Hugh Grant delivers a career best performance in the hugely enjoyable A Very English Scandal. Just don’t mention your National Insurance card.
“Tell him not to talk. And not to write to my mother describing acts of anal sex under any circumstances whatsoever”
I don’t think I’ve ever been chilled quite so much by the end credits of anything like A Very English Scandal. You know, that bit when you find out what happened next to the people who you’ve just been watching. It helps of course that I knew nothing about the 1970s Jeremy Thorpe affair on which it was based but still, never have 11 dogs and a missing NI card seemed so ominous.
Written by Russell T Davies, adapted from John Preston’s book, and directed by Stephen Frears, A Very English Scandal is a complete breath of fresh air. Perhaps surprisingly for a true-life tale of sex, politics and attempted murder, it has a quirky, almost jolly tone that is hugely enjoyable, deftly comic as it negotiates the would-be Machiavellian moves of a politician desperate to save his skin. Continue reading “TV Review: A Very English Scandal”
How do you follow the earth-shattering success of a show like Oresteia? With difficulty it seems. Having deconstructed and reconstructed the Greeks, Robert Icke turns his hand to Chekhov with Uncle Vanya. But the world is hardly suffering from a lack of Vanyas and it’s hard to escape the feeling that Icke is treading a relatively similar creative path in the way that it treats the classic text. Yes, I’m essentially complaining about too much of a good thing, as it is still a very strong production but Oresteia was so extraordinary, that this inevitably pales by comparison
As is his wont, Icke’s Uncle Vanya is presented in a new version by Icke, a new translation aimed at replicating the disrupted rhythms of Chekhov’s Russian speech patterns, a largely successful enterprise. As are the soliloquies that each of the leading players are granted, casting new and interesting light on characters that are familiar (especially Sonya’s Act 4 speech). Jessica Brown Findlay scorches as the unfulfilled Sonya, Vanessa Kirby is exceptional as a passionate Elena, Tobias Menzies’ Michael (Astrov) achingly appealing as the idealist losing the courage of his convictions. Continue reading “Review: Uncle Vanya, Almeida”
“Any of our group would walk out with a German, a Hindu or a Belgian.
‘Oh no, not a Belgian'”
The centenary of the First World War will doubtless be marked in many a way in the nation’s theatre so the Southwark Playhouse have wisely got in early with this triple bill of lesser known plays which focuses on those left behind. What The Women Did features three works which delve into the experiences of not just the mothers, wives and girlfriends, but all the women who got on with the job of making society continue in such horrific circumstances, showing the difficulties faced in day-to-day living.
Gwen John’s Luck of War explores the unfortunate awkwardness, that must have been more common than is ever acknowledged, experienced by Ann Hemingway as her presumed dead husband turns up on the doorstep on crutches. It’s awkward because assuming herself a widow, she has remarried and thus is now a bigamist. Victoria Gee’s brummie bolshiness is of course thrown by the situation, but the short play wraps up a little too tweely to really have an impact. Continue reading “Review: What The Women Did, Southwark Playhouse”
“Fancy a pork pie?”
The Hampstead Downstairs has attracted an interesting range of creative talents since opening and with perhaps fortuitous timing, welcomes Nick Payne’s newest play Lay Down Your Cross. Payne is coming off the huge sellout success of Constellations upstairs at the Royal Court, but this is a much different piece of work – more akin to Wanderlust, my other experience with him as a playwright. We’re in Tony’s poky new flat in Luton where he is waiting for the arrival of his daughter Dawn, who has emigrated to Australia, as it is the funeral of his soldier son Adam. As we also meet his scatty ex-wife Grace, who’s all too keen on a box of wine or two, and Adam’s girlfriend Raph who is worrying about delivering the eulogy, Dawn gets to find out some uncomfortable truths about home, and her brother’s death.
Payne excavates this troubled family dynamic extremely well: the emotional distance between them all, Tony’s struggle to shake his ex-wife’s dependence, his bluff demeanour having to hide his disappointment at the choices that his children have made, his lashing out when things get too much, all is excellently portrayed in Andy De La Tour’s persuasive performance. His quiet heartbreak is set well against the blinkered disintegration of Grace, Susan Wooldridge in fine form, but the play suffers a little with the shift into the blame game which comes with Dawn’s relentless pursuit of the truth. Lucy Phelps does well at signifying the righteous liberal anger but Payne absolves her, too easily for my liking, from the familial responsibility from which she has divorced herself and I wanted more resolution in this father/daughter relationship. Continue reading “Review: Lay Down Your Cross, Hampstead Downstairs”
“You’re just a sex object, no-one would have you”
I did a lot of travelling this weekend so I got to catch up on a fair bit of DVD watching on the train: some were directly theatre-related and others not, but the cast of Tamara Drewe was so thesp-heavy I couldn’t resist jotting down a few thoughts about this film. Any film that opens with a shirtless Luke Evans and having his role as a sex object acknowledged within the first 15 minutes is surely onto a good thing and combined with Roger Allam’s deliciously fruity turn of phrase, the film made a bright start which endeared me greatly.
The film, directed by Stephen Frears, has a screenplay by Moira Buffini derived from Posy Simmond’s graphic novel-style drawings and is set in the sleepy village of Ewedown where everyone knows each other’s business and can’t help but poke their nose in. When Tamara, an appealing turn from Gemma Arterton, returns after her mother’s death to sell up the old family house, she thinks that she’ll be heading straight back to her adopted London lifestyle, but a new affair with rock star Ben, Dominic Cooper in fine form, keeps her a little longer and allowing old feelings and passions to stir in several men of the village, making life most complicated for all. Continue reading “DVD Review: Tamara Drewe”
“We can’t live in a caravan”
Snake in the Grass is the London premiere of this Alan Ayckbourn play which is a rarity in itself as it marks one of his forays away from his more usual comedy. It is described by Ayckbourn himself as ‘a ghost play’, but it is more obviously a psychological thriller, threaded through with recognisable hints of class struggles and flashes of mordant humour. Directed by Lucy Bailey, who with Anda Winters have converted this Notting Hill warehouse into one of London’s newest new fringe venues, The Print Room.
Set in the grounds of a large country house, the play follows two sisters who are reunited after 20 years following the death of their authoritarian father. Annabel escaped her father’s clutches to Tasmania only to find new devils there, whilst Miriam stayed to care for their father but was driven to extreme measures. Finding themselves back together and then visited by a vindictive former nurse of their father’s who was dismissed, they find themselves having to deal both with the haunting ghosts of the past and the psychological threats of the present. Continue reading “Review: Snake in the Grass, The Print Room”