West End Talent

Realism At Its Best

2009-08-10T19:41:00.003+01:00

If you have a short attention span and quite like "The Street" then this the show for you and I mean that in the best possible way. This is an example of Churchill's writing at its best it is funny, moving and so real it feels like watching CCTV in better quality.

I am officially Paul Ready's biggest fan, his acting style is understated, endearing and a delight to watch, he is on usual top form as Pete. Hattie Morahan's goldfish, open mouthed gawping is growing old, there was a time when I found her endearing and unique and now she has quickly become dull. Her character of Dawn had a maximum of about 10 lines and a suicide cry for help however I felt little concern for her well-being. Ian Hart and Lindsey Coulson opened the show beautifully and had the wonderful talent for talking over each other without losing a single joke.

Overall there was little wrong with this production, it was a shame that I could see the Phrede set looming behind the smaller set designed by Naomi Dawson, it occasionaly reminded me of my previous boredom but the hard working cast quickly won my attention back again.

http://www.nationaltheatre.org.uk/?lid=50111&dspl=castcreds

Should you dance?

2009-08-09T20:24:00.003+01:00

There was a time when I would hold my breath during the end of "Billy Elliot" waiting for the beautifully arched final leap of the elder Billy, played by Adam Cooper. Cooper (pictured) seems to have lost the intensity and passion that he could once have portrayed in a single leap.

Director, Choreographer and Star Adam Cooper's new show "Shall We Dance" fails to deliver any type of plot or concept. The show is a 2 hour rag-taggle collection of dances loosely based on the idea that Cooper's character travels around the world falling in love with various girls always missing the right one.

Cooper's talent as a choreographer is hit and miss. Act 1 is heavy-handed, awkward and quite dull, Lorraine Stewart shines amongst the painfully clumsy dance routines, bring grace and beauty to the Viennese Waltz scene.

Act 2 certainly picks up the pace and an element of fun is added to the show. The bright, colourful and fun dance scenes set in Asia and Texas are simple, elegant and enjoyable. The final "slaughterhouse scene" is a bit odd but Sarah Wildor's performance lifts the bizzare scene.

Overall I was left feeling a bit non-plussed, the show didn't seem to effect me at all which in retrospect is really quite sad, I would have preferred hating it than feeling nothing.

http://www.sadlerswells.com/show/Adam-Coopers-Shall-We-Dance

Holler!

2009-07-31T13:19:00.005+01:00

It is just as difficult to write a competent review about a show that you fell in love with as a show that you hated. However I will try to write a good review without just typing "OH MY GOD GO SEE IT"!

Firstly the atmosphere at the Globe is wonderful, the experience alone is fun, warm and really quite beautiful. Everyone should try it out, it is infectious, even a stickler for theatre etiquette like myself found myself whooping and clapping in the middle of scenes, I cringe now to remember my desire to just shout out at the performers things like "YEAH!", its embarrassing.

All the performances are top notch there is not a weak link among the cast, but the real stars are Laura Rodgers as Celia and Dominic Rowan as Touchstone. There are also so many memorable moments and wonderful scenes, look sorry I thought I could be thoughtful and insightful but I can't....

"OH MY GOD GO SEE IT"

http://www.shakespeares-globe.org/theatre/annualtheatreseason/asyoulikeit/

"A cock in a frock on a rock"

2009-07-29T09:34:00.003+01:00

I have a bizarre relationship with West End Musicals, I grew up with them but now feel that they have become business obsessed, tacky, condescending and shallow. HOWEVER.....

Priscilla Queen of the Desert the Musical (title's a bit long) is absolutely fantastically camp, colourful fun. The songs are well known, the costumes are amazing, the humour is obvious and the insults are bitchy:

"You know, there are two things I don't like about you, Felicia... your face. So how 'bout shutting both of them?"

"Fred: Come and fuck me. Come on. Fuck me.
[Bernadette knees Frank in the groin]
Bernadette: There, now you're fucked!"

"Now listen here, you mullet. Why don't you just light your tampon, and blow your box apart? Because it's the only bang you're ever gonna get, sweetheart!"

"Is it true when you were born the doctor turned around and slapped your mother?"

"What did she used do for kicks? Put a bucket on your head and swing off the handle?"

BASICALLY ITS SO MUCH FUN!

http://www.priscillathemusical.com/

Bias in Seven Dials

2009-07-29T08:17:00.004+01:00

There are two major reasons why I cannot write a worthy review of "A Streetcar Named Desire" at the Donmar.

1. I hate Tennessee Williams with a passion, I find his writing predictable and dull, admittedly I am alone in this view, but I find it hard to engage with a writer who seems to whine his way through the issues he is discussing.

2. I didn't really pay full attention during the 3 hours because I was completely in awe of Elliot Cowan's physique, the man is a modern day god (a slight hyperbole).

Anyway there were parts I enjoyed despite the writing/paid attention to; Christopher Oram came up trumps on set and costume design (seriously was he momentarily blind when he worked on Twelfth Night) and Ruth Wilson as Stella was hypnotic in her portrayal of a woman torn between a passion stronger than anything she's ever known and her duty.

Overall most people should see "Streetcar" there is something in it for everyone and Rachel Weisz add some Hollywood Glamour to this production and made an impressive return to the West End stage.

http://www.donmarwarehouse.com/pl102.html

Nap Time at the National Theatre

2009-07-19T21:37:00.004+01:00

OH DEAR LORD WAS I BORED WHILE WATCHING PHEDRE!

The characters lack any kind of emotional link with the audience, the plot seems over-the-top (like the acting style of Mirren and Tyzack) and its 2hrs long which is about an an hour and a half too long. It makes me quite sad to have to say that Nick Hynter's latest play is so dreadfully dull but everyone has bad days. There are a couple of re-deeming features, which are;

1. Ruth Negga as Aricia is sublime to watch and moves with a beautiful elegance and grace, I really enjoyed her performance it was a shame that she was on so little.

2. For the shallow viewer, Dominic Cooper is on top muscular form and his performance is enjoyable, he has improved and matured since "The History Boys" days.

3. Helen Mirren's death scene is surprisingly moving after all her annoying whinging, I'm still unclear on whether I disliked her acting or the character of Phedre.

4. Bob Crowley's set is absouletly gorgeous.

Overall about a 5/10 and 4 of those points go to Ruth Negga, for a glimpse of what she can do check out PA's on the BBC.

http://www.nationaltheatre.org.uk/45269/productions/phegravedre.html

I apologise

2009-07-10T16:40:00.005+01:00

Okay so I realise I haven't updated in forever, but A-levels are a bummer, so....

1. DERREN BROWN IS A GENIUS, EVERYONE SEE HIS SHOW - http://www.derrenbrown.co.uk/tour

2. "All's Well That Ends Well" has the wonderful Michelle Terry in it, who looks an awful lot like Sally Hawkins. Its enjoyable and sort of creates a warm happy feeling, even though really the play is quite depressing! - http://www.nationaltheatre.org.uk/45523/productions/alls-well-that-ends-well.html

3. The Dolls House at the Donmar is wonderful - http://www.donmarwarehouse.com/pl96.html

Next up is a proper review of Phrede at the National, I'll be much better behaved from now on!

So sorry I'm so lazy

2009-04-29T18:00:00.003+01:00

Right basically, I'm very lazy and rushed off my little size 5 feet, so I'm going to do some summing up!

Death and the King's Horseman at the National is captivating and wonderful to watch, I found myself completely lost in the moment. Its very good you should all go see laugh, dance and feel hypnotised. 9/10

England People Very Nice has been hyped up beyond belief, but despite the hype everyone should go and laugh and just have fun. Everyone can laugh at the ridiculousness of their country, while being deeply moved by the stupidity of the governments through history that have control of our country. 9/10

I'll just give everything 9/10 and lets be done with it. The next play I'm seeing is Dido, Queen of Carthage, 9/10 I bet you.

Don John at the BAC

2009-04-19T10:58:00.004+01:00

In an Ultra Culture style review, here are three of the best quotes from the evening:

1. "Wait.........wait.............sausage on a fork!" - Carl Gross as Alan

2. "It is massive" - Audience member Patsy Ferran (make what you will of that one"

3. "Suck on an ice cube mate, I promise that makes it better." - Drunk man outside pub

Don John gets 7.5/10

From Hollywood to Shaftesbury Avenue

2009-04-16T09:11:00.003+01:00

Last night I saw Steven Berkoff's latest play "On the Waterfront". It is a little late for a review as the run ends on Saturday, however if you do read this in time; The first 10 minutes are painfully music and movement, GCSE style, but then it certainly picks up. Simon Merell as Terry Malloy (Marlon Brando in the film) is outstanding, perhaps a little bias as he is one of the most attractive actors I've seen on stage for a long time. But his scenes with Bryony Afferson as Edie are so beautifully shy. Its very different from the film but Mark Glentworth (Composer) and Mike Robertson (Lighting) do a wonderful job of giving the whole show that 1940s Hollywood feel, at times it even feels like the play is in black and white. Its a captivating play and if you're looking for something a little different then this might be just right.

This latest in screen to stage adaptations; Dirty Dancing, Brief Encounter, Priscilla Queen of the Desert, Sister Act, Sunset Boulevard all spring to mind, made me think about how to produce a successful show out of a successful film. Just like page to screen adaptations, there will always be cries of "Well it can't be a good as the book/film". But can you even compare a stage play with its cinematic original? A friend of mine (the talented author of UltraCulture) and I always used to debate on what was better film or theatre, each side had good arguments; you can eat in the cinema, you can physically harass the actors you admire at the theatre (stage door of the Apollo anyone, I bet James McAvoy is having a fine old time). We finally realised that the argument was pointless as the two mediums are beyond comparison, they feed of each other certainly, inspire each other, but are so different you might as well be comparing chalk and cheese. So silver screen to shiny stage, does it work? Well with a vague and on the fence answer; Yes when the production team tries to create something new, based on something else. No when the production team tries to re-create a film shot for shot. And definitely yes when you'd forgotten all about the film, until around 905 people all hold their breath as an actors says:

"I coulda had class. I coulda been a contender. I coulda been somebody."

The way to heaven, 10 beautiful things a day

2009-04-14T11:25:00.004+01:00

Dimetos at the Donmar is an odd play and I'm finding hard to come up with a definite opinion on it. So instead of a review I have come up with 10 points, like Lydia and Sofia in the play who name 10 beautiful things a day.

1. It is rare that a production smells right but the oil lamps not only give off the glow of the country but fill the auditorium with a pleasing/worrying burning smell.

2. A play of sexual tension, which at times is too painful to watch and at other times mesmerising and beautiful.

3. Dimetos (Jonathan Pryce) argues at the start of the play that he is an engineer not a story teller - ironically untrue.

4. Holliday Grainger is a little too hysterical as Lydia, this jarrs with the power and wisdom of her words. She lacks the audience sympathy, even her fate seems to over the top (however it is an impressive trick).

5. Douglas Hodge does an amiable job as a still relatively new director. His direction and vision seems clear and precise which is really all one can ask for.

6. What's with the current love of sand? Trojan Women, The Family Reunion, Dimetos

7. Boy, does the Donmar love to put water in a set, whether its needed or not.

8. The stones in the pockets of Dimetos seems a very morbid image, which contrasts with the previous sexual one.

9. Pryce's wild ravings constrast wonderfully with Reid's deep set anger and annoyance. The two older actors end the play in childish banter, they are stripped of every emotion except anger and fear.

10. Alex Lanipekun is fantastic

http://www.donmarwarehouse.com/pl95.html

Row C of the Stalls is where I nearly died

2009-04-14T10:59:00.003+01:00

OH MY GOD! That is how I felt all the way through this production, my thoughts in alliteration; tour-de-force of theatrical tension. Me and my friend both had to take sharp intakes of breath when a scene relaxed (which was rare) just so we could last the next scene. It is hard to write a review for this production without gushing, but there is little wrong with this production. Another Oram production (I really do wonder what went wrong with Twelfth Night) however both set and costumes are perfectly unobtrusive, the set is perhaps a little too big for the space but I was practically on the stage so it probably seemed bigger. All the performances were outstanding, but Gerard Monaco as Marco gives such a beautiful and passionate performance that he has to be my favourite. Keep your eyes peeled for Harry Lloyd in the future, his performance as Rodolpho adds to a recent run of admirable stage performances. It is just a wonderful play performed by wonderful actors, if I gush will you go?

http://www.dukeofyorkstheatre.co.uk

What were you thinking Micheal Grandage?

2009-04-14T10:33:00.003+01:00

The Donmar West End Season is the hottest ticket around at the moment; Ivanov was lovely, Twelfth Night was a triumph (apart from the worst costume designs EVER from Christopher Oram) and then we have the all female Madame de Sade starring the jewel of British Drama, Dame Judi Dench. Unfortunately when I saw this pretty dull production (it was in fact pretty and dull) Dench had twisted her ankle, so I watched in pain as Marjorie Hayward struggled on, however anyone who has the guts to understudy Judi Dench deserves credit. There are some fine performances (Frances Barber is wonderfully wicked) and Oram makes up for the disaster of Twelfth Night. The real problem with Madame de Sade is that it is a terrible play; written in Japanese by Yukio Mishima in 1965 about the women in close contact with the Marquis de Sade in 1774, the play is dull and pointless. We see little of any storyline that we would be remotely interested in, we never meet the infamous Marquis or see the passion of the revolution. Instead we are subjected to the emotive and flowery language of five privileged and busty ladies. In its favour Madame de Sade only runs for 105 minutes. My question is what made Michael Grandage think that this practically unknown play would would sit well with three classics? He would have been better putting "Steptoe and Son: The Musical" starring Ian McKellen into this season. Perhaps Jude Law's Hamlet can end the season on a high, at least I know the play's good.

http://www.donmarwestend.com/madame_de_sade

Does the National do Bad?

2009-04-14T09:52:00.003+01:00

After seeing Burnt by the Sun at the National, I asked my self does the National ever put on really poor productions - you know the sort you can't even bear to sit through? It seems the answer is no, not at the moment anyway. Burnt by the Sun is one of those wonderful productions where at times it feels like you are the only person in the world witnessing this scene, you no longer feel like an outsider looking in, you suddenly have the right to be there as part of the family. Rory Kinnear is a stunning actor and his performance as Dimitri is perfectly balanced between the villain you know he is and the hero he could be. Kinnear's exuberance on stage contrasts wonderfully with the stillness and calm of the Kotov family. Michelle Dockery is beautifully stoic as Maroussia Kotov, while Ciaran Hinds (playing her husband) flits between powerful and calm. Stephanie Jacob, Duncan Bell, Tim McMullan & Skye Bennett/Holly Gibbs all deserve a mention for solid and powerful supporting performances. As I knew very little about the play before I saw it and probably enjoyed it more as a result, I am loathed to tell you any major plot points, so I won't. Another highly enjoyable production from Howard Davies (who is fast becoming one of my favourite directors) and I am still left wondering when the National Theatre will takes its first stumble onto the slippery slope, I'm praying for the year 2304.

http://www.nationaltheatre.org.uk/burntbythesun