tag:blogger.com,1999:blog-66534042349480686682024-03-14T10:01:27.273+00:00Jonathan Baz Reviews...Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.comBlogger1202125tag:blogger.com,1999:blog-6653404234948068668.post-61435508726671418092024-03-08T09:42:00.002+00:002024-03-08T09:43:22.919+00:00Nye - Review<span style="font-family: arial;">National Theatre, London</span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><span style="font-size: x-large;">*****</span><br /></span><div><span style="font-family: arial;"><br /></span></div><div><br /></div><div><span style="font-family: arial;">Written by Tim Price</span></div><div><span style="font-family: arial;">Directed by Rufus Norris</span></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8eroILGMDdGxm0Bx87hffp-EczLNvxg6qG1h6adjBpL6Zmj5OGpz0S7JMnMPiegv86foVnuaoYPTElApv9KOJHc836-OCQZb7veU8PzhJWxAB5k-5L44GQ8J2Ji24C_GWiYMUIMY6knnx5tJexo8Wr0dBlFMmAvc3S_eN5TpTrhhkzbLNydXOn9_w/s8640/Michael%20Sheen%20(Nye%20Bevan)%20in%20Nye%20at%20the%20National%20Theatre%20(c)%20Johan%20Persson_13714.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5760" data-original-width="8640" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8eroILGMDdGxm0Bx87hffp-EczLNvxg6qG1h6adjBpL6Zmj5OGpz0S7JMnMPiegv86foVnuaoYPTElApv9KOJHc836-OCQZb7veU8PzhJWxAB5k-5L44GQ8J2Ji24C_GWiYMUIMY6knnx5tJexo8Wr0dBlFMmAvc3S_eN5TpTrhhkzbLNydXOn9_w/w400-h266/Michael%20Sheen%20(Nye%20Bevan)%20in%20Nye%20at%20the%20National%20Theatre%20(c)%20Johan%20Persson_13714.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Michael Sheen</span></td></tr></tbody></table><div><br /></div><div><div style="text-align: justify;"><span style="font-family: arial;">Giving an extraordinary performance, Michael Sheen embodies Aneurin (Nye) Bevan in Tim Price’s new play. As Bevan lies dying of stomach cancer, Sheen takes us on a morphine-induced hallucination through the Welshman’s life, from his early career (following a brief stint down the mines) amidst the small town politics of Tredegar, through to his election as the MP for Ebbw Vale in 1929 and ultimately Cabinet Minister for Health and Housing and the visionary creator of the National Health Service in 1948.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">In what is a fascinating analysis of both history and British socialism, Price’s narrative takes in Bevan’s unconventional yet loving marriage to Scottish MP Jennie Lee (fine work from Sharon Small) and sees him wittily spar with Tony Jayawardena’s brilliant cameo of Winston Churchill. Jon Furlong is equally brilliant, if repulsive, in his Mandelsonian take on Herbert Morrison (who was of course grandfather to the current Lord Mandelson). The other standout supporting roles are from Stephanie Jacob as Clement Attlee (driving a motorised No 10 desk around the stage), Rhodri Meilir as Bevan’s coal miner father David and Kezrena James as the starched yet supremely empathetic Nurse Ellie.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The story of the NHS’s formation is testament to Bevan’s strongly held belief in free health care for all at the point of need, forged from the iniquities of poverty and deprivation that he had seen in the Welsh mining valleys and throughout his career. Act Two’s revelation of the mercenary, self-preserving attitude of Britain’s doctors who fought tooth and nail against the privatisation of their highly lucrative profession makes for gripping drama.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The stagecraft on display is the National Theatre at its finest. Vicki Mortimer’s set sees hospital bedside curtains drawn across the stage in a variety of permutations including an ingenious suggestion of the House of Commons. Canny projections and an inspired use of laser-light to depict an underground seam of coal, only add to the evening’s theatrical magic.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The night however belongs to the pyjama-clad Michael Sheen. On stage virtually throughout and in a turn that includes a fabulous cover of Judy Garland’s Get Happy, Sheen is a tour-de-force treat in an evening of exquisite, unmissable theatre.</span></div></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial; font-size: x-small;">Runs until 11th May at the National Theatre and then at the Wales Millennium Centre from May 18th to 1st June</span></div><div style="text-align: justify;"><span style="font-family: arial; font-size: x-small;">Photo credit: Johan Persson</span></div></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-72010745234903786962024-03-06T09:20:00.016+00:002024-03-06T17:36:05.539+00:00Standing at the Sky's Edge - Review<span style="font-family: arial;">Gillian Lynne Theatre, London</span><div><br /></div><div><span style="font-family: arial; font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">***</span></div><div><div><br /></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Music and lyrics by Richard Hawley</span></div><div><span style="font-family: arial;">Book by Chris Bush</span></div><div><span style="font-family: arial;">Directed by Robert Hastie</span></div><div><br /></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMxGv7EwVe3AFuPj7wKkYdqML8XqCdOJfAEu1zR2Pl1x6ilCSxKzh4bldWL-WgiUOe71YUhxaWhCqM-X_-CMANoLt74KQlf6k6BkwUyEGQpVxIXu9hiXV9YKuojjBTuX_F6rdRcrjuEh3paOHms27OzNjYgyPkjO9leRA0WXw90ef-md-AvIvRMgJD/s1680/The-cast-of-Standing-at-the-Skys-Edge-in-the-West-End.-Credit-Brinkhoff-Moegenburg.-Featuring-the-I-Love-You-Bridge-copyright-2001-Jason-Lowe.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1120" data-original-width="1680" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMxGv7EwVe3AFuPj7wKkYdqML8XqCdOJfAEu1zR2Pl1x6ilCSxKzh4bldWL-WgiUOe71YUhxaWhCqM-X_-CMANoLt74KQlf6k6BkwUyEGQpVxIXu9hiXV9YKuojjBTuX_F6rdRcrjuEh3paOHms27OzNjYgyPkjO9leRA0WXw90ef-md-AvIvRMgJD/w400-h266/The-cast-of-Standing-at-the-Skys-Edge-in-the-West-End.-Credit-Brinkhoff-Moegenburg.-Featuring-the-I-Love-You-Bridge-copyright-2001-Jason-Lowe.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">The cast of Standing at the Sky's Edge</span></td></tr></tbody></table><br /><div style="text-align: justify;"><span style="-webkit-text-size-adjust: auto; font-family: arial; text-size-adjust: auto;"><div><div>Transferring to the West End from an acclaimed run at the National Theatre, Standing At The Sky’s Edge charts three occupancies of a duplex home built in Sheffield’s Park Hill estate. The show’s timeframe runs from the estate’s opening as a massive social housing project in 1959, replacing a significant proportion of the city's slum accommodation, then through a period of neglect and dilapidation and finally to the estate's gentrification in the early 21st century and transition into private ownership. Park Hill was a massive development and to this day remains the largest listed work of architecture in Europe. A prominent feature of Sheffield’s cityscape, the estate's history offered a bold conceit for the musical’s narrative.</div><div><br /></div><div>It is a disappointment therefore that Chris Bush’s book is little more than a thread of cliched agitprop observations of the duplex's three occupying households. From a newly wed steelworker and his bride escaping poverty, through to refugees fleeing civil war in Liberia and ultimately, a comfortably middle-class professional running away from London and a failed relationship, Bush shoehorns in as many passing nods to Sheffield’s social landscape of the last 60 years as she can. The collapse of the steel industry, the miners’ strike, Thatcherism and even Brexit are all acknowledged with shallow passing references, though one can only speculate as to why the child grooming scandals that also tarnished so much of the South Yorkshire region during this period, fail to get a mention.</div><div><br /></div><div>Richard Hawley’s songs are musically beautiful but lyrically lazy - the tunes land gorgeously on the ear but their frequent repetitions of phrases suggest a lack of creative wit behind the songs’ otherwise powerful foundations. The cast, as is to be expected on a leading London stage, are all magnificent with standout performances from Laura Pitt-Pulford, Rachael Wooding and Lauryn Redding. Ben Stone's stage designs together with Mark Henderson's lighting are equally impressive.</div><div><br /></div><div>40 years ago Willy Russell's Blood Brothers offered a far sharper musical take on the impact of Thatcherism on England's north and of attempts by planners to rehouse a city's poor. Perhaps in a site-specific venue on the estate, Standing At The Sky's Edge may have packed more of a punch. The musical opened in Sheffield in 2019 where regional ticket pricing would have made it affordable to many of the city’s residents. In the capital however, where ticket prices are comparatively eye-watering, agitprop has been replaced by champagne-socialism.</div><div><br /></div><div><br /></div><div>Booking until 3rd August</div><div>Photo credit: Brinkhoff-Moegenburg</div></div></span></div></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-43620152500263119532024-02-29T23:05:00.004+00:002024-03-01T06:24:12.400+00:00Nachtland - Review<span style="font-family: arial;">Young Vic, London</span><div><span style="font-family: arial;"><br /></span></div><div><br /></div><div><span style="font-family: arial;"><span style="font-size: x-large;">*****</span><br /></span><div><span style="font-family: arial;"><br /></span></div><div><br /></div><div><span style="font-family: arial;">Written by Marius von Mayenburg</span></div><div><span style="font-family: arial;">Translated by Maja Zade</span></div><div><span style="font-family: arial;">Directed by Patrick Marber</span></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiL60hUWTBQkwx9WORpfXXzYxUIgB8TNeLFs9YB1JM9XZLshHS0efQPxH-JTJT-3ab6XPpLfBUbi5oGaWlJY4pzH3ot9glU0kf2qHpkTnEVGy0rlq9TGhUBcNdChTNsJBHd4JPrBUxQHX3rrzFpgJIP6caiV236geFSG3TWnXF2GSSN4zqlBvU_WKy/s2100/01.%20Jane%20Horrocks%20in%20Nachtland%20at%20Young%20Vic%20%C2%A9%20Ellie%20Kurttz.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1400" data-original-width="2100" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiL60hUWTBQkwx9WORpfXXzYxUIgB8TNeLFs9YB1JM9XZLshHS0efQPxH-JTJT-3ab6XPpLfBUbi5oGaWlJY4pzH3ot9glU0kf2qHpkTnEVGy0rlq9TGhUBcNdChTNsJBHd4JPrBUxQHX3rrzFpgJIP6caiV236geFSG3TWnXF2GSSN4zqlBvU_WKy/w400-h266/01.%20Jane%20Horrocks%20in%20Nachtland%20at%20Young%20Vic%20%C2%A9%20Ellie%20Kurttz.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Jane Horrocks</span></td></tr></tbody></table><br /><div><div style="text-align: justify;"><span style="font-family: arial;">Nachtland is an intriguing, brilliantly delivered examination of post-Holocaust German identity. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Philipp and Nicola (John Heffernan and Dorothea Myer-Bennett) are brother and sister meeting in the house of their recently deceased father to clear his belongings.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Opening with typical sibling squabbles over who had cared the most for their father in his decline, their dynamic soon shifts on the discovery of a framed picture in the attic that on close inspection, is found to be one of Adolf Hitler’s early watercolour paintings. The drama quickly evolves into an exploration of base greed, as the siblings engage Evamaria (Jane Horrocks) to verify the artwork’s provenance with a view to realising its value, contrasted with the emotional agonies of Philippa’s Jewish wife Judith (Jenna Augen), who is appalled at the siblings’ crass materiality in their exploiting an artefact of Hitler. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Marius von Maayerburg’s genius (expertly translated by Maja Zade) lies in his crafting of brilliantly worded arguments that never once fall into maudling or simplistic explanations, but rather outline the ongoing traumatic legacy of the Holocaust and its impact upon modern Jewish identity - and counterpointing this impact with the blunt disinterested disconnection of Judith’s in-laws.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The second half of this ninety minute one-act work introduces Angus Wright as Kahl, a would-be purchaser of the painting and Nazi sympathiser, who is found to be a vile misogynist. Throw in a small turn from Gunnar Cauthery as Nicola’s husband Fabian who contracts tetanus in picking out nails from the picture’s antique frame and the evening’s sextet is complete.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The writing is brilliant, the cast is flawless and as the evening evolves, occasional pockets of humour lead to a final act that is both harrowing and shocking. Anna Fleischle’s deceptively mind-bending set is the perfect complement to Patrick Marber’s assured and deft direction.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">With occasional musical interludes ranging from Bowie to Beethoven and Mahler, Nachtland is outstanding theatre.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Runs until 20th April</span></div></div><div style="text-align: justify;"><span style="font-family: arial;">Photo credit: Ellie Kurttz</span></div></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-74839661069821542692024-02-26T23:15:00.005+00:002024-02-29T11:31:12.602+00:00Cable Street - Review<span style="font-family: arial;">Southwark Playhouse, London</span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial; font-size: x-large;">**</span></div><div><div><span style="font-family: arial;"><br /></span></div><div><br /></div><div><span style="font-family: arial;">Music & lyrics by Tim Gilvin</span></div><div><span style="font-family: arial;">Book by Alex Kanefsky</span></div><div><span style="font-family: arial;">Directed by Adam Lenson</span></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKJW4-rtE3pqW6rtAFUIe54F1ehIwimQ2VtEepsw-jvD5EI-oN_VEB8qP_U9SlmxYSK_8EZoCviwA3F6L7PR4BNCSX3ihYeoCk4f4DBFoBblW1VqEh8RsJ-l1J9gDji-_efBdPaUWd9N3lS7fPhKZCgfNGcULhkGwNGDxVcwzN3htmVamoeDRzxM2l/s4181/Copy%20of%2020240216_Cable%20treet_ProductionPhotos_SouthwarkPlayhouse_London_%C2%A9JaneHobson_JHO-6109.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2787" data-original-width="4181" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKJW4-rtE3pqW6rtAFUIe54F1ehIwimQ2VtEepsw-jvD5EI-oN_VEB8qP_U9SlmxYSK_8EZoCviwA3F6L7PR4BNCSX3ihYeoCk4f4DBFoBblW1VqEh8RsJ-l1J9gDji-_efBdPaUWd9N3lS7fPhKZCgfNGcULhkGwNGDxVcwzN3htmVamoeDRzxM2l/w400-h266/Copy%20of%2020240216_Cable%20treet_ProductionPhotos_SouthwarkPlayhouse_London_%C2%A9JaneHobson_JHO-6109.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">The cast of Cable Street</span></td></tr></tbody></table><br /><div style="text-align: justify;"><span style="font-family: arial;">Not so much a Cable Street as a road to hell that’s paved with good intentions. Tim Gilvin and Alex Kanefsky’s musical is framed around a massive story, that of the Battle of Cable Street that saw thousands of Londoners join forces to halt Mosley’s British Union of Fascists’ march through the heart of London’s Jewish East End.</span></div><div style="text-align: justify;"><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">An ambitious conceit, but the show’s narrative however fails to capture the enormity of the Battle’s achievement, focussing instead on micro-vignettes that seek to wrap up most of the East End’s minority communities. The linking threads of an unconvincing romance and a contrived vengeful finale just don’t move one’s soul in a way that such a remarkable episode of history should command.</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">An ensemble cast play a multitude of roles and there are moments of excellence from most of the performers. Standout numbers in particular across the two acts come from Sophie Ragavelas, Sha Dessi, Joshua Ginsberg and Jez Unwin.</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Gilvin’s rap numbers are frequently garbled and his lyrics too simplistic - that being said, his melodies for What Next, Let Me In and Only Words are charming.</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Adam Lenson directs a piece that ultimately fails to reflect the immense humanity of its underlying historical grounding. The production also makes an offensive casting choice by placing an actor of colour in a fascist’s uniform.</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Sold out for the entire run but check with the box office for returns.</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><div>Runs until 16th March</div><div>Photo credit: Jane Hobson</div></span></div></div></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-30356670564610519052024-02-23T14:44:00.003+00:002024-02-23T14:44:59.758+00:00Just For One Day - Review<span style="font-family: arial;">Old Vic, London</span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial; font-size: xx-large;">****</span></div><div><br /></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Book by John O'Farrell</span></div><div><span style="font-family: arial;">Directed by Luke Sheppard</span></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCgMaBemE408ZIfOGgC9-JQluxu3mgXW47WNzAX2WG9jnX7Rd_8k0NJc0sybHnGjfMsBeqgNOeKIE18ZNOW9CDlWsr-BKQd1ALSUWH98T98uFZZLkM7UwQpupBqxZ1YoYRLDeWj5ruk3a8hyGc85Sg38NNVagygi6bZaV_azKWGD3rXbghVrQ_jPhi/s1500/1707903044-Craige%20Els%20(Bob)%20in%20Just%20For%20One%20Day%20at%20The%20Old%20Vic%202024.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1500" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCgMaBemE408ZIfOGgC9-JQluxu3mgXW47WNzAX2WG9jnX7Rd_8k0NJc0sybHnGjfMsBeqgNOeKIE18ZNOW9CDlWsr-BKQd1ALSUWH98T98uFZZLkM7UwQpupBqxZ1YoYRLDeWj5ruk3a8hyGc85Sg38NNVagygi6bZaV_azKWGD3rXbghVrQ_jPhi/w400-h266/1707903044-Craige%20Els%20(Bob)%20in%20Just%20For%20One%20Day%20at%20The%20Old%20Vic%202024.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Craige Els</span></td></tr></tbody></table><br /><div style="text-align: justify;"><span style="font-family: arial;">In a fabulous musical tribute to the 80s, Just For One Day takes David Bowie’s lyric as a link back to the global phenomenon that was the Live Aid concert of July 1985 and the Band Aid single that had preceded it in Christmas 1984. For the over-45s in the audience it is an evening of unashamed nostalgia as hit after hit is pumped out from the outstanding onstage band and sung by a cast who are all at the top of their musical theatre game.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Disbeliefs need to be seriously suspended though, for while Craige Els offers up a decent Bob (Geldof) and Jack Shallo (vocally at least) a passable Midge Ure (younger readers please Google) the other characterisations don’t quite hit the spot. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">John O’Farrell’s book crafts a corny tale that follows composite fictional character, Suzanne, from her teens in the 20th century to a middle-aged woman today, looking back at the excitement of the concert in her youth. There’s also Amara, a relief worker working at the famine’s coalface in Africa who takes us through the horrors and the challenges of what the epic fundraiser was all about.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">On the night of this review, understudy Kerry Enright stepped up to the role of Prime Minister Margaret Thatcher, bringing just the right of comedy to counter the gravitas and delivering the show’s one original number written for the theatre, a rap duet with her and Els’ Bob: Mrs T/Mr G.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Soutra Gilmour’s striking set is driven by gig lights encased in a floor-to-ceiling 3-sided video box. It’s a stark concept that works well, conveying the rushed and improvised aura that actually belied the brilliant execution of both Band Aid and Live Aid. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The stars of the show however are unquestionably Patrick Hurley’s 6-piece band, with standout guitar work from Matt Isaac and Kobi Pham. These musicians have the unenviable task of recreating many of the greatest rock songs ever recorded and they do so sensationally. Their work alone is worth the ticket price.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Runs until 30th March</span></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-87458915048375117452024-02-22T00:02:00.001+00:002024-02-22T09:44:19.055+00:00Hadestown - Review<span style="font-family: arial;">Lyric Theatre, London</span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><span style="font-size: x-large;">****</span><br /></span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Music, lyrics & book by Anaïs Mitchell</span></div><div><span style="font-family: arial;">Developed with & directed by Rachel Chavkin</span></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpCxbZdPx5v2GS6Gl72rBDg6WI6eFKxrqBHY08YKiUm39EuUYabMAllS629VlVGEx-0Cd9v7B1Pd_rf4hVXNKPlNx9JdOQpXwzoFBAbiaCjIM_yB0LKRownlrQDP_YyJomZTDVnwYRIeltjScSYUThgW80SbKPrHaJWJI1m2I0hbyf87oDdCA_EmfB/s4680/11.%20HADESTOWN%20Lyric%20Theatre,%20London.%20Photo%20credit%20Marc%20Brenner.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3120" data-original-width="4680" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpCxbZdPx5v2GS6Gl72rBDg6WI6eFKxrqBHY08YKiUm39EuUYabMAllS629VlVGEx-0Cd9v7B1Pd_rf4hVXNKPlNx9JdOQpXwzoFBAbiaCjIM_yB0LKRownlrQDP_YyJomZTDVnwYRIeltjScSYUThgW80SbKPrHaJWJI1m2I0hbyf87oDdCA_EmfB/w400-h266/11.%20HADESTOWN%20Lyric%20Theatre,%20London.%20Photo%20credit%20Marc%20Brenner.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">The company of Hadestown</span></td></tr></tbody></table><br /><div><div style="text-align: justify;"><span style="font-family: arial;">Anaïs Mitchell’s Hadestown is drawn from one of the strongest tragic storylines around: Orpheus’ love for Eurydice that draws him into the Underworld in his quest to rescue her from Hades’ grasp and return her to the mortal world. It’s a banger of a yarn and credit to Mitchell and Rachel Chavkin whose cracking songs and outstanding cast have breathed a bold life into this ambitious vision. The UK first encountered the show in its 2018 premier at the National Theatre. Now in the West End it’s a glorious fusion of a raft of musical styles, sung perfectly.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Dónal Finn and Grace Hodgett Young are the two doomed lovers. Both are magnificent with Finn possessing a gorgeously fragile tone that makes his number Wait For Me sparkle. Amidst the grown-up roles, Zachary James’ Hades offers a bass baritone the like of which is rarely heard in musical theatre. His is a towering performance of vulnerable cruelty. Gloria Onitiri is Persephone, wonderfully reprising the part from her time at the National, while in a sensational turn as (basically, narrator) Hermes, Melanie La Barrie cleverly weaves the tale’s threads together. Sung through, the show is an impressive performance from Tarek Merchant’s 7-piece onstage band. Rachel Hauck’s set design is ingenious - think Hell fused with New Orleans - brilliantly lit by Bradley King.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The show’s frustration lies in its crass shoehorning of a modern political agenda onto the Greek classics, with the narrative not being enhanced by the childishly oversimplistic That’s Why We Build The Wall that closes the first act.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">But there is excellence on stage here and for what is (mostly) a bold piece of new writing, Hadestown is worth seeing.</span></div><div style="text-align: justify;"><span style="font-family: arial; text-align: left;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial; text-align: left;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial; text-align: left;">Booking until 22nd December</span></div></div><div><span style="font-family: arial;">Photo credit: Marc Brenner</span></div></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-88462863491627530272024-02-20T19:25:00.003+00:002024-02-20T19:25:53.310+00:00Dear Octopus - Review<div style="text-align: justify;"><span style="font-family: arial;">National Theatre, London</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div><div style="text-align: justify;"><span style="font-family: arial;"><span style="font-size: x-large;">*****</span></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Written by Dodie Smith</span></div><div style="text-align: justify;"><span style="font-family: arial;">Directed by Emily Burns</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb-3CydIfS7QEFZy-5OUQAqVQQfEU7AZfBJLn0ivatlWitCqrRe6VUoIQ-gsjRdDu53UYZOlbR3w6Ko_pG1TSTj7_UN8VQ0ixGJBWp5e4-3XkAk66Qh3HwUN6rOhTyx1OwGB85_LO1SoChEbDnxdP3SO7HXrOEn4yB1hR00BWHhD0jznygpZaONiwM/s5075/Lindsay%20Duncan%20(Dora),%20Billy%20Howle%20(Nicholas),%20Bessie%20Carter%20(Fenny)%20and%20Malcolm%20Sinclair%20(Charles)%20in%20Dear%20Octopus%20at%20the%20National%20Theatre%20(c)%20Marc%20Brenner%20%200731.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3383" data-original-width="5075" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb-3CydIfS7QEFZy-5OUQAqVQQfEU7AZfBJLn0ivatlWitCqrRe6VUoIQ-gsjRdDu53UYZOlbR3w6Ko_pG1TSTj7_UN8VQ0ixGJBWp5e4-3XkAk66Qh3HwUN6rOhTyx1OwGB85_LO1SoChEbDnxdP3SO7HXrOEn4yB1hR00BWHhD0jznygpZaONiwM/w400-h266/Lindsay%20Duncan%20(Dora),%20Billy%20Howle%20(Nicholas),%20Bessie%20Carter%20(Fenny)%20and%20Malcolm%20Sinclair%20(Charles)%20in%20Dear%20Octopus%20at%20the%20National%20Theatre%20(c)%20Marc%20Brenner%20%200731.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Lindsay Duncan, Billy Howle, Bessie Carter and Malcolm Sinclair</span></td></tr></tbody></table><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Dodie Smith’s 1938 play is given a glorious revival at the Lyttleton. Dora and Charles Randolph (spectacularly played by Lindsay Duncan and Malcolm Sinclair) are celebrating their golden wedding in their country home that has been the family base for generations as relatives including children, grandchildren and one great-grandchild join them for the weekend’s festivities.</span></div><div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The sensitive genius of Smith’s writing is to observe the dynamics between the couple’s four daughters and a son - and to extract from all of these relationships the tender complexities of love, embarrassment, shame and even loss with a language that while of its time and dated, remains just as poignant for the 21st century and which never once descends into mawkish sentimentality. A lengthy first act slightly drags - but the second half soars through moments of the sweetest reconciliations amongst the assembled clan.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The cast are all magnificent. Of the adult children Bethan Cullinane’s Cynthia stands out for the remarkable interplay between her and her mother, while Billy Howle as gauche son Nicholas is another performance of remarkable sensitivity. Outside of the family, the role of the housemaid Fenny is a part of acute emotional complexity, skilfully delivered by Bessie Carter. A nod too to Kate Fahy’s Belle, Dora’s sister and a woman who has aged disgracefully yet wonderfully.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Duncan and Sinclair head their family with a perfect combination of warmth, understanding and gravitas. Duncan in particular delivers her role in a spectacular display of understated excellence. Rarely is such a loving matriarch to be found on stage.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The time and place of Dear Octopus (the plays title is drawn from a reference to the tentacular grasp of the family) is reflected both in Smith’s text - the losses of the Great War still smart, as the radio tells of a need to prepare for war as Chamberlain appeases Hitler - and in Frankie Bradshaw’s glorious set design that makes full use of the Lyttleton’s lofty fly tower and impressive revolve</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Emily Burns has directed with a sure but nuanced hand, coaxing and crafting an evening of the finest talent from her company. Exquisite drama. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Runs until 27th March</span></div></div><div style="text-align: justify;"><span style="font-family: arial;">Photo credit: Marc Brenner</span></div></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-25746997848391007872024-02-19T13:09:00.004+00:002024-02-19T14:21:52.549+00:00The Moonwalkers - Review<span style="font-family: arial;">Lightroom, London</span><div><br /></div><div><br /></div><div><br /></div><div><span style="font-size: x-large;">****</span></div><div><br /></div><div><br /></div><div><br /></div><div><span style="font-family: arial;"><span style="background-color: white; color: #242424; font-size: 14.6667px;">Written by Tom Hanks and </span><span style="background-color: white; color: #242424; font-size: 14.6667px;">Christopher Riley</span></span></div><div><span style="font-family: arial;"><span style="background-color: white; color: #242424; font-size: 14.6667px;">Directed by </span><span style="background-color: white; color: #242424; font-size: 14.6667px;">Nick Corrigan and Lysander Ashton</span></span></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglvAdnw_OsDZjooLzie2tkZxMT2bue_m9QWQNIFjDzRHMXQvw1Lv5nARf_85OGKitD2Z7Rroyp3pTSFv4Ves7N-1wVvusqb0-zc_p8gxUf8Ree0FM2mdkQu1J8bMc4qE80VMj96UXE2kZBBAfT7oEBnkKY3qNL_k9RAqcfOr5-8hS05jr9AN4JxfL9/s8688/The%20Moonwalkers%20A%20Journey%20With%20Tom%20Hanks%20credit%20Justin%20Sutcliffe%20%5Bii%5D.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5792" data-original-width="8688" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglvAdnw_OsDZjooLzie2tkZxMT2bue_m9QWQNIFjDzRHMXQvw1Lv5nARf_85OGKitD2Z7Rroyp3pTSFv4Ves7N-1wVvusqb0-zc_p8gxUf8Ree0FM2mdkQu1J8bMc4qE80VMj96UXE2kZBBAfT7oEBnkKY3qNL_k9RAqcfOr5-8hS05jr9AN4JxfL9/w400-h266/The%20Moonwalkers%20A%20Journey%20With%20Tom%20Hanks%20credit%20Justin%20Sutcliffe%20%5Bii%5D.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">An image from The Moonwalkers</span></td></tr></tbody></table><div><br /></div><div><div style="text-align: justify;"><span style="font-family: arial;">The latest immersive audio-visual experience to arrive in London is The Moonwalkers, playing at Lightroom at Kings Cross. For 50 minutes the history and scale and above all achievement of the Apollo rocket launches that sent 12 men to walk on the surface of the Moon is played out in a beautifully compiled narrative.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The event kicks off with 1962 footage of President John F Kennedy pledging to put a man on the Moon. Tom Hanks narrates a commentary that’s factual if a little airbrushed into cosmetic nicety. JFK’s words were stirring but the show makes no mention at all of the space race that pitted USA against USSR in the bid to be the first to reach the Moon.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Throughout, the immaculate sound and projections teach us a lot about the various launches (from 1969 to 1972) and include stunning photography taken from the various Moon visits. The scale and achievement of what was accomplished more than 50 years ago is made clear and there are frequent references to today's Artemis II project that hopes to return astronauts to the Moon’s surface in 2026.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">For all its beauty however, The Moonwalkers is more about the Moon and Tom Hanks than it is about the men who actually <i style="font-weight: bold;">walked </i>the Moon's surface. While we learn a lot about Hanks’ chilldhood and his passionate interest in the Moon landings – and to be fair, Hanks has been a driving force behind the creation of this show - we learn very little about the 12 Moonwalkers themselves. An immersive analysis of what motivated one or more of those 12 explorers, offering perhaps a glimpse of what gave them the ‘right stuff’ to make the unimaginably brave decision to fly to the Moon (rather than Hank’s recollections of discovering weightlessness in his parents’ backyard paddling pool) would have been fascinating.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">But Anne Nikitin’s soundtrack played by the Royal Philharmonic Orchestra is gorgeous and Corrigan, Ashton and Andy Saunders’ work on restoring the images and clips to this 360-degree digital screening is stunning. Lie back on the cushions and lose yourself in outer space. The history is humbling.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Runs until 9th June 2024</span></div></div><div style="text-align: justify;"><span style="font-family: arial;">Photo credit: Justin Sutcliffe</span></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-66902184616914942662024-02-17T18:54:00.002+00:002024-02-27T14:32:33.233+00:00Deathtrap - Review<div style="text-align: justify;"><span style="font-family: arial;">The Mill At Sonning, Sonning</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial; font-size: x-large;">****</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Written by Ira Levin</span></div><div style="text-align: justify;"><span style="font-family: arial;">Directed by Tam Williams</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT1dCb1Z4ig0ZGmcyo8HNtdmgQz9puX7mtUuYC6tvRz7kUv-OXJtHU7g3tAagJvVbFvgLQpzGVgmD8wztZvSANifqiH9PZuVDAAodvvTCxLO4odkcpkkqrO8H1bkFAYoppm-_gRlCylVT3qPuM1VAIhOjIdL5nF90AvhOJ2TnfAxtt5XV3OXoGk2Bb/s3090/Deathtrap%205%20Issy%20van%20Randwyck%20Photo%20Andreas%20Lambis.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3090" data-original-width="2472" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT1dCb1Z4ig0ZGmcyo8HNtdmgQz9puX7mtUuYC6tvRz7kUv-OXJtHU7g3tAagJvVbFvgLQpzGVgmD8wztZvSANifqiH9PZuVDAAodvvTCxLO4odkcpkkqrO8H1bkFAYoppm-_gRlCylVT3qPuM1VAIhOjIdL5nF90AvhOJ2TnfAxtt5XV3OXoGk2Bb/w320-h400/Deathtrap%205%20Issy%20van%20Randwyck%20Photo%20Andreas%20Lambis.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Issy Van Randwyck</span></td></tr></tbody></table></div><div><br /></div><div><div style="text-align: justify;"><span style="font-family: arial;">Tam Williams directs a cracking take on Ira Levin’s classic murder mystery. Set in the home of established crime-author and lecturer Sidney Bruhl (Nick Waring), as student Clifford Anderson (George Watkins) pays a visit seeking expert guidance on a playscript that he has written, nothing is quite what it seems.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The setting is gorgeous, with antique axes and weaponry lining Bruhl’s walls only adding to the impending sense of doom and foul play.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Such a ripping yarn depends upon classy acting from its cast of five to make the hokum work and Williams has coaxed excellence from his quintuplet of performers. Both the male leads keep one guessing throughout and there is fabulous supporting work from Emily Raymond as Bruhl’s wife Myra, Philip Childs as lawyer Porter Milton, together with an enchanting turn from Issy Van Randwyck as psychic, Helga ten Dorp.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Two acts - fabulously performed - in two hours and a delicious meal included as part of the ticket price, Deathtrap makes for an evening of great theatre.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Runs to 30th March</span></div><div style="text-align: justify;"><span style="font-family: arial;">Photo credit: Andreas Lambis</span></div></div><br /><div><br /></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-90881912900893191112024-02-16T10:08:00.001+00:002024-02-23T11:59:59.397+00:00Macbeth - Review<div style="text-align: left;"><span style="font-family: arial;">Dock X, London</span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: x-large;">*****</span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;">Written by William Shakespeare</span></div><div style="text-align: left;"><span style="font-family: arial;">Directed by Simon Godwin</span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSWRHTCSxti3pYwRd-gllWbdGIK_ec9uZ8FW1pTIgLpbKZ4HaI0OXqHC2-Q7BAMIK66typ-P8qKJuorihvUhQeVhNbuKEBjmHkJ_X6cw5adS5bTaRP43vsT9D4t8vISDbaliqBNs8Ae91Qes0EIgzLmV36UwVFQE1NV8Z0XUcvXvNNPWIByX4-V3c9/s5109/MACBETH.%20Ralph%20Fiennes%20and%20Indira%20Varma.%20Photo%20Marc%20Brenner%20(1).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3406" data-original-width="5109" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSWRHTCSxti3pYwRd-gllWbdGIK_ec9uZ8FW1pTIgLpbKZ4HaI0OXqHC2-Q7BAMIK66typ-P8qKJuorihvUhQeVhNbuKEBjmHkJ_X6cw5adS5bTaRP43vsT9D4t8vISDbaliqBNs8Ae91Qes0EIgzLmV36UwVFQE1NV8Z0XUcvXvNNPWIByX4-V3c9/w400-h266/MACBETH.%20Ralph%20Fiennes%20and%20Indira%20Varma.%20Photo%20Marc%20Brenner%20(1).jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Ralph Fiennes and Indira Varma</span></td></tr></tbody></table></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Something wicked this way has arrived, as the Ralph Fiennes Macbeth concludes its UK tour to play Canada Water’s cavernous Dock X.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Director Simon Godwin and adapter Emily Burns have made some wee snips to the text (the Porter’s not to be seen in this iteration) but in Fiennes’ Macbeth and Indira Varma’s Lady Macbeth are two of the finest takes on this fiendish double act to have been seen in years.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Both leading actors relish the text and breathe a carefully weighted life into every line. The story of Macbeth is one of Shakespeare’s most well-known fables and so for a production to soar when its plot is so familiar demands the highest production values. Fiennes and Varma deliver, giving a humour and a humanity to the text that has been overlooked in recent takes on the Scottish play.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The supporting company are equally fine. Steffan Rhodri’s Banquo is a credible warrior and companion who knows too much about Macbeth’s motives, while Ben Turner as MacDuff is both heartbreaking and impassioned as he avenges the brutal murders of his wife and young children. Above all, the witches are outstanding. Godwin places the weird sisters centre-stage with Lucy Mangan, Danielle Fiamnya and Lola Shalam all enchantingly intriguing.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Only on for a limited run, this oft performed play is rarely played so well. Unmissable.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Runs until 30th March</span></div><div style="text-align: justify;"><span style="font-family: arial;">Photo credit: Marc Brenner</span></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-86185654398722472802024-02-14T11:12:00.003+00:002024-02-14T13:25:40.397+00:00Songs For A New World - Review<div><span style="font-family: arial;">Upstairs at the Gatehouse, London</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial; font-size: x-large;">****</span></div><div><br /></div><div><br /></div><div><br /></div><div><div><span style="font-family: arial;">Music & lyrics by Jason Robert Brown </span></div><div><span style="font-family: arial;">Directed by Kai Wright </span></div></div><div><span style="font-family: arial;"><br /></span></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz-1DZzkSp0LLi-qFezoKcRbT9ZnKmRmaee7ic6OIHzlxtndKflW4kOK19YmhvaC5VPPI8lhc6NR0-XiHcKD2nor_rdd1Vn4IamGzfid-uU7pIfH2wbfmnY7MdEn3JgJ0R0jPnM4-frBtKQ11G1qgMmPCQTwNLZRc7POZNfX6waixk51YDamty66po/s5366/SFANW%20-%20Film%20Free%20Photography%20-%20380.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3833" data-original-width="5366" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz-1DZzkSp0LLi-qFezoKcRbT9ZnKmRmaee7ic6OIHzlxtndKflW4kOK19YmhvaC5VPPI8lhc6NR0-XiHcKD2nor_rdd1Vn4IamGzfid-uU7pIfH2wbfmnY7MdEn3JgJ0R0jPnM4-frBtKQ11G1qgMmPCQTwNLZRc7POZNfX6waixk51YDamty66po/w400-h286/SFANW%20-%20Film%20Free%20Photography%20-%20380.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">The cast of Songs For A New World</span></td></tr></tbody></table><div><br /></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">While Songs For A New World has only ever enjoyed seemingly fleeting appearances in a variety of theatres in and around London's West End, it is very much a familiar piece to many as Jason Robert Brown's 1995 song cycle provides moments both of easy listening as well as some hard-hitting numbers. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">From the opening iconic motif on the piano, the stage is set in a lounge-like menagerie of ornaments and antiques, with lampshades hanging across the ceiling. Sophie Goodman's design is both simple yet effective and remains the base throughout. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Being a four hander there is a huge demand on the cast and the chemistry between the four is tangible. Stand alone numbers such as ‘Christmas Lullaby’ in Act 2 could be so easily overlooked and feel out of place but Lizzy Parker as Woman 1 brings ample heart and emotion to the role and the score. Luke Walsh as Man 1 displays huge vocal range and dexterity making numbers such as ‘King of The World’ & ‘Flying Home’ look effortless and easy. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Glenn Oxenbury's sound design is outstanding with musical director Liam Holmes delivering fine work from his tightly rehearsed and well balanced 6-piece band.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">For a pleasant night of music and soaring vocals Songs For A New World is a fitting escape from the real world and a welcome night at the theatre. Besides in this day and age, to lose yourself in a new world for 90 minutes might not be such a bad idea.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Runs until 3rd March</span></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-85355267531285570892024-02-12T22:57:00.003+00:002024-02-24T15:16:08.579+00:00Hamlet - Review<div style="text-align: left;"><span style="font-family: arial; font-size: x-large;">*****</span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: Helvetica; font-size: 14.67px;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcAfnm6_wZMEPN4Au809Ldc72FbcwFCzj7koxtYNAHHDLAdUj-qzmimWrJONc9R_k0inn_oYM7tsud0n0O6MvHuBUc0Ga7GW4-UIadtP2WZ7_e0D4mkDt48MD1rWyqhCVAaOBxdLwHl-bKq7HQkE5JJTDpaz8tOHVGzYoXozIIQsotHNjPOzfzsRoO/s1818/_68A8508.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1818" data-original-width="1673" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcAfnm6_wZMEPN4Au809Ldc72FbcwFCzj7koxtYNAHHDLAdUj-qzmimWrJONc9R_k0inn_oYM7tsud0n0O6MvHuBUc0Ga7GW4-UIadtP2WZ7_e0D4mkDt48MD1rWyqhCVAaOBxdLwHl-bKq7HQkE5JJTDpaz8tOHVGzYoXozIIQsotHNjPOzfzsRoO/w368-h400/_68A8508.jpg" width="368" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Ian McKellen</span></td></tr></tbody></table><br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: Helvetica;">Directed by Sean Mathias</span></div><div style="text-align: left;"><span style="font-family: Helvetica;">Written by William Shakespeare</span></div><div style="text-align: left;"><span style="font-family: Helvetica;">117 minutes</span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: Helvetica; font-size: 14.67px;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">It was a bold move in 2021 for Sean Mathias to cast Ian McKellen as Hamlet in his production at Windsor’s Theatre Royal. Traditionally the role is played by a much younger man who needs to be a credible university student as well as one whose mother is still of an attractive re-marriageable age, and desirable to her former brother-in-law. </span><span style="font-family: arial;">In this iteration however McKellen was the oldest actor on the stage, boldly defying convention. The production attracted mixed reviews at the time, however it led to McKellen returning to the role at the Edinburgh Fringe in 2022 - in a completely separate dance-based production - and subsequently to the Bill Kenwright Company releasing Mathias’ work as a fully storyboarded full blown feature film.</span></div>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;"> </span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;">This filmed take on Hamlet proves to be an inspirational revelation. Filmed in and around the Windsor theatre, Mathias has set the play across the stage, backstage and front-of-house areas of the venue, giving a meticulously re-imagined interpretation of the story.</span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 16.9px; text-align: justify;"><span style="font-family: arial;"><span></span><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;">Film and theatre are profoundly different media. The live performance demands our attention on a scene or tableau, possibly quite diverse in its panorama, and often far away from where the audience is seated. Cinema however, as Norma Desmond made clear in Sunset Boulevard, is all about the close-up. And Ian Mckellen as Hamlet, in close-up, is quite simply a masterclass. Few living actors have a mastery of Shakespeare’s verse that can match McKellen. </span><span style="font-family: arial;">His delivery of the prose, both the famously quotable stuff as well as the lesser-known lines is exquisite and even those familiar with the text will find new revelations in the story through McKellen’s delivery.</span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 16.9px; text-align: justify;"><span style="font-family: arial;"><span></span><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;">A decent production of Hamlet demands a cracking supporting cast and Mathias has rounded up most of his 2021 company to accompany Sir Ian. Jonathan Hyde is a suitably evil Claudius with Jenny Seagrove stepping up to the role of Gertrude. It is in the Gertrude/Hamlet interactions - notably Act 3’s closet scene - that the age-neutral casting is most put to the test, but Seagrove pulls it off and if her death a couple of acts later is perhaps a little hammed up, the pathos with which she describes Ophelia’s death, is exquisite.</span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;"><br /></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8-s_J0V0_5LeF9pI0ZI-ef1IsMBPgwSLn2yu-dLbGi96R_nz7JLwL-Y5PP8Bk5E3b54n8lrahCGRjImomCtMfX7bR-QxgqreaKlij3TdZIps6AEQuuY04Vp_dW5o2SEeMszhBtV7CztL2CHRzPrRghyyH7Xjy89qpwseVbfcFd8P9XWVqbf5X_aOk/s2560/_68A9217.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1707" data-original-width="2560" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8-s_J0V0_5LeF9pI0ZI-ef1IsMBPgwSLn2yu-dLbGi96R_nz7JLwL-Y5PP8Bk5E3b54n8lrahCGRjImomCtMfX7bR-QxgqreaKlij3TdZIps6AEQuuY04Vp_dW5o2SEeMszhBtV7CztL2CHRzPrRghyyH7Xjy89qpwseVbfcFd8P9XWVqbf5X_aOk/w400-h266/_68A9217.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Ian McKellen and Jenny Seagrove</span></td></tr></tbody></table><p></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;"><br /></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;">Emmanuella Cole is a well cast gender-swapped Laertes, with Ben Allen also putting in a finely sympathetic shift as Horatio. Equally, Steven Berkoff’s Polonius is perfection in pomposity and Frances Barber delights as the First Player.</span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;"><br /></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;">Amongst the supporting roles however it is Alis Wyn Davies who shines out as Ophelia. Frailty may very well be her name such is the carefully crafted fragility that defines her performance, with Davies bringing a light to the fair Ophelia that is rarely seen. Hers is a gorgeous performance, which when her voice is married to Adam Cork’s music in her tragic mad scene, is lifted even higher.</span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;"> </span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;"><span>Squeezing in at just under 2 hours, Mathias has trimmed the text with wisdom and sensitivity. Set in contemporary dress in a dystopian locked-down world, this is very much a Hamlet for the 21</span><span>st</span><span> Century with Lee Newby’s design work sitting well in the compressed settings of the Edwardian-age theatre. Neil Oseman’s photography is similarly ingenious, adding a profound depth to the story's imagery.</span></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 16.9px; text-align: justify;"><span style="font-family: arial;"><span></span><br /></span></p>
<p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;">In cinemas for one night only on February 27th and while there will of course be future online streaming, if you are able to catch this on the big screen, just go!</span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;"><br /></span></p><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-style: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;"><span>Ian McKellen’s Hamlet is a must-see. </span><span style="background-color: white; color: #242424; text-align: left;">His take on those famous speeches, in close-up, is unsurpassed. The rest is silence.</span></span></div><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;"><br /></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;"><br /></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span style="font-family: arial;"><a href="https://hamletincinemas.co.uk/"><i><b>For a full listing of screenings click here</b></i></a></span></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><br /></p><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVy6Z2rOJzjNtxzp-DUYt0ucZ-JHRBG8ugbJ6K5dAP9XFc-eYauVXZzsvJ89xDIhQ6EdD3b4Buje25tXBC1kttCgz85uwLmf2_VxgB53IPNAEn6M8MSAm-7hd0CEdspjqqMcBqoFY69u_pndpoFlYrcfGAgSnqF4vuQrr_nE5csWl7mQNq0fT7I_9C/s3600/_68A8089.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2399" data-original-width="3600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVy6Z2rOJzjNtxzp-DUYt0ucZ-JHRBG8ugbJ6K5dAP9XFc-eYauVXZzsvJ89xDIhQ6EdD3b4Buje25tXBC1kttCgz85uwLmf2_VxgB53IPNAEn6M8MSAm-7hd0CEdspjqqMcBqoFY69u_pndpoFlYrcfGAgSnqF4vuQrr_nE5csWl7mQNq0fT7I_9C/w400-h266/_68A8089.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Ian McKellen</span></td></tr></tbody></table><p style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-emoji: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variant: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><br /></p>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-20148030147832040032024-02-10T22:51:00.005+00:002024-02-12T17:55:12.667+00:00Othello - Review<div><span style="font-family: arial;">Sam Wanamaker Playhouse, London</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial; font-size: x-large;">*</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Written by William Shakespeare</span></div><div><span style="font-family: arial;">Directed by Ola Ince</span></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIRJT6IavCI9j3zijXRQLwooNQmFZGXqEzgy9Fszxr8j8OPnYIBYwaG-G4uLmMW-0bZR7JvOTXkOrPDk2xLXOidOm6FNCdaPFcgZho00tiRsKCnmgfR6D6pk_pYJyVHfUEA0CE3j8Feex9rKz6Dzxl4wCN5tnNygU43X3t1PjbziCvH6k4dKWmGibU/s1400/Othello2024JP_00047-Edit.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="875" data-original-width="1400" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIRJT6IavCI9j3zijXRQLwooNQmFZGXqEzgy9Fszxr8j8OPnYIBYwaG-G4uLmMW-0bZR7JvOTXkOrPDk2xLXOidOm6FNCdaPFcgZho00tiRsKCnmgfR6D6pk_pYJyVHfUEA0CE3j8Feex9rKz6Dzxl4wCN5tnNygU43X3t1PjbziCvH6k4dKWmGibU/w400-h250/Othello2024JP_00047-Edit.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Ken Nwosu and Poppy Gilbert</span></td></tr></tbody></table><br /><div style="text-align: justify;"><span style="font-family: arial;">With the action being set in 2023 London, this take on the Moor is more Moorgate than Venetian. And with most of the male characters being played as Metropolitan Police officers, Shakespeare’s dialogue has been liberally butchered too. Countless references to “Scotland Yard” and exclamations of “Guvnor!” make the evening feel like a badly written episode of The Sweeney that drags on for an excruciating 3 hours.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">In trying to make this troubling tale of treachery, jealousy and racism accessible, director Ola Ince has cheapened the original. Mangling the Bard’s prose with contemporary slang not only disrespects the verse, it blunts its beauty. Shakespeare's early, subtle and nuanced and expressions of love are trampled by this treatment, leaving the plot hard to follow for those unfamiliar with the story. And while this may be the Wanamaker Playhouse with its famed candelabras, far too much of the play’s time is inexplicably wasted lighting, hoisting and snuffing out the flickering flames.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Struggling to break through the crackle of the police walkie-talkies punctuating the show, Ken Nwosu makes a decent attempt at the title role with a passionate performance. Equally Ralph Davis as Iago is appropriately villainous, and (what should be) the play’s final scene does prove surprisingly moving. Poppy Gilbert as Desdemona (or Desi as she’s frequently referred to in another act of textual carnage) saves her best for her swan song.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Ultimately this production is little more than a thinly-veiled attack on London's police force. While the Met may be a flawed institution for a variety of reasons, to clumsily denigrate it on the back of Shakespeare's verse is lazy politics and equally lazy theatre. Ince should try writing or directing an original piece to make his point about the cops. His corruption of Shakespeare's writing kills both the argument of the original, carefully crafted text as well as his more contemporary beef against the police. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">And of course, at the end, Othello gets tasered. Natch....</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Runs until 13th April</span></div><div style="text-align: justify;"><span style="font-family: arial;">Photo credit: Johan Persson</span></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-35377166086578880372024-02-06T23:42:00.003+00:002024-02-06T23:49:28.011+00:0012 Angry Men - Review<div style="text-align: left;"><span style="font-family: arial;">Richmond Theatre, Richmond</span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: x-large;">****</span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;">Written by Reginald Rose</span></div><div style="text-align: left;"><span style="font-family: arial;">Directed by Christopher Haydon</span></div><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZt25ziZ8SH4aj3ijYJWu_tAAXnBvPIJSmoZ36c1i0DkYWGgBukB3nnYpN_6pNEmYCScce6Ban9wsZHgmdT59GEY_5oVn5UUQxXE90vfOdeOlvrIvQCv6CAY_NrGDolyXh0ESuMk_PMRblUj0srn_KPuV_N8SOugW36SgYSo55Vp4vgSh5f4zAoEK_/s6240/The%20Cast%20of%2012%20Angry%20Men%20-%2012%20Angry%20Men%20-%20Photo%20credit%20Jack%20Merriman%202024%20136.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZt25ziZ8SH4aj3ijYJWu_tAAXnBvPIJSmoZ36c1i0DkYWGgBukB3nnYpN_6pNEmYCScce6Ban9wsZHgmdT59GEY_5oVn5UUQxXE90vfOdeOlvrIvQCv6CAY_NrGDolyXh0ESuMk_PMRblUj0srn_KPuV_N8SOugW36SgYSo55Vp4vgSh5f4zAoEK_/w400-h266/The%20Cast%20of%2012%20Angry%20Men%20-%2012%20Angry%20Men%20-%20Photo%20credit%20Jack%20Merriman%202024%20136.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">The cast of 12 Angry Men</span></td></tr></tbody></table><div style="text-align: left;"><br /></div><div style="text-align: justify;"><span style="-webkit-text-size-adjust: auto;"><span style="font-family: arial;">Catching up with the Bill Kenwright company’s touring production of 12 Angry Men proved an absolute delight. Reginald Rose’s classic yarn set in the jury room of a murder trial where with the death penalty awaiting a guilty verdict the life of the accused rests in the jurors’ hands, is done to perfection by an outstanding cast.</span></span></div><div style="text-align: justify;"><span style="-webkit-text-size-adjust: auto;"><span style="font-family: arial;"><br /></span></span></div><div style="text-align: left;"><div style="text-align: justify;"><span style="-webkit-text-size-adjust: auto; font-family: arial;">Jason Merrells takes up the role of Juror 8 - famously played by Henry Fonda in Sidney Lumet’s 1957 movie - kicking off proceedings as the sole Not Guilty voter amongst the 12. For those not familiar with the story, this review won’t spoil the outcome, suffice to say it’s a charming pot-boiler of a yarn that picks apart the trial’s evidence, drawing its dramatic strength through exposing the attitudes and prejudices of the titular dozen along the way.</span></div><span style="font-family: arial;"><div style="text-align: justify;"><br /></div></span></div><div style="text-align: justify;"><span style="font-family: arial;"><span class="s1">Merrells is great but he’s well matched by Tristan Gemmill’s Juror 3, the play’s protagonist who is the most convinced that the accused should face the electric chair. There is brilliant supporting work too, notably from Michael Greco and Gary Webster, but it should be said that the entire cast, comprising a fair chunk of the cream of Britain’s acting talent pull off a terrific ensemble performance. </span>Richmond Theatre was deservedly packed on the night of this review. Christopher Haydon has directed a brilliant evening’s entertainment which seen on the road, at regional theatre ticket prices, is brilliantly affordable too.</span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span class="s1"><span style="font-family: arial;">My verdict: Electrifying! Catch it if you can.</span></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;">Runs until 10th February <a href="https://www.kenwright.com/portfolio/twelve-angry-men-2024-uk-and-ireland-tour/">then continues on tour</a></span></div><div style="text-align: left;"><span style="font-family: arial;">Photo credit: Jack Merriman</span></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-3895765609427086962024-02-05T22:17:00.003+00:002024-02-07T13:27:23.402+00:00Jeffrey Bernard Is Unwell - Review<span style="font-family: arial;">Coach and Horses, London</span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial; font-size: x-large;">*****</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Written by Keith Waterhouse</span></div><div><span style="font-family: arial;">Directed and adapted by James Hillier</span></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeNKgV0dlckVgtmWj6CkovxyOeq2rCb6rTedFl8ZrxJIFK9XpUfK-qWIGDqmXU_AllBanRzwHmKrHdkfjcvelPQjACuI318c3ekLaIpT1Werx0KPY3fwIFB6TepbzBfCcTZEcUH135zwN7eDW7dqPVg3yWRvbpBv9LpGDMq4m_29bYKe0i3rrbUb2C/s4000/Robert%20Bathurst%20in%20Jeffrey%20Berard%20is%20Unwell%201%20Photo%20Tom%20Howard.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2670" data-original-width="4000" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeNKgV0dlckVgtmWj6CkovxyOeq2rCb6rTedFl8ZrxJIFK9XpUfK-qWIGDqmXU_AllBanRzwHmKrHdkfjcvelPQjACuI318c3ekLaIpT1Werx0KPY3fwIFB6TepbzBfCcTZEcUH135zwN7eDW7dqPVg3yWRvbpBv9LpGDMq4m_29bYKe0i3rrbUb2C/w400-h268/Robert%20Bathurst%20in%20Jeffrey%20Berard%20is%20Unwell%201%20Photo%20Tom%20Howard.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Robert Bathurst</span></td></tr></tbody></table><div><br /></div><div style="text-align: justify;"><span style="-webkit-text-size-adjust: auto; font-family: arial; text-size-adjust: auto;">Keith Waterhouse’s brilliant biopic of Jeffrey Bernard one of Fleet Street’s most distinctive characters plays for a very limited 4-week season at The Coach and Horses pub in London’s Soho.</span></div><div><p class="p2" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 21px; text-align: justify; text-size-adjust: auto;"><span style="font-family: arial;"><span class="s1"></span><br /></span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify; text-size-adjust: auto;"><span class="s1"><span style="font-family: arial;">This production is remarkable for two reasons: the Coach and Horses was Bernard’s favoured drinking haunt and in this production the action actually takes place in the bar (with drink sales suspended during the performance so make sure drinks are purchased before the lights dim); and in Robert Bathurst’s one-man take on the alcoholic wordsmith there is to be found one of the finest performances in the capital. </span></span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 21px; text-align: justify; text-size-adjust: auto;"><span style="font-family: arial;"><span class="s1"></span><br /></span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify; text-size-adjust: auto;"><span class="s1"><span style="font-family: arial;">In what is effectively an hour-long monologue- interjected with very brief snatches of pre-recorded voices, Bathurst nails Bernard’s scorching wit. Waterhouse’s wry gags flow from start to finish with the play being a masterclass in both writing and performance. </span></span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 21px; text-align: justify; text-size-adjust: auto;"><span style="font-family: arial;"><span class="s1"></span><br /></span></p><p class="p1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify;"><span class="s1"><span style="font-family: arial;">A bravura performance Bathurst not only holds us rapt in Bernard’s anecdotes but also pulls off a masterful pub game with a raw egg and stages a cat race (with toy cats of course) on the pub’s floor! As Bernard’s observations on alcohol, gambling and journalism are seasoned with wry perspicacity, so director James Hillier has fashioned <span style="-webkit-text-size-adjust: auto; text-size-adjust: auto;">an </span>unconventional drama, exquisitely performed.</span></span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-size-adjust: auto;"><span class="s1"><span style="font-family: arial;"><br /></span></span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-size-adjust: auto;"><span class="s1"><span style="font-family: arial;"><br /></span></span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-size-adjust: auto;"><span class="s1"><span style="font-family: arial;">Runs until 26th February</span></span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-size-adjust: auto;"><span class="s1"><span style="font-family: arial;">Photo credit: Tom Howard</span></span></p></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-89250210542951451582024-02-02T00:44:00.010+00:002024-02-14T13:48:54.141+00:00Till The Stars Come Down - Review<div style="text-align: justify;"><span style="font-family: arial;">National Theatre, London</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial; font-size: x-large;">****</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Written by Beth Steel</span></div><div style="text-align: justify;"><span style="font-family: arial;">Directed by Bijan Sheibani</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhDGx8RRptZDV_Kwaym9rBEcxuqpeVSB50fOR49-33kpKbwyp2mwuPH0u5VtxVZf6Hn_W_d6-fePkVkgHx4EMXWPyuZgXfyliwIOA3mtVk0_0W2UmpGE8M_37b7CWlEIS7EtrQdo-a2d-zVU_D2653TrqRp1mjNY-jKjCp-bEGY-D455au8LOYQMAs/s4317/Sin%C3%A9ad%20Matthews%20(Sylvia)%20in%20Till%20the%20Stars%20Come%20Down%20at%20the%20National%20Theatre%20(c)%20Manuel%20Harlan%20137.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4317" data-original-width="2878" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhDGx8RRptZDV_Kwaym9rBEcxuqpeVSB50fOR49-33kpKbwyp2mwuPH0u5VtxVZf6Hn_W_d6-fePkVkgHx4EMXWPyuZgXfyliwIOA3mtVk0_0W2UmpGE8M_37b7CWlEIS7EtrQdo-a2d-zVU_D2653TrqRp1mjNY-jKjCp-bEGY-D455au8LOYQMAs/w266-h400/Sin%C3%A9ad%20Matthews%20(Sylvia)%20in%20Till%20the%20Stars%20Come%20Down%20at%20the%20National%20Theatre%20(c)%20Manuel%20Harlan%20137.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; text-align: justify;"><span style="font-size: x-small;">Sinéad Matthews</span></span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">As three sisters and their families gather for Sylvia’s (the youngest of the three siblings) wedding, Beth Steel’s new play is all about the wedding day from dawn to dusk. But set in a Nottinghamshire mining village that had its heart ripped out when the pit closed, so does Steel’s narrative eviscerate the assembled extended family over its 24-hour arc.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The sisters’ mother is dead, so it is down to Lorraine Ashbourne as the wonderfully egomaniacal Aunty Carol to pass judgemental opinions across one and all. Lucy Black, Lisa McGrillis and Sinéad Matthews (as Sylvia) are all outstanding as the sisters, with Alan Williams putting in a fabulously gnarled performance as their widowered father Tony.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">For the most part, the ensemble work on display here is top-notch. Steel captures simmering sexual energies, jealousies and envies with a sharper eye than Ayckbourn and as the wedding day descends into a literal and emotional bloodbath of infidelities, the protagonists’ pain is tangible, with many moments making for first-class theatre.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Bijan Sheibani directs with a sensitive perception, the story’s only flaw being its overly shallow portrayal of British bigotry towards Sylvia’s Polish husband Marek (Marc Wooton).</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Samal Blak’s set design makes a neat use of the Dorfman Theatre’s revolve while Paule Constance’s lighting work deploys possibly the best use of a glitterball ever seen on a London stage.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Well worth seeing for a glimpse of the impact of de-industrialisation on England’s north.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Runs until 16th March</span></div><div style="text-align: justify;"><span style="font-family: arial;">Photo credit:Manuel Harlan</span></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-88438340258584152652024-01-29T23:10:00.007+00:002024-02-08T13:48:00.975+00:00Me, Tom Self & I - Review<span style="font-family: arial;">Crazy Coqs, London</span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial; font-size: x-large;">****</span></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjrybEFiameRj4oMD34ffSPvIy4VdaUXl3KOe7_LudoBineJM9Yfkh8K2A2HNkZ-g3ZwtwfdChDw3_8uGIAm9YiY4Y99OYggGkqx-UR4NQwQZDyd2h51eDDrA-EBqrN3qBTZCR_RBDlSuM2__93TS6D9gulBXsX7YVIKujaD3KSCOOs2P20LkX9ci2/s1620/MTS&I%20Only%20Logo%20(Square).png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1620" data-original-width="1620" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjrybEFiameRj4oMD34ffSPvIy4VdaUXl3KOe7_LudoBineJM9Yfkh8K2A2HNkZ-g3ZwtwfdChDw3_8uGIAm9YiY4Y99OYggGkqx-UR4NQwQZDyd2h51eDDrA-EBqrN3qBTZCR_RBDlSuM2__93TS6D9gulBXsX7YVIKujaD3KSCOOs2P20LkX9ci2/w400-h400/MTS&I%20Only%20Logo%20(Square).png" width="400" /></a></div><br /><div><span style="font-family: arial;"><br /></span></div><div><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify; text-size-adjust: auto;"><span class="s1" style="font-family: arial; font-size: 16px;">Me, Tom Self & I marked the cabaret debut of Tom Self, showcasing an evening of the man’s own writing. The gig was polished, witty and wonderfully performed with an ambience that suggested an accomplished cabaret artiste rather than debutant.</span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 21px; text-align: justify; text-size-adjust: auto;"><span style="font-family: arial;"><span class="s1" style="font-size: 16px;"></span><br /></span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify; text-size-adjust: auto;"><span class="s1" style="font-family: arial; font-size: 16px;">Hitherto a musical director, teacher, writer and actor-musician, Self has already notched up an impressive tally of 20 pantomimes that he has written for or musically arranged. Only in his early 30s he shows a keen eye for sharp lyrical connections and an impressive range of musical styles around which he has arranged his words. </span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 21px; text-align: justify; text-size-adjust: auto;"><span style="font-family: arial;"><span class="s1" style="font-size: 16px;"></span><br /></span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify; text-size-adjust: auto;"><span class="s1" style="font-family: arial; font-size: 16px;">The one-act set lasted a crisp 75 minutes with Self’s autobiographical patter matching the wit of his songs. Looking out at a packed Crazy Coqs filled largely on this opening night with family and friends, Self remarked that it all was “a bit like being at my own wake!”. A clever and confident gag that set the tone for the evening.</span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 21px; text-align: justify; text-size-adjust: auto;"><span style="font-family: arial;"><span class="s1" style="font-size: 16px;"></span><br /></span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify; text-size-adjust: auto;"><span style="font-family: arial;"><span class="s1" style="font-size: 16px;">Self played 10 of his own compositions on piano, ably accompanied by Elliot Mackenzie on bass and Luke Thornton on drums with Laura Sillet, Lewis Asquith and Alex Tomkins providing vocal support. Opening the show with the appropriately titled The Opening Song, Self displayed a clever understanding of melody, structure and humour in his writing. </span><span style="font-size: 16px;">Cockney Knees Up followed, deploying a knowing use of Cockney rhyming slang.</span></span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 21px; text-align: justify; text-size-adjust: auto;"><span style="font-family: arial;"><span class="s1" style="font-size: 16px;"></span><br /></span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify; text-size-adjust: auto;"><span class="s1" style="font-family: arial; font-size: 16px;">Royal Dreams Come True from Self’s Sleeping Beauty pantomime score was a fun duet between the writer and Tomkins set to a bossa nova, while The Cinema Song (from the Brief Encounter stage show) brought an authentic 1930’s feel to its words and music.</span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 21px; text-align: justify; text-size-adjust: auto;"><span style="font-family: arial;"><span class="s1" style="font-size: 16px;"></span><br /></span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify; text-size-adjust: auto;"><span class="s1" style="font-family: arial; font-size: 16px;">The evening’s vocal highlight was Sillett’s take on Don’t Talk About Christmas, while Self’s Post Show Blues, written about the melancholy that can descend when a show’s run ends and the company break up, contained perhaps the evening’s killer lyric: “How quickly an overture becomes the final bow”. Powerful, perceptive writing.</span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 21px; text-align: justify; text-size-adjust: auto;"><span style="font-family: arial;"><span class="s1" style="font-size: 16px;"></span><br /></span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify; text-size-adjust: auto;"><span class="s1" style="font-family: arial; font-size: 16px;">Sasha, Nadia and Jasmine, a trio of students from Self’s alma mater Trinity Laban made fine work of another Sleeping Beauty number Fight For The One, before Self brought the proceedings to a close with a cover of the Victoria Wood Covid-inspired classic, Let’s Do It.</span></p><p class="p2" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 21px; text-align: justify; text-size-adjust: auto;"><span style="font-family: arial;"><span class="s1" style="font-size: 16px;"></span><br /></span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify; text-size-adjust: auto;"><span class="s1" style="font-family: arial; font-size: 16px;">For a newcomer to the world of cabaret performance, Self’s confident charm and musical talent are an astonishing delight. This evening’s performance marks what must surely be the launch of yet another strand to his accomplished career to date.</span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify; text-size-adjust: auto;"><span class="s1" style="font-family: arial; font-size: 16px;"><br /></span></p><p class="p1" style="-webkit-text-size-adjust: auto; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size-adjust: none; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: justify; text-size-adjust: auto;"><span class="s1" style="font-family: arial; font-size: 16px;">If you missed tonight’s show don’t worry. Tom Self is back at the Crazy Coqs <span dir="ltr">in two weeks</span> time in what will most likely be another sell-out performance!</span></p></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Me, Tom Self & I returns to the Crazy Coqs on 12th February</span></div><div style="text-align: justify;"><br /></div><div><br /></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-41487759150541960782024-01-24T22:19:00.000+00:002024-01-24T22:19:11.014+00:00Alegria In A New Light - Review<div style="text-align: justify;"><span style="font-family: arial;">Royal Albert Hall, London</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial; font-size: x-large;">*****</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhmD-s4MDJzqNdoTYfOMQIHquUYdLhNh85i2TnYGyOEKBjUN4aCH1ajd9UtqtH9ycCm9Gc_wB7sAVDiqwyczhgs21ckgQvbKs-zp84MGGVjTJftlCIFfEAWgqtYYjP5eex9_sMw7xYSbeuBGZT-31wOMnF9eAAO5_psZ5VeBGiwnd2OBN49zkZED8hU" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="570" data-original-width="942" height="243" src="https://blogger.googleusercontent.com/img/a/AVvXsEhmD-s4MDJzqNdoTYfOMQIHquUYdLhNh85i2TnYGyOEKBjUN4aCH1ajd9UtqtH9ycCm9Gc_wB7sAVDiqwyczhgs21ckgQvbKs-zp84MGGVjTJftlCIFfEAWgqtYYjP5eex9_sMw7xYSbeuBGZT-31wOMnF9eAAO5_psZ5VeBGiwnd2OBN49zkZED8hU=w400-h243" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Flying Trapeze</span></td></tr></tbody></table><br /></span><span style="font-family: arial;">In the revival and enhancement of one of Cirque du Soleil’s finest shows, Alegria In A New Light is perhaps the most beautiful of the company’s productions to have been staged in the capital. The evening’s skilled serenity is quite simply circus at its finest.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Unlike previous recent Cirque du Soleil shows, the music here is performed live with Vincent Cordel leading his 5-piece band, and ethereal backing vocals provided by Sarah Manesse and Cassia Raquel. In most of the recent years the soundtrack has been a (beautifully created) recording . Here , with the performers on stage, there is an added texture to the music with the sound perfectly balanced to the Royal Albert Hall’s challenging acoustics.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Of course the evening’s circus acts are just spectacular. Early on in the show there are impressive acts of human pyramids being formed while balancing on long scaffold poles. The timing, fitness and skill of the artistes proving, as always, stunning.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Alegria In A New Light is in some ways more traditional than the typical left-field Cirque du Soleil approach. The evening’s ethos feeling more utopian than dystopian - channelling beauty into every second of performance. There’s a pair of Spanish clowns who through mine and physical comedy, deliver a turn that’s sublime. And the transformation of the hall’s cavernous interior into a blizzard-swept landscape is breathtaking in its audacity.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The aerial work is typically magnificent in any circus show. What makes it even more so at the Royal Albert Hall are the lofty heights that the performers work from. The hoisting and stretching of the safety net signals the descent of the flying trapeze rigging - from which a cavalcade of 10 performers flop, whirl and somersault through the air, the view becoming a blur of bodies as the split-second synchronicity plays on high. A spectacular end to an exquisite evening.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Circus doesn’t get better than this.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Runs until 3rd March</span></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-38193376053766387592024-01-24T20:50:00.000+00:002024-01-24T20:50:00.972+00:00Cruel Intentions - Review<span style="font-family: arial;">The Other Palace, London</span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial; font-size: x-large;">****</span></div><div><span style="font-family: arial;"><br /></span></div><div><br /></div><div><span style="font-family: arial;">Created by Jordan Price, Lindsey Rosin & Roger Kumble</span></div><div><span style="font-family: arial;">Based on the original film by Roger Kumble</span></div><div><span style="font-family: arial;">Directed by Jonathan O'Boyle</span></div><div><span style="font-family: arial;">Choreographer and associate director Gary Lloyd</span></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_a6pgDFG0ChoCVmCCatxZHVp76SJAgEGykLwu8ae9rSLOxFBBOhvAV1Z2RuzGI-CPk7SFcyZjIXiRbLTvMX14TIh-BQIrAAIdsCf1mcytJq-qMEv5ZXgDH2w-3HgxDDGc_c66W26jYtCFx3tAfUhOl7omRZcL4u52_bqLXc7ijX9cLo0sCZPpLb7z/s1633/047_X4A5524_Cruel%20Intentions_Pamela%20Raith%20Photography.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1100" data-original-width="1633" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_a6pgDFG0ChoCVmCCatxZHVp76SJAgEGykLwu8ae9rSLOxFBBOhvAV1Z2RuzGI-CPk7SFcyZjIXiRbLTvMX14TIh-BQIrAAIdsCf1mcytJq-qMEv5ZXgDH2w-3HgxDDGc_c66W26jYtCFx3tAfUhOl7omRZcL4u52_bqLXc7ijX9cLo0sCZPpLb7z/w400-h270/047_X4A5524_Cruel%20Intentions_Pamela%20Raith%20Photography.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Rhianne-Louise McCaulsky and the cast of Cruel Intentions</span></td></tr></tbody></table><div><br /></div><div><div><br /></div><div style="text-align: justify;"><span style="font-family: arial;">In its London premier, Cruel Intentions is a cracking night at the theatre.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">More playlist than musical, this homage to the 1990s and translated from the screen is a ghastly tale about horrible people, but set to some banging tunes. Les Liaisons Dangereuses was the inspiration for Roger Kumble’s 1999 movie - a film about naïfs, exploiters and the exploited and the challenges of adolescents discovering their sexuality.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Driving the show is Rhianne-Louise McCaulsky as Kathryn with an energy and powerhouse presence that electrifies. McCaulsky’s West End credentials are impeccable and when she’s on stage she classily owns every scene. Alongside McCaulsky in the female leads are two debutantes Abbie Budden and Rose Galbraith as Annette and Cecile respectively. Both young women shine, with Galbraith in particular displaying excellent comic timing in her numbers. Daniel Bravo completes the quartet of leads in the complex role of Sebastian, a young man who struggles when feelings of true love catch up with his hitherto predatory instincts.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The company make fine work of anthems such as Kiss Me, Breakfast at Tiffany’s, Losing My Religion and The Verve’s Bittersweet Symphony powerfully supported by Denise Crowley’s 4-piece band.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Jonathan O’Boyle directs with wit, assisted by Gary Lloyd who also choreographs - there are few better than Lloyd for translating modern pop and rock classics into dance.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Don't look too closely at the cliched plot - just wallow in this glorious tribute to the 90s.</span></div></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Runs until 14th April</span></div><div style="text-align: justify;"><span style="font-family: arial;">Photo credit: Pamela Raith</span></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-3599508022952639222024-01-21T13:03:00.025+00:002024-01-30T07:20:05.095+00:00Voices From The Tunnels<div style="text-align: left;"><div style="text-align: justify;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6wGvpdyxUsvkb4S6d70_8QKLyQdPWXSk5AIJhMnCV1k4xqxQ7QodukuPp2CHlBn28wfk-lxQb3pNGFmYdBZDScTQNkG3ydzFx3gPBXStRFypTzahzcDJD-yvedo5z-BTE9vSd2WNuuopPZTh50QX9bDaJbvv9btckMjhZtafTSwaIe1_8KMoNVLjm/s4032/stairs.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6wGvpdyxUsvkb4S6d70_8QKLyQdPWXSk5AIJhMnCV1k4xqxQ7QodukuPp2CHlBn28wfk-lxQb3pNGFmYdBZDScTQNkG3ydzFx3gPBXStRFypTzahzcDJD-yvedo5z-BTE9vSd2WNuuopPZTh50QX9bDaJbvv9btckMjhZtafTSwaIe1_8KMoNVLjm/w300-h400/stairs.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">The entrance to the London tunnels</span></td></tr></tbody></table></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">At an unmarked location in east London, Voices From The Tunnels was a week-long event that reported the inhumanity that Hamas is wreaking upon the hostages kidnapped from Israel on October 7th last year and who continue to be held in a network of subterranean tunnels. This horror story is ongoing for the 136 remaining hostages, not forgetting the continual anguish that their loved ones are suffering. Organised by the 7/10 Human Chain Project and working closely with Israel’s Hostages And Missing Families Forum the 7/10 team have aimed for authenticity in their displays, based upon a range of sources of evidence, including from a number of the hostages that Hamas have freed in recent months. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Entering a derelict warehouse, one is confronted with a row of hospital beds, a stark reminder that so much of the maze of Hamas’ tunnels has been constructed underneath Gaza's hospitals and other humanitarian sites such as places of worship and schools. Under the Geneva Convention such places should not be used deliberately for combat purposes, nor should civilians be used as human shields. But the world is already aware that Hamas cares little for the rules of war, with Voices From The Tunnels proving a testimony to the terrorists’ disregard for the sanctity of life. Walking past a scooter similar to that used in the witnessed-by-the-world kidnapping of Noa Argamani, one descends a damp staircase to the warehouse’s cellars...</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial; font-size: x-small;"><br /></span></div><div style="text-align: justify;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO1jqbE_gFi-rcd7Qnowhodn3GOjgfIThZRuDj1osNzMgqa_yU80sg1e5N3SlQp4CypcybVyqsKvOUSrWt-g0ElcgL5xhlIZakIn4ADJNF_i-8BFQIWhhDGFTloRqOZukWDrDMhM-pxjjQsKH9FepGmtS1WIkAzo6LGoafy30_BoVvTuccqO7CD9m7/s4032/beds.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: arial; font-size: x-small;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO1jqbE_gFi-rcd7Qnowhodn3GOjgfIThZRuDj1osNzMgqa_yU80sg1e5N3SlQp4CypcybVyqsKvOUSrWt-g0ElcgL5xhlIZakIn4ADJNF_i-8BFQIWhhDGFTloRqOZukWDrDMhM-pxjjQsKH9FepGmtS1WIkAzo6LGoafy30_BoVvTuccqO7CD9m7/s320/beds.jpg" width="320" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Hospital beds above the tunnels</span></td></tr></tbody></table><br /></div><div style="text-align: justify;"><span style="font-family: arial;">These cellars are no fairground attraction, the damp and crumbling rooms having been painstakingly transformed into chambers of horror. We learn of 12 year old Eitan Yahalomi, forced in his captivity to watch a looping video of the atrocities of 7/10. Of Mia Shem whose injured arm (she was shot on 7/10) was operated on in the dungeons by a vet, without anaesthetic and of the appalling degradation meted out to the old and the young. The cellar's final tableau is of the sexual violence that Hamas has inflicted on the hostages, mostly (but not exclusively) upon the young women from Israel that have been held captive. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The scenes are horrific, but Aviv who was guiding my small party around the cellars told of even more harrowing detail. That of the women hostages released so far, three were found to be pregnant by their Hamas rapists and had been able to undergo abortions in Israeli hospitals. A number of young Israeli women remain held in the tunnels and a pervading fear (one of many) is that some of them too may be pregnant through rape and forced to take their pregnancies to full term. The barbarity of what is being perpetrated in the Hamas tunnels, like so much of the carnage of 7/10, defies comprehension.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">A further sobering thought is that these tunnels, now identified by the IDF to criss-cross the length and breadth of the Gaza Strip, have cost millions of dollars to construct and be fitted out with utilities such as electricity and plumbing together with furniture. The United Nations Relief and Works Agency for Palestine (UNRWA) funds, together with cash from other sources, that should have been spent on improving Gaza’s social infrastructure – schools, hospitals and the like - has instead been diverted into building this fabric of terror.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">One can only wonder to what extent UNRWA was aware of how its support was being used? In such a small enclave as the Gaza Strip, it defies belief that UNRWA was ignorant of such malevolent activity. With Hamas having vowed to repeat the pogrom of 7/10 again and again and with its founding charter calling for the eradication of Jews, it is hardly surprising that Israel is now seeking to destroy both Hamas’ fighters and its hundreds of miles of hellish tunnels and fighting capabilities<a href="https://www.jonathanbaz.com/2024/01/oct-7-2023-hamas-massacre-collated-raw.html"><i>.</i></a></span></div><div style="text-align: justify;"><span style="font-family: arial;"><i><a href="https://www.jonathanbaz.com/2024/01/oct-7-2023-hamas-massacre-collated-raw.html"><br /></a></i></span></div><div style="text-align: justify;"><span style="font-family: arial;"><i><b><u>UNRWA Update 29th January 2024</u></b></i></span></div><div style="text-align: justify;"><span style="font-family: arial;"><i><br /></i></span></div><div style="text-align: justify;"><span style="font-family: arial;"><i>The article above was first published on 21st January 2024. </i></span></div><div style="text-align: justify;"><span style="font-family: arial;"><i><br /></i></span></div><div style="text-align: justify;"><span style="font-family: arial;"><i>The news of recent days has reported that at least 10% of UNRWA employees have been found to be connected to Hamas, with a number of those having a direct involvement in the atrocities of October 7th. It is believed by many commentators that this figure of 10% is likely to be an understatement. </i></span></div><div style="text-align: justify;"><span style="font-family: arial;"><i><a href="https://www.jonathanbaz.com/2024/01/oct-7-2023-hamas-massacre-collated-raw.html"><br /></a></i></span></div><div style="text-align: justify;"><span style="font-family: arial;"><a href="https://www.jonathanbaz.com/2024/01/oct-7-2023-hamas-massacre-collated-raw.html"><i><br /></i></a></span></div><div style="text-align: justify;"><span style="font-family: arial;"><a href="https://www.jonathanbaz.com/2024/01/oct-7-2023-hamas-massacre-collated-raw.html"><i>Click here to read my thoughts on having seen the 45 minute film collated by the Israeli Defence Forces, collated from footage taken on 7 October 2023 by Hamas terrorists and Israelis</i></a></span></div></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-13029912393274618432024-01-21T13:03:00.023+00:002024-01-28T07:13:05.536+00:00Oct 7 2023 - Hamas Massacre – Collated Raw Footage<div style="text-align: justify;"><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFER2F1maUZi3KkLWwU1V2DagOAAtwGfho9bpLzGhG30lSbJGN5o1DgBwdPsKW2QDq9f93JDWwruV_fshmyTh70AIG3U6n7k8KC62rCU58IGVwQBG5Oj7K-r1Qh-ZcXBI1WqdAtawnsCBMeEqbLmzxUlENPhJaZQ7TGS_92M-sI223-tjgJcQtFtz3/s1216/Screenshot%20(59).png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="445" data-original-width="1216" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFER2F1maUZi3KkLWwU1V2DagOAAtwGfho9bpLzGhG30lSbJGN5o1DgBwdPsKW2QDq9f93JDWwruV_fshmyTh70AIG3U6n7k8KC62rCU58IGVwQBG5Oj7K-r1Qh-ZcXBI1WqdAtawnsCBMeEqbLmzxUlENPhJaZQ7TGS_92M-sI223-tjgJcQtFtz3/w400-h146/Screenshot%20(59).png" width="400" /></a></div><br /><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">“7 October 2023 - Hamas Massacre – Collated Raw Footage” is a 45-minute film prepared by the Israeli Defence Forces (IDF) and drawn from found-footage taken from the body cameras and mobile phones of neutralised terrorists and Hamas social media broadcasts, along with media from the security systems of Israeli citizens’ homes and even, sickeningly, from an Israeli kindergarten where acts of terror were perpetrated. Footage was also obtained from the mobile phones and dashcams of some of the victims and the cameras of the Israeli rescue services. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Much has already been written about this film, now in its 19th iteration as the IDF collate and add more evidence to this graphic and harrowing archive of 7/10. The film itself is a work of painstaking effort and detail, documenting a fraction of the depraved crimes committed in southern Israel on that day. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The filmmakers have strived to protect the dignity of the victims. The consent of the families of the victims has been obtained and where the faces of the dead may have been clearly identifiable, these have been blurred. As a further measure, all those who have attended the film's screenings have been required to leave their mobile phones or other recording devices, outside of the screening room. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">An early extract from the film, that evidences the IDF’s editing skill, is from footage taken from the dashcam of a victim’s car that is unwittingly approaching a group of terrorists that are clearly armed with assault rifles. The dashcam captures the terrorists taking aim at the vehicle and the car's windscreen fracturing as it is hit by bullets. The fractures increase and we then see the windscreen glass being spattered by flecks of the victim’s blood. The terror and pain that the car's driver must have experienced is left to our imagination. The film then cuts to terrorist-filmed bodycam footage of the same shooting, that shows the same car approaching the terrorists. We see them taking aim and shooting, their bullets fracturing the cars windscreen. We then see the murder of the driver. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">There are so many other episodes to this short film. This lists some of them: </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">•<span style="white-space: pre;"> </span>the intercepted radio communication from a Hamas commander, instructing the terrorists to bring a victim’s corpse back with them to “let the people play with his body”</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">•<span style="white-space: pre;"> </span>the recorded phone call from a terrorist to his mother, screaming his exhilaration down the line at having “killed 10 Jews with his bare hands”</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">•<span style="white-space: pre;"> </span>not just the murders that are on film, but the desecration of the victims’ bodies. On my witnessing the decapitation of a dead Israeli soldier my most overwhelming emotion, after the revulsion, was that of thankfulness that at least the young Israeli was now free of the fear and free of the pain and humiliation that his tormentors were raining down upon his body.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">•<span style="white-space: pre;"> </span>the image of a young woman’s beautifully manicured nails on her now rigid and lifeless hand, her arm unscathed while her head and torso had been charred beyond recognition.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">•<span style="white-space: pre;"> </span>the burnt out line of cars attempting to have fled the Nova music festival – a scene more resemblant of a Hollywood disaster movie, than a real life rave.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">•<span style="white-space: pre;"> </span>the reality that however fast a victim can run, bullets travel faster.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The overarching image of the film however is the evidenced complicity of so many civilians from Gaza. A large number of the murderers appeared to be ordinary Gazans with no uniform other than, for some, bulletproof vests. So many of them clad in tracksuit bottoms and trainers, laughing and joking amongst themselves. Ordinary blokes.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">And then wilfully slaughtering both Jews and non-Jews. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Civilians were dominant too in the clips of victims being driven in pickup trucks and jeeps through the packed streets of Gaza amidst cheering crowds who were either beating the living victims, or desecrating the bodies of the dead. To our civilised Western minds, the horrors of 7/10 defy comprehension. </span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">This short film documents only a small percentage of the crimes perpetrated by Hamas that day. But the IDF filmmakers who have compiled the film are talented individuals whose skills transcend those usually found in post-production suites. Clearly the IDF filmmakers have laboured over footage drawn from countless sources, to piece together such a thorough narrative. The human resilience that must have been required from the IDF editors to craft such sequences is remarkable.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">7/10 came from evil, but has spawned countless acts of heroism in so many ways as individuals have responded to the day’s horrors. The film unit of the IDF are heroes too.</span></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-34342902956607509382024-01-18T00:28:00.002+00:002024-01-18T09:18:40.405+00:00Rehab The Musical - Review<div><span style="font-family: arial;">Neon 194, London</span></div><div><br /></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial; font-size: x-large;">****</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Music & lyrics by Grant Black and Murray Lachlan Young</span></div><div><span style="font-family: arial;">Book by Elliot Davis</span></div><div><span style="font-family: arial;">Directed & choreographed by Gary Lloyd</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZklYMTdEJPW9lF_G5bO47gnGVNUvLdOR6mPrhVamUnXaMSOv4ZFkv4SONc6ds2wYCPw0dNGyUR3dWahC6IAyG50FsGVeRB9DRMkOwAgl4RqQxa4_UqYM2gIaSpIYvG8iOrr2so3YUTxF1BFhIm3bKtZczBBAFMRn2_5wqVWfmYcLayWpJhmyhf1qG/s7192/Oscar%20Conlon-Morrey%20as%20Phil%20Newman%20-%20Rehab%20the%20Musical%20-%20Neon%20194.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4797" data-original-width="7192" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZklYMTdEJPW9lF_G5bO47gnGVNUvLdOR6mPrhVamUnXaMSOv4ZFkv4SONc6ds2wYCPw0dNGyUR3dWahC6IAyG50FsGVeRB9DRMkOwAgl4RqQxa4_UqYM2gIaSpIYvG8iOrr2so3YUTxF1BFhIm3bKtZczBBAFMRn2_5wqVWfmYcLayWpJhmyhf1qG/w400-h266/Oscar%20Conlon-Morrey%20as%20Phil%20Newman%20-%20Rehab%20the%20Musical%20-%20Neon%20194.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Oscar Conlon-Morrey</span></td></tr></tbody></table><br /></div><div><br /></div><div><span style="font-family: arial;"><div style="text-align: justify;">After a premiere on London’s fringe in 2022, Rehab The Musical takes up a brief residence at Neon 194, a nightclub in the heart of the capital.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The show is brilliantly conceived. Drawn from the lived experiences of songwriters Grant Black and Murray Lachlan Young, the musical charts the breadths and depths of addiction, while also throwing a spotlight on the callous and manipulative nature of today’s celebrity culture and the vulnerability of individuals, both humble and famous.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The cast in 2022 were magnificent - here they’re even better with the show having to be one of the finest ensemble pieces around.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Keith Allen still leads as Malcolm Stone the vile (think Max Clifford) villain of the piece. Allen offers a brilliantly fleshed out caricature that could hardly be played better by anyone else. Mica Paris joins the show as Martha, a rehab counsellor with her vocals proving fabulous in the second half’s Museum Of Loss. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">John Barr and Jodie Steele also return, Barr as tanning-salon addict Barry Bronze and Steele as Beth, Stone’s henchman with a twist and both perform at the top of their game.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Newcomer to the show Oscar Conlon-Morrey steps into the role of the deeply damaged Phil, a man with numerous flaws in his mental health. Conlon-Morrey is magnificent in this most complex of characters, enhanced by his majestic vocal work.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Driving the show’s narrative are Christian Maynard and Maiya Quansah-Breed, respectively Kid Pop, the celeb at the centre of the story and Lucy, the fragile young woman with a troubled past but a strong moral background. Quansah-Breed’s voice is sensational, with her portrayal the more credible of the two. Rebecca Thornhill delivers a modest but flawlessly performed cameo as former Bond-girl Jane. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Combining humour with pathos, the show resonates with an authentic message that’s drawn from the writers’ lives. There’s lyrical magic too, not least in the hauntingly beautiful Two Broken People.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Gary Lloyd again directs and choreographs with flair, but his choice of staging in the round is hampered by the venue’s flat performing space, with characters too often either being obscured from view or simply poorly lit. The show merits a West End run on a traditional proscenium stage - Neon194 does not do it justice.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The ingredients however remain for a smash hit production - Rehab The Musical offers a strong credible story, great songs and an outstanding cast.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Runs until 17th February</div><div style="text-align: justify;">Photo credit: Mark Senior</div></span></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-18370599029981749512024-01-11T06:43:00.001+00:002024-01-11T06:43:12.254+00:00The Enfield Haunting - Review<div style="text-align: justify;"><span style="font-family: arial;">Ambassadors Theatre, London</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial; font-size: x-large;">***</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span style="font-family: arial;">Written by Paul Unwin</span></div><div style="text-align: justify;"><span style="font-family: arial;">Directed by Angus Jackson</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiVoRdl74y2hXF2LJxLWvdWok3bxOJeXu38zmoUZxH8zvaPtu6coM9soMrMbuz44Z8vk5T6upHE7jfCHjnbXs9BZJY83qAIT65EktuEX8oDYA8Qfxp42JtRdLfqtqD5ubH0tNLWYNwvIHe3Lr0754ENSgeN6z5AUBhLaNMoHTdgIfa2Uq7rRzXaZoY/s5509/Ella%20Schrey-Yeats%20(Janet)%20The%20Enfield%20Haunting-%20Photo%20by%20Marc%20Brenner%200205.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3673" data-original-width="5509" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiVoRdl74y2hXF2LJxLWvdWok3bxOJeXu38zmoUZxH8zvaPtu6coM9soMrMbuz44Z8vk5T6upHE7jfCHjnbXs9BZJY83qAIT65EktuEX8oDYA8Qfxp42JtRdLfqtqD5ubH0tNLWYNwvIHe3Lr0754ENSgeN6z5AUBhLaNMoHTdgIfa2Uq7rRzXaZoY/w400-h266/Ella%20Schrey-Yeats%20(Janet)%20The%20Enfield%20Haunting-%20Photo%20by%20Marc%20Brenner%200205.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Ella Schrey-Yeats</span></td></tr></tbody></table></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div><div style="text-align: justify;"><span style="font-family: arial;">The Enfield Haunting at the Ambassador’s Theatre is Paul Unwin’s dramatisation of a 1970’s turn of events that saw a north London family home beset by an apparent poltergeist.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The play is an ambitious project that appears to have experienced poltergeists of its own in its development from rehearsals through to press night. The programme advertises a running time of 90 minutes (it’s actually a one-act 75) with at least one character listed on the cast list who mysteriously fails to appear in the final on-stage version. Curious indeed…</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">That being said, the short-ish play is a fair piece of hokum. Catherine Tate leads the line as Peggy, a strong, principled matriarch to two teenage daughters and a younger son and now separated from her abusive husband. David Threlfall plays alongside her as the elderly ghostbuster Maurice, appearing to be a slimy suburban sleazeball but in fact a man with a troubling secret. In a script that’s frequently flawed, both Tate and Threlfall turn in fine performances.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Credit too to Ella Schrey-Yeats as Peggy’s daughter Janet making her West End debut and responsible for a fair few of the evening’s jumps. The rest of the frights could be scarier, with the usually talented Paul Kieve who’s responsible for the show’s illusions delivering mostly low-voltage shocks.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Tate fans will not be disappointed, with the two leads transforming mediocrity into a modestly entertaining evening. Elsewhere, The Enfield Haunting screams out for some paranormal enhancement.</span></div></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Runs until 2nd March</span></div><div style="text-align: justify;"><span style="font-family: arial;">Photo credit: Marc Brenner</span></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-90474326926280664252023-12-28T14:11:00.003+00:002024-01-28T12:26:21.224+00:00The Motive And The Cue - Review<div><span style="font-family: arial;">Noel Coward Theatre, London</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial; font-size: x-large;">*****</span></div><div><br /></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Written by Jack Thorne</span></div><div><span style="font-family: arial;">Directed by Sam Mendes</span></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt6idYYnrO6r7nMmnh0NJkNXDwNNAbsnVYDanrf69bz_f85fXFSdKawYZHPSqz_BAAZJeM9XtGo4WNZAQsxTlubJ_hGBG10SMduToESr9_j4bNj4PvCGislOyisaZjdZteOG5HgxHBAtWoWgOEaH_0NqZLBpchpIawDNzWFm72T-JlPzpUYPPt4atB/s6720/Mark%20Gatiss%20as%20John%20Gielgud%20and%20Johnny%20Flynn%20as%20Richard%20Burton%20in%20The%20Motive%20and%20the%20Cue%20in%20the%20West%20End.%20%C2%A9%20Mark%20Douet.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4480" data-original-width="6720" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt6idYYnrO6r7nMmnh0NJkNXDwNNAbsnVYDanrf69bz_f85fXFSdKawYZHPSqz_BAAZJeM9XtGo4WNZAQsxTlubJ_hGBG10SMduToESr9_j4bNj4PvCGislOyisaZjdZteOG5HgxHBAtWoWgOEaH_0NqZLBpchpIawDNzWFm72T-JlPzpUYPPt4atB/w400-h266/Mark%20Gatiss%20as%20John%20Gielgud%20and%20Johnny%20Flynn%20as%20Richard%20Burton%20in%20The%20Motive%20and%20the%20Cue%20in%20the%20West%20End.%20%C2%A9%20Mark%20Douet.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Mark Gatiss and Johnny Flynn</span></td></tr></tbody></table><br /><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The National Theatre production has just decamped from the South Bank to the West End and on seeing this play for the <a href="https://www.jonathanbaz.com/2023/05/the-motive-and-cue-review.html">third time</a>, like a fine wine it has only improved with the passing of time.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Jack Thorne’s writing is beyond flawless. The perceptive sensitivity with which he pinpoints the passionate, complex relationship between Sir John Gielgud and his direction of Richard Burton in Broadway’s 1964 Hamlet is modern writing at its finest. A carefully curated confection of nuance, rage and pathos sees these two giants subject Shakespeare’s finest play to moments of the most intelligent analysis, with just a twist of heartbreaking humanity too.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Thorne’s words are brought to life by Mark Gatiss as Gielgud and Johnny Flynn as Burton, the same actors who created the roles. They were brilliant when the show opened 8 months ago and are even better now, the chemistry between the two men proving electric. Tuppence Middleton as Burton’s wife Elizabeth Taylor has equally grown into her pivotal role.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Es Devlin’s intriguing set design has transferred well from the Lyttleton - however its automation at the Noel Coward is a tad noisy, that at times is a small distraction.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">The Motive And The Cue remains essential drama, exquisitely performed. Unmissable.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><a href="https://www.jonathanbaz.com/2023/05/the-motive-and-cue-review.html"><i><b>Click here to read my May 2023 review of the show's opening at the National Theatre</b></i></a></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Runs until 23rd March 2024</span></div><div style="text-align: justify;"><span style="font-family: arial;">Photo credit: Mark Douet</span></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0tag:blogger.com,1999:blog-6653404234948068668.post-4674670242421901652023-12-28T13:53:00.002+00:002023-12-28T13:53:57.067+00:00Red Riding Hood and the Big Bad Pig - Review<div style="text-align: left;"><span style="font-family: arial;">JW3, London</span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial; font-size: x-large;">***</span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;">Written by Nick Cassenbaum</span></div><div style="text-align: left;"><span style="font-family: arial;">Directed by Abi Anderson</span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpr-ImtzlNRFGxTh9nu3zxVB1Hucn6eJQe1jLsHJGFbEEl2WT8CkfZ2EdWgIflCccxAfycDsgWqeNqYxX-jHeQZS3px9puFeKHxHnwdc6J-MLwTf8S2HinYrdji-YGEv38C1hk0XOHasz3CKIbSkQDtTenx40vaEhN2sjNQjw3JZTZ1BD4h7Rs2CBd/s5568/20231208_RedRidingHood&TheBigBadPig_JW3_%C2%A9JaneHobson_pJHO-4717.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3712" data-original-width="5568" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpr-ImtzlNRFGxTh9nu3zxVB1Hucn6eJQe1jLsHJGFbEEl2WT8CkfZ2EdWgIflCccxAfycDsgWqeNqYxX-jHeQZS3px9puFeKHxHnwdc6J-MLwTf8S2HinYrdji-YGEv38C1hk0XOHasz3CKIbSkQDtTenx40vaEhN2sjNQjw3JZTZ1BD4h7Rs2CBd/w400-h266/20231208_RedRidingHood&TheBigBadPig_JW3_%C2%A9JaneHobson_pJHO-4717.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: x-small;">Debbie Chazen</span></td></tr></tbody></table><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: justify;"><span style="font-family: arial;">London’s Jewish cultural centre JW3 makes its first foray into the seasonal (and traditionally secular) world of pantomime with a schmaltzified take on the classic yarn of Little Red Riding Hood. Taking an obscure connection into the evil world of corporate greed (ergo the Big Bad Pig) and an even more obscure connection involving the dame’s flatulence, a curious tale emerges that revolves around saving the Jewish festival of Chanukah.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">This is a story that the little-ones will enjoy for sure, but if a pantomime is to truly be family entertainment then there needs to be some comedy meat (and sauce) for the grown-ups to laugh at too. Debbie Chazen puts in a game performance as dame Mother Hoodman, but she lacks both the heft and the cojones to make her character soar. A decent dame needs (ideally) to be played by a bloke with the recognised gravitas that enables us to laugh both at, and with, his drag-festooned character. It’s a tough, complex, role to fulfil and one can understand the producer’s casting challenge: Who is there in the Jewish acting world that can fit that bill?</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Elsewhere the company all put in a fine shift, Tiago Fonseca’s Bubbah being a classy display of physical comedy in particular. Josh Middleton (who has also arranged the show’s excellent musical accompaniment) directs his 3-piece band from on high.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">This is a noble effort from JW3, albeit more purimspiel than pantomime. If there are future plans for a seasonal panto to play here then their script and casting needs a lot more work if they are to succeed in delivering festive fun for all the family.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><div style="text-align: justify;"><span style="font-family: arial;">Runs until 7th January 2024</span></div><div style="text-align: justify;"><span style="font-family: arial;">Photo credit: Jane Hobson</span></div>Jonathan Bazhttp://www.blogger.com/profile/06282135303568988862noreply@blogger.com0