“I suppose we should start by reading it”
Atonement was only Joe Wright’s second film but crikey it’s a good’un. Following on from Pride and Prejudice with another literary adaptation was a bold move, especially in taking on such a modern classic as Ian McEwan’s 2001 Booker Prize nominee but with Christopher Hampton on script duties and Wright’s visionary eye at the helm, Atonement is a deliciously gorgeous piece of art.
From Kiera Knightley’s iconic green dress to that epic Dunkirk tracking shot, from a three-fold Briony (Saoirse Ronan, Romola Garai, Vanessa Redgrave) to narrative daring that enriches the whole piece, Atonement is a sumptuous and assured film that has lost none of its charge nearly ten years on. Wright is blessed with a top-notch cast to be sure, but it is his flair that characterises the film’s brilliance. Continue reading “DVD Review: Atonement (2007)”
“It’s like being at a crosswords”
Indhu Rubasingham keeps it in the family with her opening salvo as Artistic Director at the Tricycle as Lolita Chakrabarti’s first play Red Velvet features her husband Adrian Lester in the main role. But her tale of the experiences of Ira Aldridge, a nineteenth-century African-American actor who caused shockwaves with his performances, offers an intriguing preview of sorts as Lester will be taking on the role of Othello for the National Theatre next year.
For Aldridge was a Shakespearean actor of some renown who toured Europe with many productions and the opening of the play sees him preparing to take on the role of King Lear in a Polish theatre. He’s being interviewed by a journalist about the key moment in his career though, a disastrous attempt to take on the role of Othello which was received with horrific racism (a man blacking up to take on the role was infinitely more preferable) and distaste from nearly all around. Continue reading “Review: Red Velvet, Tricycle”
“I’ve been sentenced to reality”
Kaspar is a play by Peter Handke, put on here in a collaboration between Aya Theatre Company and Dreckly Productions with the support of Southwark Playhouse who are running the bookings. With the additional support of Network Rail, they’ve taken over a disused office complex under one of the railway arches close to Southwark tube station to create a pop-up theatre (complete with bar). Handke is an avant-garde Austrian writer, considered a major contemporary European force, but he is rarely performed in the UK: indeed the only experience I have of his work is the National’s The Hour We Knew Nothing Of Each Other, with its 400+ characters, wordlessly crossing the stage.
This work is based on a true story, of Kasper Hauser who was discovered in a town square, languageless but for a single sentence and subsequently taken under the wing of a series of public figures to teach and civilise him. It turned out he’d been kept prisoner in a room all his life and though responding to the attempts to make him ‘normal’, he continually struggled to retain the inner life he had developed. Handke developed this story into a more abstract play, exploring the notions behind it about the coercive power of language to force people into accepted social constructs and limit the expression of the true individual. Continue reading “Review: Kaspar, Southwark Playhouse at Arch 6”
“If it were done when ’tis done, then ’twere well it were done quickly”
And first a moan. I’d intentionally booked front row seats for this back in December, so upon arrival I was a little surprised to find that there was another row of seats in front of ours, row AA which is set a little closer to the ground but with nowhere near sufficient a rake to prevent people’s heads being seriously in the way. This extra row was added in to sell extra tickets due to it being a sellout and whilst I’m happy for the Barbican with their success here, I’m most annoyed that it subsequently affected my enjoyment of the evening.
Cheek by Jowl return to London with their interpretation of Macbeth, Shakespeare’s examination of the cost of chasing power and limitless ambition without responsibility, using their trademark inventiveness to create an otherworldly experience. Setting up in the Silk Street Theatre at the Barbican, there is excellent use of the space throughout the play: the opening haze-filled scene seems to take place in a seemingly endless void, later on the rear wall is used most effectively with spotlights and shadows thrown up. So much is left dark or in shadow, the audience is left to let their imagination fill in the gaps. Continue reading “Review: Macbeth, Cheek by Jowl at the Barbican”