The National Theatre has today announced further productions that will be streamed live on YouTube every Thursday at 7PM BST via the National Theatre’s YouTube channel as part of National Theatre at Home; the new initiative to bring content to the public in their homes during the Coronavirus outbreak. The titles announced today include productions from partner theatres which were previously broadcast to cinemas by National Theatre Live. Continue reading “News: National Theatre at Home Phase 3”
Not even Judi Dench can save this irresponsible look at the British colonial legacy, Victoria and Abdul nevertheless takes two Oscar nominations into the ceremony.
“It is imperative that the royal colon receives a little roughage”
AKA The Other V&A. You can see the rationale behind Victoria and Abdul, allowing Dame Judi Dench to reprise her much-loved role from Mrs Brown with another 20 years under her belt. And directed by Stephen Frears from a screenplay by Lee Hall, hopes were reasonably high.
What results though, is a film that indulges in an irresponsible kind of historical revisionism, a refusal to engage with and interrogate the reality of British colonial rule. Hall’s version of Victoria is allowed to be coyly ignorant of the looting of Indian treasure, a champion of diversity too in an improbable twist. Continue reading “Oscar Week Film Review: Victoria and Abdul”
“I’d much prefer to have honest criticism than your, if you don’t mind me saying so, negative remarks”
The list of the NT2000 top 100 plays has proven quite an interesting one to keep to hand as it has often made me choose to see things I wouldn’t necessarily normally have gone to (with both good and bad results). The result of consultation with 800 playwrights, actors, directors, theatre professionals and arts journalists, the list purports to give us the 100 most significant plays of the 20th century, a subjective exercise at the best of times and one which throws up some real curveballs, like this play.
Written by Christopher Hampton in 1970, The Philanthropist was conceived as a response to Molière’s The Misanthrope, it’s the lead character’s unflappable amiability that causes havoc around him here. But for all the intertextuality, it feels a horrendously dated piece of writing that you can scarcely believe has had revivals in 2005 at the Donmar and 2009 on Broadway. With the likes of Simon Russell Beale and Matthew Broderick at their helm, they may have been better acted but in its gender politics, in its treatment of sexual abuse and suicide, how this play has got the reputation it has is beyond me. Continue reading “Review: The Philanthropist, Trafalgar Studios”
“Demons run when a good man goes to war”
And here it is, the point at which I stopped loving new Doctor Who, even in a series that has two of the best episodes it has done, and the first series that I haven’t ever rewatched in its entirety. I do enjoy Matt Smith’s Eleven immensely but the writing across this season – which was split into two for transmission – was just fatally erratic for me. Alongside the innovative work from Neil Gaiman in The Doctor’s Wife and Steve Thompson in The Girl Who Waited, two contrasting but superlative pieces of writing, stories such as The Curse of the Black Spot and Night Terrors took the show to a less sophisticated place – (or do I really mean that I started to feel that this version of Doctor Who wasn’t necessarily aimed at me…?)
Even the big finales (for there were two, one for each half) fell a little flat. The premonition that the Doctor would “fall so much further” than ever before in A Good Man Goes to War raised expectations only to be dashed by an overloaded episode with little emotional heft aside from the River Song reveal, and The Wedding of River Song suffered from the general over-use of the characters dying-but-not-really-dying trope (poor Arthur Darvill…). That said, the high points of the series are so very good – the striking US-set opening double-bill, the Doctor finally meeting the TARDIS, and brain-scratching sci-fi with real heart. Frustratingly inconsistent. Continue reading “Countdown to new Who: Doctor Who Series 6”
“Do not blaspheme! Do not blaspheme!”
To mark Series 10 of Doctor Who starting on BBC1 next week, I’ve been counting down the weeks with a rewatch of all 9 of the previous series of new Who. And now we’re within touching distance, I’m counting down the days talking about each one. For once though, I’m going to keep these posts (relatively) short and sweet, following the below format.
With just the one series to judge him on, and that series being the very first when everyone was still finding their feet, Christopher Eccleston’s Nine often gets a bit of a raw deal. And some of his zany moments are undoubtedly really quite awkward to watch but for me, they’re easily outweighed by the emotional weight of his more serious work, especially when hinting at the considerable darkness of the events of his recent past that had left him so haunted. A solid re-entry back into the televisual world. Continue reading “Countdown to new Who: Doctor Who Series 1”
“Is it not strange…”
The Faction weren’t kidding when they said they were breaking out of the rep model that has characterised their output for the last few years. Earlier this summer saw them take Vassa Zheleznova to the Southwark Playhouse and now they’re appearing at the reFASHIONed Theatre. What’s that I hear you cry, why it’s a pop-up space on the lower ground floor of Selfridges just past the luggage where a newly commissioned version of Much Ado About Nothing is paying its own tribute to Shakespeare400.
Director Mark Leipacher and co-director Rachel Valentine Smith have slimmed the play down to a neat 90 minutes, without too much damage (unless you’re a big fan of the Watch) and with a nod to the sleekly contemporary surroundings of the reFASHIONed space, introduced digital cameos to supplement their 9-strong cast. So Simon Callow and Rufus Hound pop up on CCTV footage as Dogberry and Verges, and Meera Syal appears regularly onscreen as a reporter for Messina News, filling us in on the breaking news whether on TV or on Twitter-streams. Continue reading “Review: Much Ado About Nothing, reFASHIONed Theatre”
The Christians, Playwrights Horizons
The Humans, Roundabout Theatre Company
John, Signature Theatre
King Charles III
The Royale, Lincoln Center Theater
First Daughter Suite, Public Theater
Daddy Long Legs
School of Rock
Waitress Continue reading “Nominations for the 2016 Drama Desk Awards”
“Did you see how he combined misogyny with just blatant ageism”
A film that passed me by on its 2011 release (possibly as it’s a French film, though English-language), Julie Gavras’ Late Bloomers entertained me much more than the rather tepid critical response had led me to expect. I think this is mainly because the script, written by Gavras with Olivier Dazat, treats its protagonists Adam and Mary with equal importance.
Both heading into their sixties after thirty-odd years of marriage, a mid-to-late-life crisis hits the couple in different ways. He’s an architect who throws himself into working late nights with young associates rather than design retirement homes and feeling neglected, she focuses on her doctor’s advice to keep active after an incident of memory loss leaves her shaken. With three adult children watching haplessly, their parents’ different responses to the reality of ageing threatens to shatter all their worlds. Continue reading “DVD Review: Late Bloomers”