“We are too desperate to do anything but live our lives desperately”
To be quite honest, I hadn’t intended to see Woyzeck, little about it appealing to me (despite the presence of Nancy Carroll and Ben Batt in the cast – attractive to me in EXACTLY THE SAME WAY). But a bargain and the chance to catch up with an old friend got me to the Old Vic on a gorgeously sunny afternoon where, inevitably, I found myself enjoying it more than I thought I would. There’s just a few performances left though if you want to catch it for yourself/bask in their air-con.
The news of Tim Pigott-Smith’s passing at the age of 70 yesterday was a terrible shock, not least because he was still in a rich creative vein – a tour of Death of a Salesman was scheduled for next month and the long-anticipated TV adaptation of his multi-award-nominated turn in the lead role of King Charles III is due later this year.
This tribute from Mike Bartlett is beautifully done. Continue reading “Round-up of news and treats and other interesting things”
Romola Garai will star as Sarah, Duchess of Marlborough alongside Emma Cunniffe as the eponymous monarch in the Royal Shakespeare Company’s production of Queen Anne. They will be joined by Jonathan Christie, Michael Fenton-Stevens, James Garnon, Richard Hope, Hywel Morgan, Beth Park and Carl Prekopp with further casting to be announced soon.
After originally opening at the Swan Theatre in Stratford-upon-Avon in November 2015, Queen Anne will transfer to Theatre Royal Haymarket for a thirteen week limited run from 30 June until 30 September. Written by Helen Edmundson (The Heresy of Love
, RSC) and directed by Natalie Abrahami (Happy Days
, Young Vic), this gripping play explores the life of one of England’s little-known sovereigns and her intimate friendship with her childhood confidante Sarah, Duchess of Marlborough.
Continue reading “Round-up of news and treats and other interesting things”
“Why would the devil be interested in you?”
And so the penny drops, John Logan’s Penny Dreadful comes to an end after 3 highly atmospheric seasons of gothic drama, anchored by a sensational performance from Eva Green that ought to have been way more recognised that it was. It’s taken me a little while to get round to watching the series after writing about the first episode so apologies for that, but sometimes, life (and summer holidays) just get in the way. Beware, spoilers will abound.
In some ways, the ending of Season 2 acted as a finale that really worked, the key characters left shell-shocked by what had befallen them and scattered across the globe, as manifested in a gloriously down-beat last half-hour of Episode 10. And so the main challenge of Season 3 was to find a way to reconnect their stories in a way that was at least thematically interesting, if not necessarily the most dramatically satisfying. Continue reading “TV Review: Penny Dreadful Season 3”
“The cycle goes on, the snake eating its own tail”
The focus may be elsewhere with regards to returning cult TV shows this spring but to my mind, there’s something more satisfying about the Victorian Gothic psychodrama of John Logan’s Penny Dreadful than we’ve had recently in Westeros. Don’t get me wrong, I enjoy a turn on the Game of Thrones as much as the next Lannister child but the greater focus and emotional intensity of Penny Dreadful’s supernatural solemnity has kept me gripped over the last two seasons (Season 1 review; Season 2 review) and had me keenly anticipating the third, showing on Showtime (USA) and Sky Atlantic (UK).
The catastrophic climax of Season 2 saw our cast of characters fleeing the gaslit darkness of London and scattering across the globe, each ruminating over their lot. Josh Hartnett’s Ethan Chandler is extradited back to New Mexico under Douglas Hodge’s wonderfully taciturn supervision as Inspector Rusk, Timothy Dalton’s Sir Malcolm finds himself in Zanzibar after burying the unfortunately deceased Sembene, Rory Kinnear’s John Clare aka Caliban aka The Creature is stuck on an ice-bound ship in the Arctic, and in a London caught in mourning for Alfred Lord Tennyson (the episode is called “The Day Tennyson Died”), Eva Green’s Vanessa and Harry Treadaway’s Frankenstein are each trapped in their own emotional paralysis. Continue reading “TV Review: Penny Dreadful Season 3 Episode 1”
“We are bound on a wheel on pain”
The first series of Penny Dreadful may not have been perfect but I really rather liked it and was glad to hear a second season had been commissioned. And when I discovered the triple whammy of Helen McCrory and Simon Russell Beale being promoted to series regulars, Billie Piper’s distracting Oirish brogue being excised and Patti LuPone appearing as a guest star, I was in heaven. Saving up the 10 episodes to binge-watch on holiday also worked well for me, ain’t technology grand!
Having established its world of gothic Victoriana, John Logan’s writing picks up some of the strands of the first series’ finale – the consequences of sometime-werewolf Ethan’s bloodbath being chased up by a tenacious policeman and Victor Frankenstein’s newest creation inspiring an unlikely love triangle. But it succeeds most by re-introducing McCrory’s Evelyn Poole as a series-long villain as the head of a witches coven and maker of some of the creepiest puppet dolls you have ever seen – it’s no secret I love her but this really is a career highlight for this most superb of actresses. Continue reading “TV Review: Penny Dreadful Season 2”
Best Performance by a Leading Actor in a Play
Samuel Barnett – Twelfth Night as Viola
Bryan Cranston – All the Way as President Lyndon B. Johnson
Chris O’Dowd – Of Mice and Men as Lennie Small
Mark Rylance – Richard III as Richard III
Tony Shalhoub – Act One as Older Moss Hart / Barnett Hart / George S. Kaufman
Best Performance by a Leading Actress in a Play
Tyne Daly – Mothers and Sons as Katherine Gerard
Audra McDonald – Lady Day at Emerson’s Bar and Grill as Billie Holiday
LaTanya Richardson Jackson – A Raisin in the Sun as Lena Younger
Cherry Jones – The Glass Menagerie as Amanda Wingfield
Estelle Parsons – The Velocity of Autumn as Alexandra
Best Performance by a Leading Actor in a Musical
Neil Patrick Harris – Hedwig and the Angry Inch as Hedwig
Ramin Karimloo – Les Misérables as Jean Valjean
Andy Karl – Rocky the Musical as Rocky Balboa
Jefferson Mays – A Gentleman’s Guide to Love and Murder as the D’Ysquith family
Bryce Pinkham – A Gentleman’s Guide to Love and Murder as Monty Navarro Continue reading “68th Tony Award nominations”
Best New Play
Chimerica by Lucy Kirkwood – Almeida / Harold Pinter
1984 by George Orwell, adapted by Robert Icke and Duncan Macmillan – Almeida
Peter and Alice by John Logan – Noël Coward
The Night Alive by Conor McPherson – Donmar Warehouse
Best New Musical
The Book of Mormon – Prince of Wales
Charlie and the Chocolate Factory – Theatre Royal, Drury Lane
Once – Phoenix
The Scottsboro Boys – Young Vic
Ghosts – Almeida / Trafalgar Studios
Othello – National Theatre Olivier
Private Lives – Gielgud
The Amen Corner – National Theatre Olivier Continue reading “2014 Laurence Olivier Awards nominations”
“If you’re going to talk about sheep deformities, hand me the bottle”
Third up for the Michael Grandage Company is ‘the Daniel Radcliffe one’, the first major revival of Martin McDonagh’s The Cripple of Inishmaan. But though it is being sold on the strength of its star, it is much more of an ensemble piece than first impressions would allow, as a picture of 1930s rural Irish life in all its brusque humour, unstinting relentlessness and occasional vicious kicks is built up. A break from the old routine is offered when a Hollywood film crew arrives on the neighbouring island of Inishmore and no-one is more excited about the opportunity than Cripple Billy, a young orphan lad blighted by physical disability from birth and who spots an opportunity to escape the blunt cruelty of the daily taunts.
Still in previews, Grandage’s production doesn’t quite seem to have decided how it wants to straddle the line between stereotypical olde Oirish sentimentality and McDonagh’s more brutal sensibilities which might be familiar to those that have seen The Beauty Queen of Leenane. Part of the problem lies in a vein of comedy that feels somewhat uninspired so it does, relying on the repeated utterances, without malice mind, of words and phrases that ought to jar in our more politically correct times. But this is essentially one gag extended throughout much of the show and it soon wears thin – the over-emphasis on how kookily different things were back then and over there just isn’t enough to hang a play on, especially when Grandage is playing it as safe as this.
And I also felt that Radcliffe has a way to go before he’s ready to play the part of Cripple Billy. His manifestation of Billy’s affliction is clearly sensitively researched but lacks the raw physicality that should accompany one so bruised by life and one longs for him to submerge entirely into the depths of the character to create something more convincing in his portrayal of someone struggling on the cusp of becoming a young man and establishing some kind of physical and emotional independence – something that could well come as the run progresses. So the focus turns instead to the bustling busybodies of Inishmaan who are mostly very well acted but not a one of them feels like a real person.
Ingrid Craigie and Gillian Hanna hem and haw vividly as Billy’s adopted aunties who point out the shortcomings of the world as they run their shop; Pat Shortt and June Watson pair up effectively as the village gossip and his ailing mother who he keeps topped up with whiskey; and Sarah Greene has an untamed quality as the wild egg-cracking Helen who Billy dreams of kissing one day. But there’s rarely a sense of genuine emotional life behind any of these people, keeping them perilously close to caricature – though possibly as much McDonagh’s fault as Grandage’s – and keeping the audience at arm’s length from the whole affair.
Consequently I really didn’t enjoy this that much – it certainly didn’t move me and I barely laughed. For a tenner though, one can’t complain too much and there did seem to be those in the audience who enjoyed themselves more than us (the reaction throughout was increasingly muted though, I have to say) but this was altogether too polite for my liking.
Running time: 2 hours 25 minutes (with interval)
Booking until 31st August