“You are a curiosity”
American versions of Shakespeare (whether his plays or the man himself) are always worth looking up, even if only for a chuckle and new TNT TV series Will is certainly no exception. There’s some weight behind it – it was created by Craig Pearce, the longtime writing partner of filmmaker Baz Luhrmann and has Shekhar Kapur, who directed the award-winning Elizabeth and Elizabeth: The Golden Age, directing and executive producing and in the role of the Bard himself, there’s a potentially star-making role for British newcomer Laurie Davidson.
I watched the first two episodes and they sure make an arresting introduction. You feel Luhrmann’s influence almost immediately as this is no antiquated version of a sedate Elizabethan London, but rather it is one shot through with bright colours and a punk-filled attitude. Literally so, as they have conceived the burgeoning theatre scene of the time as being akin to the contemporary(ish) world of punk rock – theatres filled with patrons in leather and mohicans, the soundtrack filled with the Clash and drunken singalongs to Lou Reed. Continue reading “TV Review: Will, Episodes 1 + 2”
“Drink…and let the games begin”
You gotta love an origin story, even for the dark lord himself, as everyone’s misunderstood, no-one’s that bad really. Or so Matt Sazama and Burk Sharpless would have us believe in Dracula Untold, a 2014 Gary Shore film that ultimately did fairly good business. Here, Luke Evans’ Vlad is a good lad who only got the nickname ‘The Impaler’ because he was kidnapped by the Ottoman Empire as a boy and trained into their most deadly assassin.
But he’s escaped now and has a wife and kid so all is good. Or is it? When a Turkish helmet (not a euphemism) is found in a river, Vlad realises that his childhood friend Mehmet, now Mehmet II, played by Dominic Cooper in a huge amount of fake tan (because you know, Hollywood couldn’t possibly try and turn a Turkish actor into a star) is up to no good. So he follows the stream to a cave where Charles Dance is hiding. Continue reading “Hallowe’en DVD Review: Dracula Untold (2014)”
“You can’t kill me
I can’t ever die”
After three weeks away, all my initial thoughts were on a cosy night in catching up on the first two episodes of The Great British Bake-off and I couldn’t imagine anything changing my mind – how wrong could I be! When the Almeida first announced their durational performance of Homer’s Iliad, it sounded like a madcap plan, a morning ‘til night affair in association with the British Museum and featuring over 60 actors – the only thing stopping me from booking was it being the last day of my holiday!
But fortunately, the good folk of the Almeida decided to livestream the whole shebang – all 16 hours and 18,255 lines of it – so that people could dip in and out to their heart’s content as well as attending at the British Museum for free during the daytime. I switched on at about 8pm as Bertie Carvel started his section, intending just to sample its wares but sure enough, I was there until the bitter end around 1am, having been sucked into its unique brilliance and unable to miss a minute more of it. Continue reading “Review: The Iliad Online, Almeida/Live-stream”
“Foul-spoken coward, that thund’rest with thy tongue, and with thy weapon nothing dar’st perform!”
The Globe must be loving all the attention that Titus Andronicus has gained as Lucy Bailey’s claustrophobically gory production returns and once again brings with it numerous fainters at every show, that in turn providing an easy hook for feature writers to focus on, garnering the kind of free publicity other theatres could only dream of. That people faint fairly regularly at the Globe is by the by, and far be it from me to get in the way of a good story…
And in some ways, that is kind of the point. It isn’t too far of a stretch to suggest that Titus isn’t one of Shakespeare’s strongest works and so directors have to work hard at making it work and much of what Bailey introduces is excellent. William Dudley’s design manages that all-too-rare thing of actually doing something completely different with the Globe’s space, brilliantly evoking hellish blackness throughout, and Django Bates’ score is superbly eerie. Continue reading “Review: Titus Andronicus, Shakespeare’s Globe”
Sometimes, just sometimes, one of these films comes from nowhere to just punch in the guts with its downright amazingness yet simultaneously leaving unable to really articulate just why it is so. Joe Tunmer’s Mockingbird is such a film – achingly beautiful, gorgeously shot and infinitely moving. William Houston is extraordinary, Eliza Darby refreshingly appealing and there’s bonus Olivia Williams – what more do you want?!
A 7 minute clip from Aneil Karia, Farrington is one of the funnier short films I’ve had the pleasure to watch recently. Robert Bathurst plays an investment banker named Henry who opts to take a wee career break to take part in a reality TV show where he will have 12 days to try and learn a whole new craft and convince a panel at the end that he is indeed a master of said skill. The joy comes from what that thing is and I won’t spoil it here, save to say it is refreshingly un-PC and leads to some cracking lines from the team of ‘experts’ set up to help, including Prasanna Puwanarajah and James Garnon. Definitely recommended.
The central idea of Rover’s Return – rich person pays someone to babysit their dearest love, who turns out to be a pet – and something goes horribly wrong – is not a new one – I’ve seen at least two other short films execute something similar. It’s clearly not a bad idea and who knows who had it first but coming in now for me, this version felt a little uninspired. Indira Varma is the high-flyer who is heading to Paris for a nookie-filled break and Andrea Lowe her junior colleague who is looking after the mutt in her absence. She’s inexperienced with dogs and predictably things go pear-shaped – it’s all a bit predictable and lacks any particularly unique facet to hook the attention, either in Oliver Ledwith’s direction or Patrick Ledwith’s script.
The Honeymoon Suite
Possessed of an utterly gorgeous rasping voice, Alexis Zegerman is one of those actors I could listen to all day, but for her short film debut, The Honeymoon Suite, she opted to remain behind the camera. Lola Zidi-Rénier and Tim Key take on the role of a newly-wed Jewish couple who barely know each other, pushed together in some kind of arranged marriage and as they tumble into their hotel room after the ceremony, they get their first moment of quiet together, but it is the worst kind of awkward silence that fills the room. As they painfully tease out detail after detail about each other that seems to make them increasingly ill-suited together, they eventually find a tiny glimmer of hope that things might not be so bad after all. It is well done and nicely understated by all involved.
Another film funded by the Jewish Film Council is Dan Susman’s Veils, an insightful look into the Jewish/Palestinian conflict through the eyes of impending marriage for a Jewish girl and a Palestinian man in modern-day North London. As each prepare themselves on the wedding day, we see how the intransigent attitudes of some of their extended families are so strongly held that not even the joy of nuptial bliss can sway them, the difficulties of reconciliation laid bare in front of us as grandfather rejects grandson, family friends finding the most obscure of excuses not to attend. It is well-shot and cleverly structured too in the way that it teases the expectations.
BEST MALE PERFORMANCE
Jasper Britton in Mother Adam at Jermyn Street
Louis Maskell in The Fix at Union Theatre
Thomas Coombes in Barbarians at Tooting Arts Club
William Houston in Uncle Vanya at The Print Room
BEST FEMALE PERFORMANCE
Aysha Kala in Khadija is 18 at Finborough Theatre
Eileen Atkins in All That Fall at Jermyn Street
Lucy Ellinson in Oh, The Humanity at Soho Theatre
Matti Houghton in Brimstone and Treacle at Arcola Theatre
BEST NEW PLAY
Lot and his God by Howard Barker at The Print Room
Lungs by Duncan Macmillan by Paines Plough (Shoreditch Town Hall)
Shivered by Philip Ridley at Southwark Playhouse Continue reading “2013 Offie Award Finalists”
“It’s like a nail being hammered in my head”
Back when the Young Vic announced their forthcoming shows as being A Doll’s House and Three Sisters, I was a little surprised at how safe the programming seemed, on the surface at least. For as it turned out, Ibsen was revitalised by Simon Stephens to stunning effect in one of the shows of the year so far and so expectations were high for Chekhov’s turn, adapted and directed by Benedict Andrews, the Australian auteur whose Cate Blanchett-starring Big and Small proved to be somewhat divisive.
And this production, set in an abstract modern day, also seems set to provoke strong opinion. From Helen Rappaport’s literal translation, Andrews has thoroughly modernised the language of this story of three young women trapped in a stultifying provincial Russian town, dreaming of heady love affairs and escaping to the Moscow of their childhoods yet unable to fully wrest control of their lives from the cruel twists of fate. But dislocating the play from the social and economic context in which Chekhov conceived it seriously undermines a central aspect of the drama. Continue reading “Review: Three Sisters, Young Vic”
“My life no longer has any shape to it”
It was perhaps a little bit of a surprise when the Print Room announced their latest show to be Chekhov’s classic Uncle Vanya, the relatively new theatre having previously concentrated on lesser-known works by playwrights. But any doubts should be seriously allayed by this intimately atmospheric production which utilises a new version by Mike Poulton to lend a fresh dynamic to this tale of corrosive inaction.
Vanya has spent much of his life attending to the affairs of his former brother-in-law Professor Serebryakov, sequestered in a household of misfits in the Russian countryside. But when the professor turns up with his new much younger wife, Vanya is provoked into a period of gloomy self-reflexiveness as he faces up to how much of his life he has wasted. The new arrivals also cause havoc for other residents of the estate as ultimately everyone is forced to confront what might have been. Continue reading “Review: Uncle Vanya, Print Room”