Strong performances from Cate Blanchett and Stephen Dillane make the challenging When We Have Sufficiently Tortured Each Other worth the effort at the National Theatre
“A woman would never say that
‘A woman did just say it'”
It is bracingly refreshing to see the kind of artistic decisions that drive Cate Blanchett’s theatrical career, so often complex, contemporary takes on classic work which show a performer never content to rest on her laurels. Which leads us to her National Theatre debut in When We Have Sufficiently Tortured Each Other – 12 Variations on Samuel Richardson’s Pamela, written and directed respectively by noted iconoclasts Martin Crimp and Katie Mitchell.
And as such, it certainly is something of a challenge. Played for its two hours without interval, Blanchett and co-star Stephen Dillane act out a series of psychosexual, sado-masochistic role-playing games and that’s about it. There’s strap-ons and shaving foam, backseat shenanigans and boxes of cherries, and an untold amount of portentous chat which sometimes, sometimes, sears through to the soul. Continue reading “Review: When We Have Sufficiently Tortured Each Other, National Theatre”
All sorts of goodies were announced today for the upcoming slate of productions at the National Theatre, including Small Island, Peter Gynt, and Top Girls
Small Island, a new play adapted by Helen Edmundson from Andrea Levy’s Orange Prize-winning bestselling novel, will open in the Olivier Theatre in May. Directed by Rufus Norris, the play journeys from Jamaica to Britain through the Second World War to 1948, the year the HMT Empire Windrush docked at Tilbury. Small Island follows the intricately connected stories of Hortense, newly arrived in London, landlady Queenie and servicemen Gilbert and Bernard. Hope and humanity meet stubborn reality as, with epic sweep, the play uncovers the tangled history of Jamaica and the UK. Hundreds of tickets for every performance available at £15. Small Island will be broadcast live to cinemas worldwide as part of NT Live. Continue reading “News from the National Theatre Autumn 2018 Press Conference”
Such amazing casting news came our way yesterday, with not one but two of my absolute faves returning to the London stage in the coming months. The starrier of the two is Cate Blanchett, who will appear with Stephen Dillane in a brand new play by Martin Crimp’s directed by Katie Mitchell at the National Theatre in January 2019. The play is enigmatically entitled When We Have Sufficiently Tortured Each Other – Twelve Variations on Samuel Richardson’s Pamela. (The torture presumably being the absolute scrum there’ll be to get tickets, as the show is going into the NT’s most intimate space, the Dorfman.)
But matching Blanchett in my personal pantheon in Lucy Cohu, an actor whom I’ve longed admired since she broke my heart in the double whammy of Torchwood – Children of Earth on the TV and Speaking in Tongues on the stage. She’s joining the cast of Florian Zeller’s The Height of the Storm, alongside Anna Madeley and Amanda Drew. And given that the cast already contains the previously announced Jonathan Pryce and Dame Eileen Atkins, this ought to be a good’un. That shows arrives at the Wyndham’s Theatre in October after a brief tour of Richmond, Cambridge and Bath. Continue reading “#CastingbyClowns – I celebrate as Cate Blanchett and Lucy Cohu return to the stage”
No amount of prosthetics can stop this from being my…Darkest Hour
“The deadly danger here is this romantic fantasy of fighting to the end”
Eesh. The world already has too many Churchill films, never mind the fact that two big ones were released in the same year (Brian Cox’s Churchill was the lower profile one here). And for me, there’s nothing here in Joe Wright’s direction or Anthony McCarten’s writing that merits the retread over much-covered ground.
That is not the prevailing opinion obviously, as the film’s seven Oscar nominations testify, but it is what it is. No amount of latex makes Gary Oldman’s performance palatable (and isn’t it odd that he’s getting such acclaim for a role in which he is unrecognisable), and it is a crime in the ways in which the likes of Patsy Ferran and Faye Marsay are under-utilised, nay wasted. Continue reading “Oscar Week Film Review: Darkest Hour”
“To do nothing is the hardest job of all”
It’s taken a little time to getting round to watching all of The Crown because, in a first for me, I found it impossible to binge-watch the show. Even with Netflix kindly providing offline downloads just at the point where I had a lot of travelling to do, Peter Morgan’s drama was lots of fun to watch but rarely captured the buzzy energy that has accompanied much online programming. Because it many ways it isn’t like much of Netflix’s previous output, it really is an encroachment into BBC Sunday night and as such, I felt it worked best spread out in almost weekly installments.
That’s partly down to the nature of the subject material, we’re not likely to get many surprises in a detailed retelling of the history of the House of Windsor. But it is also due to Morgan’s writing which tends a little to the formulaic, especially in the middle part of the series, which is when my interest was most in danger of waning. The opening two episodes started brightly but once the shock of becoming monarch was over, the rhythm became very much one of someone close to the queen has an issue and she has to weigh personal desires against public duty, the latter always winning out. Continue reading “TV Review: The Crown, Series 1”
And who is there to lead into…well, god know where?
The Donmar’s Faith Healer has a lot of rain pissing down in it and given the voting record of our own new faith healer, it May well feel like its pissing down for the foreseeable.
“What means your lordship?”
Having just seen a corking production of Hamlet at the RSC, I wasn’t expecting to like Franco Zefferelli’s 1990 adaptation of Shakespeare’s play, not least because Mel Gibson couldn’t possibly be a good Hamlet could he but I have to hold my hands up, I enjoyed it much more than I was expecting. Granted, from low expectations that might not always mean a huge amount but it was good enough for me, Glenn Close’s Gertrude an impressive Shakespearean debut amongst a quality cast combining youth and experience.
It’s full of interesting choices, not all of them 100% successful but intelligently considered nonetheless in creating a cinematic version of this theatrical behemoth that stands out on its own merits. So Ian Holm’s Polonius becomes a dour-minded, almost cruel figure that is very much at odds with how I’ve ever seen the character played, Hamlet and his mother Gertrude are shown to be locked in an Oedipal relationship (I like to think this is a nod to the fact that Close is just 9 years older than Gibson though I doubt it – I don’t think I’ve seen this interpretation onstage recently though), Helena Bonham Carter’s Ophelia a strikingly self-possessed figure from the start. Continue reading “DVD Review: Hamlet (1990)”
“I seem to have fallen out of time”
Based on Michael Cunningham’s novel of the same name, I loved 2012 film The Hours from the first time I saw it and still think it a minor masterpiece a three women, each connected by Virginia Woolf’s Mrs Dalloway, try to get through the living of a single day. In the present day, Meryl Streep plays Clarissa Vaughan, a NY society hostess planning a party for her AIDS-stricken poet friend; Julianne Moore plays Laura Brown, a depressed 1950s housewife, unhappily married and pregnant for the second time; and Nicole Kidman plays Woolf herself, battling her own demons whilst writing the book.
From David Hare’s screenplay, Stephen Daldry creates a hugely elegant sweep across time as echoes ripple across the separate narratives – connections built through the smallest of details recurring as each woman variously deals with repressed longing, the fear of a life not lived to its fullest, the hours that keep on passing. Kidman (and her prosthetic nose) may have won the Academy Award and she is very good but for my money, it is Moore’s anguished housewife who should have won the plaudits, such is the intensity she brings to the role. Continue reading “DVD Review: The Hours”
“There isn’t one true version. There isn’t. There isn’t one story — a line of truth that stretches start to end.”
I saw Robert Icke’s extraordinary new version of Oresteia on the same day that I watched episode 9 of series 5 of Game of Thrones [here be spoilers] and gods alive, that was a brutal day of dead children. It was also a day of some sensational acting – Stephen Dillane and Tara Fitzgerald both doing excellent work in the North, and Angus Wright and Lia Williams in blistering form in North London in the first show of the Almeida’s Greeks season which on this evidence, looks set to be a thrilling highlight of the year.
Described as an adaptation by Icke of Aeschylus’ trilogy of plays detailing the fall of the House of Atreus, the reality feels more all-encompassing, a transfiguration of the drama(s) into something genuinely new that really examines the nature of Greek tragedies in light of contemporary theatre. Appropriately, Ivo van Hove was in the audience having spoken on a panel discussion earlier in the day, and it was clear to see that Icke is in part paying homage to the Belgian with influences both specific and more general clear to see in the direction here.
Continue reading “Review: Oresteia, Almeida”