Alma Rattenbury, a woman nearly 40 accused and put on trial for murdering her elderly husband along with her 18-year old lover. Society was scandalised and enthralled by the trial, not necessarily because of the crime but because of the moral profligacy that was perceived in Alma taking such a young lover, and one who was her servant to boot, and it is the attitudes of society that Rattigan focuses on. He introduces the fictionalised character of Edith Davenport into the narrative, a woman of very traditional values who is the forewoman of the jury hearing Alma’s case, yet who is struggling with her own issues as she is divorcing her feckless husband and dealing her son who has inherited his father’s taste for debauchery (as she sees it), a crucial point being that he is the same age as Alma’s lover, something which clouds her judgement from the start. Continue reading “Review: Cause Célèbre, Old Vic”
My intention is, honestly, to see less theatre this year and try and regain some semblance of a normal life again on the odd evening. But the curse of advance booking and grabbing cheap(er) tickets whilst you can has meant that there’s already an awful lot of theatre booked for 2011. Some have been booked without a huge deal of enthusiasm, but others have a dangerous amount of anticipation attached to them…and so I present to you, the shows I am most excited about seeing this year (so far).
Antonioni Project – Toneelgroep Amsterdam at the Barbican
The Roman Tragedies was hands down one of the most exhilarating and refreshing theatrical experiences of 2009 and possibly my life, I’m even headed to Amsterdam in May to see a surtitled production of their Angels in America. So when I heard that the same Dutch theatre company were returning to the Barbican in February, tickets were booked instantly and I am feverishly over-excited for this now! Continue reading “Shows I am looking forward to in 2011”
“The triple pillar of the world transformed into a strumpet’s fool”
After playing the role herself in 1974 for the RSC, Janet Suzman returns to Antony and Cleopatra but this time as its director and has pulled off one of the canniest casting coups of the year in persuading Kim Cattrall to return to the city of her birth to head up the cast alongside Jeffery Kissoon at the Liverpool Playhouse. The ultimate tale of the trouble caused when the personal and the political are so inextricably entwined as Cleopatra and Mark Antony tumble into a passionate affair regardless of the fact that their infatuation threatens to destroy the world around them.
Feisty yet graceful, powerful yet passionate, Cattrall’s portrayal is simply superb. A highly intelligent woman, one can see the calculations behind her eyes as she weighs up each decision that will affect her so hugely but she also plays the comedy well and her touching vulnerability when seized by thoughts of love is beautiful: the recollection of their salad days is exceptional. Kissoon’s Antony is clearly a relic of a passing age, moody and tinged with madness from the outset. His battles come from his uncertainty at his place in this world as much as they do from his doomed affair and so he is a more shambolic leader. Continue reading “Review: Antony & Cleopatra, Liverpool Playhouse”