Importance of Being Earnest (Richmond Theatre), review

Lucy Bailey’s re-imagining of Oscar Wilde’s classic play comes to Richmond Theatre direct from the West End and a short tour which has stopped at Bath, Brighton, Aylesbury, and finally comes to a stop at Birmingham next week.  Reviews have not been kind to the ‘Bunbury Players’ who have put on this show.

But just a moment – let’s take a step back.  The conceit of this production is that it is now a play within a play – an ageing group of amateur players putting on a dress rehearsal of their long-running version of the ‘Importance’ in the sitting room of George (who plays the roles of Lane and Merriman), and Lavinia (Lady Bracknell).  So you get funny, but rather unnecessary bookending segments written by Simon Brett

The actors are so much older than those usually playing the parts, they practically creak along – Martin Jarvis at 72 plays Jack Worthing, Nigel Havers, ten years younger, is Algernon Moncrieff.  Cherie Lunghi as Gwendolen and Christina Kavanagh as Cecily are certainly mature, while at 81, Sian Phillips has a last hurrah as emoting the ‘handbag’ line.  I only mention the ages because they play up to them – it doesn’t actually matter once the play proper gets going.

Some reviews have stated that if you love Wilde’s play, you will hate this, but not so.  I found it an affectionate spoof which is genuinely funny, and which does not damage the fabric of the play that much – it doesn’t matter that Gwendolen’s costume splits and needs to be sewn by the costume lady during the scene, or that cucumber sandwiches arrive just in time for Lane’s ‘not even for ready money’ line.  Giggles do come from Havers’ Algy having to change out of trainers into slippers mid-speech, or his ingratiating winks at the audience.

I especially liked the interplay between Lunghi and Kavanagh in the garden scene, which makes this scene sharp and fresh, while Rosalind Ayres is fun as Miss Prism, all twitches and wide-eyed mock innocence, and Niall Buggy as the drunken actor who suddenly morphs into the clearly enunciating vicar is fine.  Patrick Godfrey as George/Lane may be more interested in the test match scores but those of us who remember the 2002 film know he can play the dual manservant roles standing on his head.  Here he just has fun.

The programme, too, entertains, with a spoof set of biographies and adverts.  Delightful.

I’d have a laugh watching the Bunbury Players do this play, were they real, but as they are not, I enjoyed watching this group of veterans gently joshing Wilde’s characters into sharp relief.  I would not have let the play go on beyond Wilde’s famous final line, though.


Here Lies Love (National Theatre) review

Fresh from New York, this musical collaboration between David Byrne of Talking Heads and DJ Fatboy Slim is all about Imelda Marcos, and here the parallels between this show and ‘Evita’, the Lloyd Webber-Rice show about Eva Peron may begin to show.

The nugget which gave birth to this disco spectacular was the news that Mrs Marcos had her own glitterball and dance floor in her Manila mansion, and this gave Byrne the idea to build a libretto which uses bits of speeches, letters and found footage to build lyrics which tell a story.  The selling point which is new and different is the inclusion of the audience members in the ‘pit’ (here the stalls of the new Dorfman Theatre, formerly known as the Cottesloe, with seats removed and moving platforms added) who line dance, jump around, and interact with the actors at key moments.

Imelda Marcos was born in 1929 and was dirt poor until hooking the big fish, president-to-be Ferdinand (1917-1989).  Before that romance (which gives rise to the bouncy song ‘Eleven Days’, referring to their odd courtship where they met once, she was showered with trinkets for a week and a bit, and then she married the guy) she was in love with Ninoy Aquino (1932-1983), who jilted her because she was ‘too tall’ and later reappears at various points in the musical to castigate her behaviour much in the way Che did with Evita.

You don’t need to understand too much about Filipino history to enjoy this musical, although at certain times a memory of real events was stirred, especially towards the end where the Marcos are forced to flee during the People’s Peaceful Revolution, which led to Cory Aquino (1933-2009), widow of Ninoy, assuming the presidency.   The songs will help you along throughout their history, and that of Imelda’s childhood friend and nanny, Estrella.

Politics occasionally rears its head, as masked figures evoke world leaders like Reagan who were personal friends of Marcos – other key moments are shown in video projections, some of the actors re-imagining real events, some of Imelda Marcos herself.  There is pulsating music, disco lights (largely pink), and a lot of energy.  The songs themselves, though, are a bit underpowered at times, the opener being sickly sweet, the title song sounding a little bit like the Neil Diamond classic ‘Sweet Caroline’, and others which show promise – ‘The Rose of Tacloban’, ‘When She Passed By’, ‘Order 1081′ – in danger of getting lost in the sea of dancing bodies.  ‘Why Don’t You Love Me’ simply evoked memories of the Spamalot spoof ‘A Song Like This’.

Still, there is much to enjoy here, and the leading actors – former Saigon Kim, Natalie Mendoza as Imelda, Gia Macuja Atchison as Estrella, Dean-John Wilson as Aquino, Mark Bautista as Marcos – are on good form.  I wasn’t sure about the use of real transcripts of calls to move the plot along, but the sound mix is fine, the lyrics are audible, and from centre circle, where we were, we got an excellent view of the action and the inspired choreography.


NT Live Encore: A Streetcar Named Desire (Young Vic)

streetcar

From the screen of the Curzon Richmond, I watched the Encore performance of ‘A Streetcar Named Desire’, recorded live at the Young Vic.  As this space can be configured in any way to suit the production, designers and directors always have a free hand, and here Magda Willi’s revolving set allows the audience to eavesdrop on the action within the Kowalskis’ home, a minimalist, clinical pot where poker, Chinese lanterns, and the kindness of strangers mix into the plot.

Benedict Andrews directs this production, and updates the costumes and music to give an additional kick to the potency of Tennessee Williams’ play.  So you will hear Chris Isaak’s ‘Wicked Game’ and PJ Harvey’s ‘To Bring You My Love’ (also used in the series 2 opener of Peaky Blinders), alongside Patsy Cline’s ‘Stop The World’ and an original score by Alex Baranowski.  Although some reviews have stated this is a minus, as Stanley, Stella and Blanche can only exist in the past, I think it balances out the plot well and makes key scenes in the action more relevant and accessible.

Gillian Anderson’s Blanche Dubois makes her entrance dragging a large pull-along suitcase and wearing shades, tottering into an area she clearly despises, having come from better things.  She is a surprise guest at the home of her sister Stella Kowalski (Vanessa Kirby) and Stella’s husband, the brutish Stanley (Ben Foster).  Theirs is a passionate relationship fuelled by violence and desire, and Blanche is walking straight into hell.

Corey Johnson as Mitch is a strong supporting character, who you may remember was essayed brilliantly by Karl Malden in the old film.  He’s the sympathetic one at the card table, the one with the sick mother, the one who sees a beauty and innocence in Blanche which hides any doubt about her age or past.  In one knowing scene which could not have been used in 1951, Mitch and Blanche discuss her marriage and issues around her husband’s ‘degenerate’ nature and eventual suicide.  In parallel scenes in each half of the production Mitch hangs up a pink lantern for Blanche, and then rips it down when he discovers her true nature.

The film’s use of close ups occasionally jars when aspects of the revolving set get in the way, but they are used to great effect in places, especially involving Anderson’s transformation from the cool and calm schoolteacher to the lipstick-smudged doll on the edge of insanity.  It’s a towering performance which will infuriate, amuse and eventually break your heart.  Her interplay with Foster’s Stanley is also very good, and he does not over-dominate proceedings – you know he is there, and you know there is danger when he is about, but he is also content to take second place to Miss Dubois.

Stella is a more problematic character, who seems turned on by domestic violence and who eventually abandons her sister and her principles for the man who has caused everything to collapse, but in Kirby’s portrayal she is very well-rounded and you can see her struggles and her love for her family conflict with her animal passion for her husband.

It’s difficult to fault this performance in any way, and this NT Live production is definitely well worth watching.


Welcome back Peaky Blinders – series 2 opener (spoilers)

When series one of Steven Knight’s ‘Peaky Blinders’ was shown this time last year it ended with what seemed like a cliffhanger setting up a second run with the Shelby family.  My take on that final episode was ‘Setting up a second series?‘ and of course, that was the case.

Endings which leave questions hanging and the fate of others open are always the most infuriating in a way (consider the way the stunning final episode of Sherlock series 2 morphed into the disappointing splutter of the first episode of series 3).  So it with a resounding thumbs-up that I report that no such problem has blighted ‘Peaky Blinders’.

We’re back on the railway station early on in the episode where Major Campbell (Sam Neill) aims a gun at spy Grace (Annabelle Wallis), and with the outstanding question of ‘who fired the shot’ quickly answered, we are ready to move on.

Continue reading


The Girl From Missouri, 1934 – ★★★½

Enjoyable Jean Harlow film in which she’s plays a gold-digger with a veneer of innocence, backed up by sparky comedienne Patsy Kelly.

Points to note: this is after the Hollywood Code was enforced to make films ‘decent’, although a joke or two still creeps in, and Harlow spends a fair amount of time in not that many clothes; older men like Lewis Stone and Lionel Barrymore always have a weakness for blondes; and there is always an exit from a window in the cover of darkness.

Franchot Tone is the love interest, and he and Harlow would team again to good effect in ‘Bombshell’. But this is very much her show and although it isn’t her best film, she is always worth watching and if you take a look, you might see why she was one of MGM’s hot properties of the 1930s.

Vía Letterboxd – loureviews


Pure imagination: Anthony Newley’s screen work

As well as being an unusually gifted singer and songwriter (his vocal style influenced the young David Bowie, and his lyrics graced the theme for ‘Goldfinger’, and the songs in ‘Willy Wonka and the Chocolate Factory’), Anthony Newley (1931-1999) was also an actor from childhood, gracing both big and small screen with interesting performances.

On the stage he could definitely be described as ‘larger than life’, perhaps a hangover from the days when he had to compete with his arch-diva wife of eight years, Joan Collins. His later years might have veered towards the cabaret and lounge lizard variety, but in those early days he was well worth watching, and even in later years there were occasional flashes of what might have been.

  1. The Strange World of Gurney Slade
  2. Sweet November
  3. Idol on Parade
  4. Oliver Twist  As the Artful Dodger.
  5. Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?  For sheer, and literal, cheek!
  6. Mr. Quilp
  7. Jazz Boat
  8. Doctor Dolittle
  9. The Small World of Sammy Lee
  10. The Guinea Pig

…plus 5 more. View the full list on Letterboxd.

Vía Letterboxd – loureviews


Review: Charlie and the Chocolate Factory (Theatre Royal Drury Lane)

Roald Dahl’s 1964 novel is a much loved fable where vices like greed, vanity, and pride are punished while virtue is rewarded in the tale of Charlie Bucket, a boy of impossible purity, who never does a bad thing.

The story of Willy Wonka’s chocolate factory has been filmed twice, first in the classic 1972 version starring Gene Wilder, and then in 2005 with Johnny Depp.  Both were successful,  but perhaps the earlier version has the edge because of its Bricusse-Newley score.

A song from that score, ‘Pure Imagination’, appears in this new stage musical (although its creators only get a tiny footnote in the programme), and sits awkwardly alongside new songs by Scott Wittman and Marc Shaiman, which verge on the forgettable (except for ‘Vidiots’, ‘Don’t Ya Pinch Me, Charlie’ and ‘Strike That! Reverse It!’).

As Wonka, Alex Jennings is no singer but clearly relishes the mix of camp and cruelty in the character,  as he springs and sashays around in pink jacket, green trousers and top hat, looking rather like Dr Seuss’ cat.

A dance sequence from Charlie’s grandparents in a stretched-out act one reminded me of the inventors in ‘Chitty Chitty Bang Bang’, while a creepy sweet seller is reminiscent of the Childcatcher of the same production.   I missed the ‘Candyman’ of the earlier version.

As for the children,  young Scot Rhys Lambert’s accent occasionally distracts, but he carries his solo songs well.  The other lucky golden ticket winners each have a showpiece set within the Bucket family’s ancient TV, and with Violet now a reality star rapper, Mike a sociopathic gamer, and Veruca an awful dancer (as Wonka waspishly remarks later, ‘her posture’s awful’), there’s been a bit of updating.

The Oompa Loompas are fun, with good puppet work,  the second half has snippets of technical brilliance (the glass elevator, the squirrels, the bits of magic), but perhaps the high point is Charlie’s flying paper plane.  Grandpa Joe (Barry James) is very good,  and there’s a couple of cleverly creepy appearances from Wonka before we join him in his factory.

Fun, fresh, but ultimately soulless and lacking emotional involvement, this production is too long at two and a half hours, and parts are better than the whole, but it remains enjoyable.

My thanks to http://www.Officialtheatre.com
for providing the tickets.


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