Jonathan Coe’s novel What A Carve Up! is adapted brilliantly into a gripping online play with an excellent lead performance from Alfred Enoch
“Who even reads novels at this point, they’re just an irrelevance”
As the shadow of another lockdown looms, What A Carve Up! shines as an example of what lemonade can be made from those particular kind of lemons. Produced collaboratively by The Barn Theatre, Lawrence Batley Theatre and New Wolsey Theatre and written specifically by Henry Filloux-Bennett for online delivery, this is exciting hybrid thinking.
Based on the novel by Jonathan Coe, Filloux-Bennett and director Tamara Harvey have done a remarkable job here. Covid restrictions aside, it would never have been the most straightforward piece to adapt but reflecting the book’s postmodern structure, this play interleaves multiple layers to build up not just a murder mystery but a damning commentary on the state of the world. Continue reading “Review: What A Carve Up!”
The Barn Theatre in Cirencester, the Lawrence Batley Theatre in Huddersfield and the New Wolsey Theatre in Ipswich have today announced the full cast for the digital world premiere of Henry Filloux-Bennett’s online play What A Carve Up!, based on Jonathan Coe’s critically acclaimed satirical novel.
With its love for Enya and Rory Kinnear camping it up, Series 2 of Beautiful People is another riotous delight
“There’s not many blokes who can say they’ve been felt up by Ross Kemp”
I loved reminding myself of the first series of this most camp of shows and the second series of Beautiful Peoplewas just as much fun, albeit with more bits I had forgotten. Or more accurately, there’s bits that resonate differently with different actors – Rory Kinnear doing gay this way is quite something!
Jonathan Harvey’s adaptation of Simon Doonan’s memoirs remain highly witty and as the timeline pushes more into teenage years, it also becomes more overtly gay in a sweet but insistent way, mirroring the journey towards being comfortable enough to come out. Continue reading “TV Review: Beautiful People (Series 2)”
Perfect fun for lockdown viewing, Series 1 of Beautiful People is an indisputable camp classic
“Reading’s such a dump guys, I don’t know how you do it”
There’s camp and then there’s camp. The first episode of Series 1 of Beautiful People contains, among other things, Égoïste advert reenactments, Tennessee Williams-based inner monologues to the tune of ‘I Will Survive’, future dames Sarah Niles and Olivia Colman wrestling to the tune of ‘Spice Up Your Life’, and Sophie Ellis-Bextor covering ‘Jolene’. Naturally, it is huge amounts of fun.
Written by Jonathan Harvey from Simon Doonan’s memoirs, this 2008 comedy drama follows the life of thirteen-year-old Simon, who isn’t letting the fact that he lives in the sururban drudgery of Reading get in the way of being absolutely fabulous. He dreams of moving to London but until then, we get to see tales from his eventful childhood. Continue reading “TV Review: Beautiful People (Series 1)”
Despite an excellent Samuel Barnett, the second series of Twenty Twelve isn’t quite at the level of the first, though still very enjoyable
“I’m not from the sanitary world, I’m from Yorkshire”
Perhaps inevitably, the second series of Twenty Twelve doesn’t quite live up the revelatory quality of the first, the tinkering with the formula knocking the exact chemistry of the ensemble ever so slightly off-balance. Split into two (although you wouldn’t know it watching it now), the final episode ran just a couple of days before the Opening Ceremony of London 2012, and the show’s success was such that it made the move from BBC4 to BBC2.
In many ways, the recipe for John Morton’s mockumentary series didn’t change. The Olympic Deliverance Commission continued their hapless march towards the opening of the 2012 Olympic Games, battling their own ineptitude and institutitional intransigency as personal ambition sets up against religious rights, the Royal Family, the nation’s comparative lack of interest in women’s football and sportsmen’s innate lack of personality to name but a few. Continue reading “TV Review: Twenty Twelve (Series 2)”
Original History Boy Samuel Barnett takes on the 10 Questions for 10 Years challenge
Even though I demurred from seeing The History Boys on stage, I’ve loved much else of Samuel Barnett’s work in so many ways. London was cruelly cheated of his Viola but it was in some of his earlier plays that he really stood out for me.
“That remains one of my favourite jobs. The writing, the cast, our amazing director James Grieve, and playing in the old Bush theatre: it was one of those rare jobs where everything came together so perfectly. I adored working so closely with Kate O’Flynn, who is just phenomenal. Perhaps my favourite bit was the last few lines about the colour of love, and the snow falling. Got me every time.”
With Allelujah! at the Bridge Theatre, the return of Alan Bennett leaves me less than enthused
“Still, it was better than this”
In some ways, Allelujah! is perfectly symptomatic of the problem I have with the Bridge Theatre. Does London really need any new theatres, no matter how much people think they want interval madeleines? Does it especially need ones that put on large-scale Alan Bennett premieres? It is nice to see Nicholas Hytner maintaining the long-gestating creative relationship he has with Bennett but at the point where his new venture is now just a carbon-copy of his former home down the South Bank, except with premium seating, it is increasingly hard to make the case for it.
It doesn’t help that this isn’t vintage Bennett. His first play in six years, Allelujah! takes place in the crowded geriatric ward of the Bethlehem, a Yorkshire hospital threatened with closure. A camera crew are filming a documentary, allowing many of the patients to wax lyrical about lives that have passed on by, the England that once was. And in the corridors around the hospital, Bennett similarly lets rip, on the loss of compassion in our society, a social care system on its knees, an NHS in an even worse state, privatisation, gentrification, the downright stupidity of an immigration system that is leaching away the very talent we need to stay. Continue reading “Review: Allelujah!, Bridge Theatre”
Samuel Barnett and Declan Bennett excel at the Menier Chocolate Factory in this beautiful new version of Kiss of the Spider Woman
“Sometimes that kind of behaviour can get in a man’s way”
Despite playing at the Menier Chocolate Factory, this version of Manuel Puig’s Kiss of the Spider Womanis not Kander & Ebb’s 1993 musical, just so you’re clear. What it is, is a beautifully calibrated and ferociously emotive study of love and loneliness and what, if anything, masculinity means.
This new adaptation by José Rivera and Allan Baker casts right back to the original novel, jettisoning memories of the 1985 film too, to trace the burgeoning relationship between two cellmates. Political prisoner Valentin and sexual deviant Molina have little in common but through their shared trials, something beautiful thrives.