After what has felt like an interminable wait, the BBC’s adaptation of Philip Pullman’s His Dark Materials arrives onscreen in scintillating form
“In every child’s nightmare, there is an element of truth”
After what has felt like an interminable wait, the BBC’s adaptation of Philip Pullman’s His Dark Materials arrives onscreen in scintillating form. Written by Jack Thorne and directed by Tom Hooper, this first episode set the tone marvellously, balancing all the detail needed for world-building for newcomers and yet still maintaining enough magic to hook in those more seasoned fans of the work.
I definitely count myself in that latter category. The books were the first I ever hungered for in waiting for the publication of the second and third in the trilogy. The National Theatre production ranks as one of the best things I’ve ever seen in a theatre and I trekked to Bath and Salford to see subsequent revivals. I even don’t think the film adaptation of The Golden Compass is the worst thing in the world, honest… Continue reading “TV Review: His Dark Materials Episode 1”
Gary: A Sequel to Titus Andronicus
What the Constitution Means to Me
Ain’t Too Proud
Tootsie Continue reading “The complete 73rd Tony nominations”
Ruth Wilson excels in the intriguing Mrs Wilson, a drama that couldn’t possibly be true…
“You know all you need to know”
Mrs Wilson begins with ‘the following is inspired by real events’ but the truth is even more than that, as main protagonist Alison Wilson is played by Ruth Wilson, who just happens to be her granddaughter. For the story is taken from the extraordinary revelations of her own family history and adapted into a three-part serial here, which is marvellously tense and beautifully filmed.
We begin on an ordinary day in the early 60s as Alison nips home from her job to make a lunch of cold cuts for her novelist husband Alec. He doesn’t make it down to the table though as he’s kicked the bucket and instantly, hints of mystery abound as she hides his wallet and makes a surreptitious phone call. What she doesn’t expect is the knock on the door a few days later from a woman who claim to be his wife. Continue reading “TV Review: Mrs Wilson”
I round up some of the recent casting news, including Queen Margaret at the Royal Exchange, Wasted at the Southwark Playhouse, Measure for Measure at the Donmar and The Woods at the Royal Court.
Shakespeare wrote more lines for Queen Margaret than he did for King Lear yet we know very little of her. Jeanie O’Hare re-acquaints us with one of Shakespeare’s major but rarely performed characters in her new play Queen Margaret. In a production that draws on original language from Shakespeare, director Elizabeth Freestone and Jade Anouka as Margaret, retell an iconic moment in British History through the eyes of the extraordinary Margaret of Anjou. This captivating exploration of The Wars of the Roses seen through the eyes of this astonishing, dangerous and thrilling woman opens the Royal Exchange’s Autumn Winter 2018/19 Season.
Anouka is joined by Islam Bouakkaz (Prince Edward/Rutland), Lorraine Bruce (York), Samuel Edward-Cook (Suffolk/Clifford), Dexter Flanders (Edward IV), Helena Lymbery (Hume), Lucy Mangan (Joan of Arc), Roger Morlidge (Gloucester), Kwami Odoom (Somerset/Richard), Bridgitta Roy (Warwick) and Max Runham (Henry VI). Continue reading “Casting news aplenty!”
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”
“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”
“Be careful… with your life”
Irène Némirovsky’s novel Suite Française has one of those origin stories you’d scarcely believe if you read it in a novel itself. In 1942, Ukrainian-Jewish Némirovsky was deported from the France where she had lived more than half her life, having written two parts of an intended sequence of five novels in the previous couple of years. She spent time at Pithiviers and then Auschwitz where she was murdered, leaving notebooks with family members who could not bring themselves to look at them until they were to be donated to a museum whereupon they were amazed to find complete novels as opposed to mere scribblings – thus Suite Française was published in 2004 to considerable acclaim.
And where such stories go, film must follow and so a movie adaptation made its way to cinemas in 2015, directed by Saul Dibb and co-written with Matt Charman. Suite Française follows life in a village outside of Paris in the first few months of occupation in 1940 and as with several of the films I’ve watched recently, concerns itself with the lack of moral clarity at that time, refusing to depict the world in black and white with choices made easy with hindsight, but rather investigating the realities of living through such a time of crisis and the lengths to which people will go to to survive. Continue reading “DVD Review: Suite Française (2015)”
“The first night in a place always weirds me out”
Released by Netflix just in time for Hallowe’en, I Am The Pretty Thing That Lives in the House naturally popped up on my register as it features the ever-luminous Ruth Wilson in the starring role of Lily. Indeed, Oz Perkins’ film rests mainly on her shoulders, as a live-in hospice nurse who becomes increasingly convinced that her elderly employee’s Massachusetts house is haunted. her fears rooted in her boss Iris Blum’s former career as a horror author.
It’s a remarkably restrained affair from writer and director Perkins, astutely aware of the power of showing as little as possible whilst ratcheting up the tension through a rumbling sound design and a gorgeously gloomy colour palette from cinematographer Julie Kirkwood. It’s unrelentingly creepy rather than outright shocking (for the most part at least…) and this mood that it cultivates is properly scary (and that’s coming from someone who’s really not that much of a fan of the genre). Continue reading “Hallowe’en Film Review: I Am The Pretty Thing That Lives in the House (2016)”
“Man is a giddy thing”
Much Ado About Nothing
Quite a bold gambit here, as Jessica Swale’s Sicily-set scenes are interpolated with Jeremy Herrin’s glorious 2011 production. And most glorious within that production, Eve Best’s heart-breaking, life-affirming recounting of a star dancing is placed front and centre. So Katherine Parkinson and Samuel West are up against it a bit, swanning luxuriously but longfully around the Villa Ida in Messina, never too far from Best and Charles Edwards doing Beatrice and Benedick as well as they ever have been done.
All’s Well That Ends Well Continue reading “The Complete Walk, from the comfort of your sofa #9”
“So, because you can’t believe it’s true, logically it’s false”
So the second and final part of Series 4 of Luther is done and well, it’s hard not to feel a little shortchanged. There’s been chatter about a movie and given that we only got 2 hours of screentime here, it’s hard to see why creator Neil Cross and star Idris Elba opted for a single two-parter split over two weeks as opposed the fiercer energy that a feature-length epic would surely have borne.
Episode 1 aired last week and did a decent job of pulling us back into the world of DCI John Luther, delving back into the show’s mythology and the tangled web of his own past but also moving forward with the dastardly exploits of a new serial killer, which proved to be the main hook for Luther’s return from semi-retirement. Part Two continues the blend, as John Heffernan’s marvellously malevolent cannabalistic killer continues his rampage and Luther deals with the past impinging severely on his present. Continue reading “TV Review: Luther (Series 4, Episode 2)”