Tag Archives: Review

Theatre

Review Deathtrap, New Theatre, Cardiff by Jane Bissett.

Leave a comment

DEATHTRAP

By Ira Levin

out of 5 stars (2 / 5)

Deathtrap is the age old story of a man who wants more than he has and is prepared to go to any lengths to gain it.

The action takes place at the home of playwright Sidney Bruhl’s home that he shares with his wife of 11 years, Myra.

We see Sidney, a man who has not written a successful play for a number of years receives a manuscript from a aspiring young playwright. This is the opening of a plot that will change the course of the lives of Sidney and Myra in ways that we, the audience, will not have imagined.

The story covers four weeks in the life of Sidney Bruhl where he, Sidney, plans and plots to create a better life for himself at any cost.

The three main characters played by Paul Bradley (Sidney Bruhl), Jessie Wallace (Myra Bruhl) and Sam Phillips (Clifford Anderson), despite all being well known to us in former stage and television roles, were believable and I particularly liked Wallace’s portrayal of Myra Bruhl.

Despite not being familiar with the story and not having seen any other adaptation I didn’t find it as thrilling as I had anticipated. There were a lot of question marks about the relationships between the characters which were never addresses in either dialogue or behaviour except for the ending of act one. This isolated engagment between characters didn’t actually appear to have any relevance to the storyline and left the audience somewhat confused. Perhaps it was meant to shock? Either way it really didn’t work.

That said, the outstanding performance for me was Beverley Klein. She gave a wonderful performance as Helga ten Dorp, the Bruhl’s psychic neighbour. Her portrayal of ten Dorp single-handedly brought the thrills, drama and humour to the stage and was a delight to watch.

The set design worked well and the lighting created an atmosphere for day and night that worked particually well. The sound was spot on and certainly on cue for the moments we all jumped out of our seats! It would be unfair to elabarate further as it would certainly create a spoiler for anyone going to see the play.

Scene changes were prompted by the showing of vintage thrillers on screen in black and white which worked to great effect and enhanced the experience. The video design which was by Duncan McLean gave a sort of scrap book feel to the presentation and perhaps gave an insight to the mind of a thriller writer, their inspiration and method of work?

DEATHTRAP plays at Cardiff’s New Theatre from;

Tuesday 10 October – Saturday 14 October at 7.30pm

Wednesday, Thursday and Saturday Matinees at 2.30pm.

For further details or to book tickets call the Box Office on 02920878889.

Dance, Theatre

Review Rip it Up, St David’s Hall by Barbara Hughes Moore

2 Comments


Dreamboats and Petticoats: Strictly stars tear up the dancefloor in Rip It Up
Having attended a fair few live shows featuring the Strictly cast, I can safely say that Rip it Up ranks among the best of them. Inventive, energetic and invigorating, Rip it Up was created, crafted and choreographed by fan favourite Strictly pro Natalie Lowe. Having recently left BBC’s flagship dance show after seven years (to the distress of many SCD fans, myself included), Natalie has shifted her considerable skill towards the theatre, being both the brains and brawn behind this 1950s-set dance spectacular. Joining her on tour are Strictly champions Jay McGuiness and Louis Smith, who lifted the glitterball with Aliona Vilani in 2015 and Flavia Cacace in 2012 respectively.
Directed by Gareth Walker, Rip it Up (named for one of the 50s songs it incorporates) follows the three principals and a slew of equally brilliant backing dancers as they shake, rattle and roll their way through some of the decade’s greatest songs – moving with ease from Elvis to Little Richard to Sam Cooke and Ritchie Valens. I’d forgotten how good these songs were, and how fabulous they are to dance to – but the considerable, combined talents of the Rip it Up ensemble brought it all back to me.
The show was split into different segments, each encapsulating a different type or trend of 50s music: rock ‘n’ roll, vocal harmony, blues, ballads, and Latin, as well as specific tributes to Buddy Holly, Elvis Presley, Little Richard and the Rat Pack. It was exhausting enough reading through the setlist, let alone watching the dancers perform to them! Natalie described the ensemble as the hardest working out there, and I certainly agree. Nothing was spared or suppressed – hearts and souls were bared on the dancefloor that night, and the audience was loving every second.
It was particularly gratifying to be a part of an audience that was as responsive to the show as I was – so often in modern theatre audience reaction is muted and formal, but just as the performers were giving every drop of energy and enthusiasm they had, so too were the people watching from their seats. Jay kindly acknowledged the audience response, thanking us for ‘making Monday night feel like Saturday night’. Well, Jay and the rest of the cast certainly made a rainy night in 2017 Cardiff feel like a summer’s day in 1955 NYC.
To enhance the feel of the time period, there was a brief TV montage interlude between each dance segment, showcasing some of the 50s’ cringiest commercials – including a toy advert for a truly bizarre sort of hula-hoop worn on the head called a ‘Swing Wing’, which was no doubt responsible for causing widespread whiplash during the decade. These were intercut with the ensemble’s pre-filmed cutesy interpretations of the era, as well as entertaining asides from the master of ceremonies, Leo Green, who also doubled as band leader and saxophonist.
Speaking of the music, the classic 50s hits were played with emotion and aplomb by a five-piece band, and what a joyful noise they made with so few. Along with Leo’s superb sax, we were treated to Ed Richardson on drums, Ian Jennings on bass, Jonny Dyke on keyboards and Matt White on guitars. I can’t stress how excellent the musicians were, including the two primary singers of the piece: Oliver Darling (who sported Buddy Holly glasses during his tribute) and Jill Marie Cooper, an exclusive treat for Cardiff audiences. They not only captured the spirit of the songs, but of the generation – although at times, they did tend to belt ballads that could have done with a softer touch. A small price to pay for the marvellous music overall – I would happily have paid to see the musicians and singers alone, but here they enhanced and accentuated the equally wonderful work of the dynamic dancers.
Natalie Lowe embodied the charm and elegance of the era, seamlessly slipping from Grace Kelly-esque screen siren to Elvis-like leather-clad rock ‘n’ roller, and countless other characters in between. She utterly evoked the ingenue of her introductory song, Jackie Wilson’s Reet Petite (‘the finest girl you ever want to meet’). Her standout number was a beautiful ballroom show-dance to the Righteous Brothers’ Unchained Melody, as well as a cheeky jive to a medley of 50s jitterbug. Not to mention she was responsible for overseeing and choreographing everyone else, and ensuring that every part had a unique and different feel, facet and flair. Her exit is a loss to Strictly, but a magnificent gain for the stage, and I can’t wait to see what she has waiting in store for us next.
Supporting our superb leading lady were two highly capable, and yet incredibly different, leading men: Jay McGuinness, whose unique brand of cool, chivalrous charm embodied the era’s sweetness simmering beneath the surface; and Louis Smith, whose fiercely flirtatious brand of fun complemented Jay extremely well. They couldn’t be less alike, except in their attempts to vie for Natalie’s affections, alternately foxtrotting and jiving their way into her heart. For two Strictly champions who had both been unfairly criticised by the judges for their supposed lack of personality during their tenure, it was particularly satisfying to see Jay and Louis not only having improved since their deserved wins, but infusing their routines with so much character, confidence and flair. They fit in perfectly alongside the pros, and skilfully held their own alongside them.
Jay’s entrance was the most impressive by far. Clad in black from head to toe, he spun around in the shadows and de-hatted himself, giving the impression that he had appeared out of thin air. He certainly encapsulated the gung-ho gusto of his intro song, Jerry Lee Lewis’ Great Balls of Fire. He also demonstrated a wide range of theme, technique and emotion (as he had done on Strictly), performing with passion and panache in every style of dance from waltz to cha cha and an artsy modern number to Nat King Cole’s Unforgettable that evoked his winning show-dance. And, of course, his jive prowess were second to none, as it has been ever since he and Aliona’s Pulp Fiction tribute broke the internet. Jay didn’t just shine whilst dancing; he also graced us with lovely renditions of some of the staple songs of the 50s, including the incomparably classy Beyond the Sea and a sultry rendition of Sway. Out of all the Strictly champions, Jay has the greatest potential to take the West End by storm – singing, dancing, acting, what can’t he do? I hope his recent stint as the lead in Big! The Musical is the first of many in a long line of stage shows in Jay’s future.
Louis, last but certainly not least, leapt onto the stage to Little Richard’s Tutti Frutti; from start to finish he looked like he was having the most fun by far – and that’s really saying something in an altogether joyous production. Although Louis performed in Strictly alum Robin Windsor’s Keep Dancing tour at Cardiff’s New Theatre last year, and has improved even since through joining Rip it Up, he confessed he hadn’t been sure if he could or should carry on dancing in live productions. But after a great experience with Natalie, Jay and the gang (and some vehement audience encouragement), it (thankfully) looks as though Louis isn’t going to hang up his dancing shoes any time soon. He looked as though he lived every moment of every dance, and possessed the most vibrant personality and stage presence of the entire ensemble. His gymnastics skills always shone during his Strictly stint, but here he has honed his dance technique and performance into sophisticated and stylish perfection. He excelled in solo, partner and group dances, really capturing the mischievous, rebellious feel of the era and starring in some of the strongest set-pieces: a sulky, sultry number to Peggy Lee’s Fever was a particular highlight, as well as a geeky romance against the backdrop of Sam Cooke’s Wonderful World. Louis’ Strictly journey keeps evolving, and long may it continue – Cardiff will certainly be there to welcome him back to the stage in the future.
If ever a stage show was an ensemble success, that show is Rip it Up. Every single backing dancer performed to the same superb standard as the principals and musicians, and were given ample time to shine both alongside and separate from the three leads, yet another testament to the team spirit of the entire production. Though the set itself was sparse, the performers and costumes made up for the minimal production values (totally understandable on a tour budget). However, despite how impressive the three leads’ solo numbers were, I would have loved to have seen the three of them sharing the stage more often. Natalie, Louis and Jay appeared together to bookend each segment, but then split up to perform numbers in which they individually featured (accompanied by partners or backing dancers), but rarely with one another. Because of the rarity of their onstage collaboration, one of the standout numbers for me was Jay and Louis engaging in what I can only refer to as a ‘James Dean-Off’ in which the two Strictly champs did their damned-est to out-Brando each other in rolled-up jeans and white Ts. In a similar vein, I think there should have been a story running through the show (just as Vincent and Flavia often have in their live shows); in doing so, they could build on the natural flirtation between Natalie, Jay and Louis, and incorporate their love triangle into a more structured through-line. It would have added a narrative cohesion to the excellent dance numbers, rendering them not only exciting but necessary in advancing the plot and our leads’ love lives.
Overall, Rip it Up is a truly wonderful theatrical experience that I urge anyone with even the vaguest interest in dance, music, theatre, The Wanted or gymnastics to go to if humanly possible. It’s great to see familiar faces again, as well as discovering new ones, and I can’t wait to see where Natalie, Jay, Louis and company go from here – I only hope that they keeeep dancing
http://www.stdavidshallcardiff.co.uk/whats-on/dance/rip-it-up/
 

Film & TV

Review The Mountain Between Us by Kevin Johnson

Leave a comment


An interesting but flawed idea, two strangers survive a plane crash in the mountains, get to know each other as they try to walk out of the frozen wilderness, and begin to fall in love.
Idris Elba shows his star quality by holding his own against Kate Winslett. They have chemistry, and full marks for casting an interracial couple, but it doesn’t quite work.
Films like this drive me mad, because they’re so close to being brilliant, but fall short. The scenery, mostly snowy mountains, is amazing, the music is good, as is the direction, with some innovative touches. The script, however, lets everyone down.

Elba is an emotionally constipated neurosurgeon, Winslett a maverick photojournalist, both are strong-willed yet it’s she who drives them on while he wants to play it safe. So far, so good.
What could then have been developed into an interesting character piece, starts to unravel. Winslett keeps moaning about her poor fiancé, whilst the plight of the ten year old patient Elba was supposed to operate on is ignored.
It doesn’t help that the film is divided into ‘before and after’ section, which means the ending gets bogged down in romantic cliches that dilute the emotional momentum from before. There’s even a sex scene which, although beautifully filmed, jars with the story.
The film falls between two stools, neither a romance nor a survival thriller, although it tries to be both. Not a bad film though, just not a great one.
Oh and there’s a cute dog.

Theatre

Review One Man, Two Guvnors, Black RAT Productions by Helen Joy

Leave a comment


A slapsticky ribtickling romp through Mr Bean’s homage to the Italian original.
I love this theatre company. They make me laugh. Properly head back gasping for breath laugh. This multi talented bunch of actors and their production team are properly good.
I love the venue. I love the welcome. The busyness of the place. The swirly carpets and the polished wood and the atmosphere of years of local folk heading here for a night out. Marvellous.
And marvellous to take a glass of wine into the theatre and settle into your seat whilst the cast play their way through a series of ‘60s songs, washboard ‘n’ all. A band which reforms for set changes – how delightful, how clever to keep us all singing and clapping along.

Never afraid to look you in the eye, to include you in the action, to keep you alive with the threat of putting you too on the stage, it’s bright and buzzing throughout.
And the lead, Francis Henshall, is, quite frankly, fabulous! A tweedy oaf with a lust for food and a hunger for love, he draws us in, right in.
But he wouldn’t be half so good without his sidekicks.
Every character is perfectly overblown and overplayed. Exaggerated, exaggerating, they are funny and likeable and strangely believable. All very special in their own sweet Brighton rock kinda way.
Every seat is filled. Everyone is laughing. Everyone is having a very good time.
There is an energy to this production which drives through to the end.
Nothing unpredictable, nothing too challenging but what a wonderful slapsticking backslapping suitcase swapping utterly joyous night out!
Black Rat Productions is an extraordinarily talented company. There to be enjoyed.
 One Man, Two Guvnors is a play by Richard Bean, an English adaptation of Servant of Two Masters (Italian: Il servitore di due padroni), a 1743 Commedia dell’arte style comedy play by the Italian playwright Carlo Goldoni.
 Helen Joy for Get the Chance, 3rd Act Critics.
A Black RAT Productions, Blackwood Miners’ Institute and RCT Theatres co-production supported by Arts Council Wales

Cast

Gareth John Bale … FRANCIS HENSHALL
Lee Gilbert … HARRY DANGLE
Phylip Harries … CHARLIE CLENCH
Sarah-Jayne Hopkins … DOLLY
James Lawrence … STANLEY STUBBERS
Daniel Miles … ALAN DANGLE
Caryl Morgan … RACHEL CRABBE
Alice Strachan … PAULINE CLENCH
Chris Tummings … LLOYD BOATENG

Production Team

By Richard Bean
Based on The Servant of Two Masters by Carlo Goldoni
With songs by Grant Olding
Directed by Richard Tunley
Designed by Anna Marie Hainsworth
Production Manager / Lighting Design Robin Bainbridge
Stage Manager Claire Roberts
Musical Director Rob Thorne
 

Theatre

Review Uncle Vanya, Theatr Clwyd by Donna Poynton

2 Comments


Uncle Vanya was first published in 1897 and had its premiere in Moscow in 1899, performed by the Moscow Art Theatre under the direction of Konstantin Stanislavski.
The play focuses on the visit of an elderly professor and his young wife Elena to the rural estate which supports their city dwelling lifestyle. Two friends, Vanya-the brother of the professor’s late first wife and the controller of the estate and Astrov-the local doctor, both end up falling for the charms of Elena. Sonya, the professor’s daughter by his first wife, is hopelessly in love with the doctor but her feelings are unmatched. Tempers flare and drama ensues as the professor announces his plans to sell the estate allowing Vanya to spiral into a madness offering tormented bawling and even a gunfight!
This new production written by Peter Gill and directed by Tamara Harvey of Chekhov’s doom-tinged comedy is set in the round, allowing for the feeling of immersion as an audience member, particularly during each characters’ soliloquy. We feel we are let in on the action, surrounding the players; close emotionally as well as physically. Each scene cleverly switches from outside to in and we are treated to some glorious pieces of silent acting as the characters themselves subtly manoeuvre the set to allow transitions (for example we hear claps of thunder and rainfall and a handful of actors swiftly grab chairs and rugs to ‘save them from getting wet’). The design of the piece, in this way, is very simple and yet we could look so much further into its meaning. Throughout the entire production there is an overhanging tree which could have been placed simply to remind us where we are. Could it, on the other hand, be symbolic of the overhanging, inevitable destruction in the piece?
The destruction of man and oneself is reflected in the frequent discussions of the desolation of the Earth’s forests. We cannot fail to spot the implications that humankind may not be KIND at all and that the dissatisfaction in our lives comes not only from ones own failings but from the failings of others to encourage success and happiness. We see love in all forms; love for family (as much as we may often speak ill of them or even wish then ill!), the love of nature, love of home, romantic love and even love unrequited but it appears that love brings with it sadness, frustration, sorrow and even utter despair!
Despite this, the play provides many moments of humour-mainly gleaned from the excellent characterisation of the title character by Jamie Ballard who portrays Vanya with just the right amount of comedy and tragic poise. This production has been cast superbly but special mention must also go to Rosie Sheehy as Sonya who plays the innocence and the pain of unreturned love beautifully, to Shanaya Rafaat as Elena who we are able to empathise with despite her somewhat ignorant demeanour and Oliver Dimsdale as Astrov who is both physically and mentally handsome-the stage often brought to life with each appearance.
This production of Uncle Vanya allows the stunning properties of Chekhov’s text to be fully appreciated as part of an up to date design. Despite it keeping its original 1890s setting we are able to relate the themes of the piece to our modern lives.

Theatre

Review This Evil Thing, Sherman Theatre by Roger Barrington

Leave a comment

 

out of 5 stars (4 / 5)
 
This didactic play tackles the controversial subject of conscientious objectors during World War One.
Conscientious objectors, or CO’s as the play’s devisor Michael Mears refer to them are those people who for various reasons refuse to fight or even engage in any activity that contributes to the promotion of warfare. These reasons may be religious, political or idealistic or a combination of more than one of these factors.
The most prominent character portrayed in the play is a man named Bert Brocklesby who was born and brought up near Doncaster as a Methodist but who had also interests in the Quaker and Baptist church movements. In fact, he eventually became a Quaker who are the religious group mostly closely associated with Conscientious objecting.
It is not the first recent play that focusses upon the CO’s during WW1. Both of these play examine CO’s within a regional basis, in contrast to “This Evil Thing” that examines a national set of affairs. In “Devils on Horseback”, a 2017 production by Goldsmith College, the trials of CO’s in Deptford are shown, based upon research of historians at the College. “England Arise” by Bent Architect portrays the activities of CO’s in Huddersfield. In fact, Yorkshire was a hotbed of co activity during WW1. This play has been criticised as feeling a little overlong, albeit the running time at 75 minutes is the same as the play under review here.
Positioning myself at the end of a crescent shaped set of rows at the Sherman Studio Theatre, I was easily able to notice my fellow audience member’s level of attention, for a play that demands it, and I am impressed by how riveted they were, which is testament to the engaging nature of this play. Mr Mears, at the end of the performance complimented the audience on their level of attention.
Michael Mears is a well-known and award-winning figure on the Fringe Theatre circuit for largely his one-man plays which he both writes and acts in. “Soup” another one-man play has won the Scotsman Fringe Award” which examines homelessness.
“This Evil Thing” was first performed at the Edinburgh Festival in 2016, and was well received.
“A thorough and at times gripping account of an important subject.”
4 out of 5 stars – The Scotsman
“Mears is an animated and engaging presence throughout, his faithful delivery of others’ words accommodating many a naturalistic flourish. Entertaining as his show may be, his gratitude and outrage remain very much to the fore. This is important, vital polemic.”
4 Stars out of 4 Fest (Edinburgh Festival magazine)
In an interview for the Stratford-upon Avon Herald in January this year, Mr. Meyers was asked the question how he would describe this play.
He replied, “It’s the compelling and rather shocking, and also inspiring, story of the First World War conscientious objectors (CO’s) in Britain, which has rarely been told or even talked about. In this period of commemoration of the war there’s a lot of focus on the battles, but I knew there would be plenty of material on that and wanted to write about something else. My grandfather fought in the First World War and my father in the Second but I don’t seemed to have inherited the genes, I’m a pacifist — so it seemed appropriate to focus on that. The full interview can be found here.
I would entirely agree with this.

Image Simon Richardson

The design of the production is sparse in the extreme. Nine wooden boxes of different sizes, a wooden post and a bag amount to the set’s design. This minimalist approach works well, as due to the play’s physical nature, it allows Mr. Meyers to energetically move around the set. The boxes are used very creatively. For instance, they transform into a lectern, stretcher, bed, window, bench, representations of human figures in a military tribunal, coffin and even simulating gunfire by their sudden collapsing.

Image Simon Richardson

The play opens with a very effective use of lighting depicting a CO who was being punished by having to stand upon a box for hours upon end in a pit which has water lying at the bottom. The box protecting the prisoner from having to stand in the water. The only lighting on a totally dark stage coming from directly above. The play ends with the same scene. This very symbolic use of darkness and light can be interpreted in different ways which are not difficult to work out.
Over the course of the play’s seventy-five minutes, Mr. Meyers plays over fifty characters. An impressive feat, and I wonder whether the performer ever lapses into using the wrong voice, e.g, whilst playing a sergeant-major he slips into using a plummy public accent typical of a British army officer. His use of so many diverse voices and accents is one of the highlights of the play, as this compilation of scenes taken from the play illustrates.

The sentiment of the play is totally one-sided. Mr. Meyers is a committed pacifist and in a way, the play suffers from this one-dimensional view.
This is clearly depicted in the promotional flyer and poster.

The eponymous poster of Lord Kitchener pointing his figure towards all men able to fight, “Britons Wants You”, is mutilated by the red-cross, (symbolising blood), which intersect over the mouth, thereby gagging the message.
In a post-performance forum, I asked whether Mr. Meyers accepted that being a CO was essentially a selfish act. Naturally, he disagreed and the discussion was somewhat diverted into a matter of courage rather than the question I posed. My reason for implying this statement is that the CO’s were buoyed by their own strength of conviction, whereas his family were usually ostracised for his refusal to fight, with an inevitable implication of cowardice being the motivating factor. Contrast this to Junior Officers who suffered the highest casualty levels in WW1 over the men they led and their senior officers who were often protected well being the Front Line. Posing the question why these officers were prepared to die with almost an submissive inevitably, I suggested that largely it was due to protecting the family honour, thereby sacrificing themselves to protect the humiliation of cowardice from their loved ones.
Also, a scene where Bert Brocklesby refuses to peel potatoes because he was helping to prepare a meal for officers and men, on the basis that he would not help in any way the progress of war, I found to be trivial. However, I would concede that Mr Mears is only portraying the facts of a real life character, and others such as the eminent philosopher and later CND co-founder Bertrand Russell and Prime Minister H. H. Asquith also feature.
Mr. Mears is an engaging figure, both on and off stage. He is clearly fired up by the message he is bringing and totally committed to it. An interesting character in his own right, he is an active long-distance walker, which would aid his fitness level essential to his own brand of physical theatre.
This message is a worthy one. As to its relevance today is another matter. I cannot foresee, due to the technical advance of weaponry, a situation where conscription will ever be re-introduced. In today’s world, blessed by 75 years of involvement in international conflict on a national level, our attitudes towards CO’s has softened. The play reminds us that these men possessed a different type of bravery in swimming against the tide, and should be remembered with compassion and understanding for doing that.
On the performance I attended, the 100 seater theatre was just over half full. This is a sad reflection on the demands of theatregoers today. Many, it seems, see the role of theatre to be solely based upon entertainment factors, thereby omitting an essential aspect of theatre which should be to educate. The concentration ability in today’s world would appear to have been irreversibly damaged through instant revelation provided through technology. I compare it to 20-20 cricket as compared to a test match. Although, I will happily concede that there is a place for both, I fear that the relentless march of entertainment musicals, (whilst acknowledging their financial input often sponsors drama), may mean such important plays such as “This Evil Thing” will become a rarity.
Sherman Theatre is the opening venue of a two month tour which returns to Wales on :-
11th November 2017 Galeri Theatre, Caernarfon
24th November 2017 Aberystwyth Arts Centre
Full dates can be found here 
“This Evil Thing” performed and revised by Michael Mears.
Directed by Rosamunde Hutt
Performed at Sherman Studio Theatre Cardiff 25th and 26th September 2017

Film & TV

Review Victoria & Abdul by Jonathan Evans

Leave a comment


The opening text of Victoria & Abdul goes “Based on real events…mostly.” That insertion of the last part eases the audience that though the idea and some events may have accrued, they are taking liberties. It allows us to take some of the more eccentric moments and inaccuracy’s with a pinch of salt and enjoy the moments.
We open in India where a simple man names Abdul goes about his simple duties. By chance he is selected to present Queen Victoria with a gift, simply because he is tall. So he gets shipped off to England and when the pivotal moments comes he is instructed to not to make eye contact with her majesty. Guess what happens!

Dench is actually returning to the role of Victoria. She originally played the monarch in Mrs. Brown, where oddly, was also about the Queen befriending a servant. There’s not much to write about the performance I feel, Dench has proven her chops as an actor again and again. Here she handles the part of one of the longest running monarch’s as a woman that is more than used to getting her way, but also fatigued with the repetition of ceremonies and political news. It is when this young Indian servant enters her life that she becomes reinvigorated with someone that speaks to her like an equal and has a different view of the world.
Abdul played by Ali Fazal will most likely bring a smile to your face. He himself is so smiley and optimistic but not without a sense of being grounded. He can be sad and worried, but that is understood because he has his faith that reassures him of a positive outcome. If it were not for these moments then he would most likely become grading, but with these touches he is enduring.
Typically in these kinds of movies with big named stars and based on historical events you can bet that the studio and filmmakers are seeking an Oscar for their efforts. It may well win or at least be nominated for cinematography and/or costume design. But the moments that will most likely receive a nomination, even a win. This is a moment where Dench is framed in closeup and it never cuts away and she delivers a summary of this entire woman’s life and role. This, on one hand, it obviously trying hard to win the Oscar, but also on the other it is a sharply executed performance that is very well written.
Eventually there come moments of unhappiness and sombreness. Such moments in movies come and go with varying degrees of effectiveness but these ones truly struck me. It works by starting with sugary charm and digging deeper and deeper into the characters and the way each of their worlds work as well as life as a whole we come to truly tender moments.
Historical accuracy interest me rather little, what engages me is characters and themes, the movie has these. It has charm and fun but by the end leaves you with a sense of understanding of the connections between people.
 

Theatre

Review We’re Still Here, National Theatre Wales by Kevin Johnson

Leave a comment


Over a year ago Port Talbot steelworks were put up for sale by Indian owners Tata Steel, threatening not only thousands of jobs but the future of the town itself. What followed was a campaign to save the last part of heavy industry in South Wales by people from all walks of life.

Rachel Trezise

This story has now been turned into a play by Rachel Trezise, in collaboration with the National Theatre Wales and Common Wealth Theatre Company. Set in an old factory that was once part of the steelworks, this is promenade-style theatre, where you ‘wander through’ the play and it happens around you. There are seats if you need them, and good disabled access, but at around 80 minutes, the play is brief enough to endure, yet long enough to shock.

Sam Coombes (Lewis)

With a core cast of five including real-life steelworker Sam Coombes as Lewis, this is both spacious and intimate. The cavernous building is juxtaposed with the intimacy of the workers, who tell their stories, and confide their fears, amidst the jovial banter. Also roaming among the audience are actual retirees, who share true stories about the works, and the oft hidden cost.

Jason May (Rob), Siôn Tudor Owen (Mark) & Simon Nehan (Kevin)

In the interests of full-disclosure I should mention that I was born here, and as a local the steelworks have always been a big part of my life. As one of the actors says:’if you can smell sulphur in the air, somebody’s getting paid’. Both my parents worked there, so in a way it paid for my upbringing. Steel is in our blood here, and with so many accidents over the years, our blood is certainly in the steel.

Designer/Dylunydd Russell Henry, Choreographer/Coreograffydd Vicki Manderson, Directors/Cyfarwyddwyr Rhiannon White & Evie Manning

Co-directed by Common Wealths Evie Manning & Rhiannon White, music, song, comedy and monologues are used to create an enthralling and fascinating piece of theatre. Watching so many people coming to my ‘home’ to be entertained, gave me such a feeling of pride.

This threatened closure is the latest in a long line of body blows that have hit Port Talbot, brought home by the scene where the names of some of the 750 already made redundant are read out. A litany of damaged lives, counterpointed by the children the workers can’t see, ghosts from a lost future.

Sam Coombes (Lewis)

This isn’t sugar-coated either. At one point, in a gladiatorial arena of chairs shared by cast and audience alike, grievances are expressed with a violent passion. Characters turn on each other, unsure of the best course of action to take. One blames the union organiser, who then quietly reveals that his marriage has become a hidden casualty of the fight.
That’s a key element here: how long do you keep on fighting? When do you know when the cause is lost? What if all you have left is the struggle? The whole play roars a magnificent defiance at the world, but beneath that you can hear the scream of a wounded animal.

Ioan Hefin (Adrian) & Jason May (Rob)

If the steelworks closes it’ll be devastating to the town and its people, should that be allowed to happen? I’ll give the last word to Dic Penderyn, a local martyr hanged for rioting in the 1830’s, who’s last words on the scaffold are quoted in the play:
“O arglwdd dymma gamwedd, O Lord, what injustice.”
http://nationaltheatrewales.org/were-still-here

Theatre

Review Us Proclaimed/Clywch Ni, Mess Up The Mess, Wales Millennium Centre by Kevin Johnson.

Leave a comment


Aged from 11-20 plus, Mess Up The Mess Theatre Company make ‘awkward and brave theatre by, for and with young people’. Their new show ‘Us Proclaimed/Clywch Ni’ features over a dozen actors at the Wales Millennium Centre, Dance House.
It starts with a line up of the cast, who then turn their back on the audience, before assembling in a series of ‘scales’: alphabetically by first name, surname, home, then things start getting more honest, revealing, and then raw.
They line up in scales of sexuality, gender, feeling anxious, optimistic about the future, all while explaining what THEY think, stripping away the hypocrisy of the ‘real’ world, and showing us what’s actually real to them.
The honesty of this cast is humbling: personal stories, personal feelings, personal ‘secrets’ even, are not just divulged but proclaimed. Sometimes in simple words, sometimes with songs, or even comedy.
My personal highlight was young actor Ciaran Fitzgerald with cerebral palsy wearing a T-shirt stating ‘I don’t have cerebral palsy, I’m drunk’, explained later when he recounts being refused service at a pub because the barmaid thought he was drunk.
Perhaps a little blunt at times? I’m not sure, sometimes bluntness is called for. ‘We don’t want to preach’ they sing at the start, but they certainly make many good points.
Above all else they are wary of the future, some are worried but most are positive. Having seen – and more importantly listened – to them, I’m feeling a lot more optimistic about the future myself.

Film & TV

IT Review

Leave a comment

 

“I recognize terror as the finest emotion and so I will try to terrorize the reader. But if I find that I cannot terrify, I will try to horrify, and if I find that I cannot horrify I’ll go for gross-out. I’m not proud.”

-Stephen King

out of 5 stars (3 / 5)
Stephen King is author that has one of the most loyal and enthusiastic followings of nearly any writer in history. His fans obsess and devour his books, so no wonder why he is also regularly adapted to the screen. There are many shoddy productions of Stephen King material. This is well produced at the least. You can tell that from the clear images and the visuals and detailed production value. But does it succeed in and kind of engaging horror?

IT tells the story of a small town called Derry in the eighties where it seems Norman Rockwell’esque, however people are going missing, mostly children. Only a handful of children are catching onto the pattern that there always seen the same demented clown appears and they unite in solving the mystery.
The children are Bill (Jaeden Lieberher) who has a stutter and is very determined to solve the mystery because a year ago he lost his brother Georgie to the clown. Ben (Jeremy Ray Taylor) is the new kid in school as well as being overweight so he spends time in the library. Richie (Finn Wolfhard) is the wisecracking comedy relief who’s jokes don’t always land but he keeps trying. Eddie (Jack Dylan Grazer) is the timid, germaphobe who is the one to suggest that they don’t go into the scary places. Mike (Chosen Jacobs) the only black youth in the whole town and has suffered hardships of being an outsider. Stan (Wyatt Oleff) who is the most logical one, believing in facts and rational and second guesses all the supernatural elements. Finally there is Bev played by Sophia Lillis, who is by far the best talent in the movie. She is able to encapsulate all the fear, confidence and insecurities within this one character. I hope to see her go onto more things.
Until now our only personification of Pennywise the clown was Tim Curry in the miniseries. That was a fun performance but only in the sense that it was an actor going all out with not restrictions. Watching it now as a fully grown adult, you’ll probably be entertained but doubtful be scared. Now Bill Skarsgard is under the makeup, he also goes all out in his performance, however there are delicate touches of control here, adding glimpses of his sinister intentions through bouncy clowning. Also aiding in the overall terror of his performance are some genuinely creepy ideas of what to do with him (none I shall spoil). Finally he comes with much more convincing special effects this time around.
King is a writer who has developed many reoccurring cliches within his work (IT has more than a few). But the one I want to focus on is the way too mean and soulless portrayal of bullies. The bully here is a boy names Henry (Nicholas Hamilton), a complete psychopath that must be a bully, it is his desperate role in life. This is over-the-top and quite frankly unbelievable,
Just like in A Cure for Wellness, Benjamine Walfisch delivers a melodic score that starts as whimsical childhood and then drifts into demented screams. Much like Bernard Herman in Psycho for the main moments of fright he cuts out all other instruments and just uses the strings, creating high-pitched shrieks.
As of this point of writing this review I have never read a Stephen King novel. However from what I understand of his prose they have great ideas and are engaging page turners. However they also are very wild and don’t lend themselves to being put to screen because of an idea that would work while reading it might not be so brilliant when is actually visualised. As for what the book is like I do not know, but they seem to have run with the idea and added and changed elements to make them better suited for the medium.
Whilst there are moments of genuine frightening material in here there are other moments when it goes too far and it’s just the movie yelling at you. Though for the moments of the children being children and the moments of fright they are very much worth it.