THEATRE AND MOVIE REVIEWS NOVEMBER 2012

Theatre and Movie Reviews November 2012

Dead On Her Feet at the Arcola Theatre

Friday 2^nd November. 2012

The advertised photo depicts two modern day dancers throwing themselves around the dance floor. After reading the blurb I anticipated a big ‘dance off’, expecting to see Jive and explosive dance moves with people’s sweat flying off their brows into the audience but how disappointed I was. Nobody seemed to dance except leading actor (i.e. minimal tapping towards the end), promoter and con artist with questionable morals, Jos Vantyler as Mel Carney. Vantyler was admirable and energetic but was cast young for the role, working hard at being convincing for what the age of the character required. Carney puppeteers the make believe audience and dancers with his bullying and menacing ways. He even performs on a swing above the other actors as if the whole scenario is a circus and he the ringmaster. The storyline has strong parallels with a modern day Big Brother house where everyone is vying for fame and fortune only to become unhinged and self-destruct whilst lashing out in a verbally aggressive and physically violent behaviour against each other. The writing consisted of intelligent dark comedy dialogue which was often delivered too quickly but also laboured the point that this was the 1930’s depression where people would do anything for a buck or ‘three square’ a day having their morals questioned on how far they would go to live the American dream? From Horace McCoy’s 1935 novella They Shoot Horses, Don’t They? The play is set in Pulaski Falls (characterised as the dead end of the US) during the 1920/30’s marathon dance craze which took America by storm but rather than skill, is an endurance test of how long couples could dance for. We follow three couples in their brief gaping storylines with notable female Bonnie (Kelly Gibson) who’s expressionless voice and deadpan eyes delivers great one-liners. Another character McDade played by Ben Whybrow is supposed to be the muscle but is slight of build, indeterminate and poker faced being forced to confront his own actions by coming out of his shell at the end of the play. The play itself is frenetic, intense and the characters desperate and needy but it has an unbalanced quality to it especially in Act Two where all the characters become deranged, manic and angry. I didn’t walk away feeling emotionally drained or having sympathy for any of the characters but felt overwhelmed by lack of suffering and unsatisfying ending. Besides the lack of dance, the costumes were not all 1920/30’s in style and the backing music modern which left the piece feeling displaced and disjointed in its period. An ambitious piece depicting our dog eat dog modern day world with its consuming and crushing effects of capitalism.

Film: ARGO Preview at the Greenwich Picture House.

Sunday 4^th November. 2012

ARGO is a sensational dark but comic, thriller genre film worthy of rave reviews. I was, as per usual sceptical about the 1979 setting but it is a factual and an honest depiction of the period in every way based on a true story with photographic evidence, during the credits, of the actual hostages and scenes in Iran. The production went to remarkable lengths to reproduce the exact time and place these events occurred. To think that this actually happened is not only on the edge of your seat stuff but quite extraordinary and we can be grateful to President Clinton for releasing these CIA files so this film could be made. The film directed, performed and produced by Ben Affleck (co produced by George Clooney) dramatises the two nations, Canada and the US (CIA) joining forces to extract six US embassy officials who are hiding in the house of the Canadian ambassador during an Iranian revolution. Affleck says, "If I was making a political movie I'd say it, but this is a movie about imperialism, about democracy and the tyranny of totalitarianism."  It’s Affleck’s third directorial offering and whilst having skills as an actor, writer and producer his talent is showcased in this film. He demonstrates finesse i.e. subtlety of action, performance and skill with his CIA character which is understated and perfectly pitched. Affleck says "I don't think I'm a better actor than director, or better writer than actor. I just try to make movies and to me these things are all co-mingled.”  The comedic scenes come from long time favourite actors Alan Arkin and John Goodman who had me chuckling in the aisles. This film serves as both a cultural, historical and political lesson, which no one can deny. It is worthy of an Oscar or two and Ben Affleck, who has a degree in Middle Eastern Affairs from the University Vermont, is deserved of praise for this outstanding film.

Film: SKYFALL at Greenwich Picturehouse

Thursday 1^st November. 2012

The 50^th Anniversary, latest instalment of the 007 series doesn’t disappoint. It’s as thrilling and dazzling as ever with its action packed sequences: fast and furious scenes over rooftops, marketplaces, tall buildings, motor bikes, new guns and cars including rolling out the original Aston Martin which, is a delight to see, luscious landscapes, beautiful people and a list of stunt artists which stack the rolling credits at the end. The cinematography by Roger Deakins is outstanding with opulent and breathtaking scenes filmed in Istanbul, Macau, Glencoe, Shanghai and the desolate Scottish Highlands. Sam Mendes as the latest 007 director continues the look and feel, which is sacred to the Bond series. I did though, feel this movie slightly more understated than the last few Daniel Craig Bond films with reference made to Bond aging physically and mentally (though still able to pull off the scariest of dinking games) but we also get closer to who ‘M’ is (played by Judi Dench in her 7^th Bond film) as her story is central to this film, the ultimate control she has over her agents and her complete disregard for their safety. Set mostly in London it was a joy to see my current home city in a new light through the camera lense with iconic buildings and local references made including Belmarsh prison which is just down the road from me. In this film we get closer to who James Bond really is and where he came from so the Bond mystique is slightly demystified. Javier Bardem makes for a malicious computer hacker and brilliant minded, evil foe Raoul Silva who has comic banter with Bond providing the humour for the film. Ben Wishaw is the new ‘Q’ who is a rather geeky modern character making jokes about the old fashioned guns and exploding pens which is not his choice of technological weaponry. When I heard Adele’s song Skyfall on the radio I wasn’t impressed and felt it lacklustre longing for a belting Shirley Bassey tune but on hearing it at the cinema with the moving images it does suit the film as the opening Bond theme.  The end of the film says that James Bond will return and we are in no doubt that he will but how the next film will outdo this one is anyone’s guess?

FLASH MOB at the Peacock Theatre.

Saturday 3^rd November 2012.

I thoroughly enjoyed this show entitled Flash Mob where ‘Dance Worlds Collide’. The audience consisted of young and old at heart, all there for one reason, to see some great dancing and they did! This dance show crafted under Artistic Director Gary Lloyd who has worked on Thriller Live, Hair, Top of the Pops live has done an extraordinary job of combining different styles of dance all on the one bare stage except for lighting. The dance styles included are Irish dance, hip-hop, pointe, tap, Latin and contemporary with: Contemporary duo Alleviate and Irish Dance duo Brosena from Sky 1’s Got To Dance, Charlie Bruce winner of So You Think You Can Dance, The Elektrolytes (providing the humour for the show) from MTV’s America’s Best Dance Crew, R. Elle Niane from Street Dance 2 3D and Edwar Ramos from Latin Black and Black Energies Dance Companies following performances from the Edinburgh Festival Fringe. The energy was bouncing off the walls and for me the outstanding star of the evening was multi skilled and uber talented Charlie Bruce. You couldn’t take your eyes off her as she is quite remarkable with her talent and stage presence. The evening finished off with the whole audience on their feet dancing a routine put together from the dance styles combined and everyone had a ball. A great night out for all the family. 

Preview: SWEET SMELL OF SUCCESS-Arcola Theatre

Monday 12^th November. 2012

I thoroughly enjoyed this production at the current building site, which is the Arcola theatre. Sweet Smell Of Success is directed by Mehmet Ergen, choreography by Nathan M. Wright, MD is Bob Broad, design/sound by Ed Borgnis and lighting by David Howe all who manage to transform this fringe venue into a credible performance space looking twice the size of the actual stage and sounding like a large Musical Theatre production. I was very proud of my friend Nathan, along with the creative team, managing to cast performers with impressive CV’s bringing excellent acting, singing and dancing skills to this production. Nathan’s choreography was a standout ensuring every inch of the floor was used creatively: dance duo lifts, turns, lines, a pretend floor elevator, combination of dance styles mirroring the music (including a highlighted dance routine in Act 2), minimal set pieces moving on and off in-between routines having their own choreography all rehearsed with precision. The production is based on the 1957 Hollywood film about a ruthless columnist wielding a mighty sword, the pen, and nominated as a musical for 7 Tony Awards: music by the late Marvin Hamlisch, lyrics by Craig Carnelia and book by John Guare. Olivier award winning actor David Bamber leads this cast as JJ Hunsecker recently seen in Betty Blue Eyes and as Hitler in Tom Cruise’s Valkyrie, Adrian der Gregorian as Sidney Falcone (who has a voice to die for), Caroline Keiff as Susan (Wicked and Legally Blonde), Stuart Matthew Price as Dallas (also golden voiced and was in Shrek), Celia Graham as Rita (Phantom of the Opera and Love Never Dies). A strong ensemble cast holds the scenes together like glue providing the commentary and conscience (or voice of reason) in the plotline as well as the surrounding minor characters to perfection. I can heartily recommend this show as a fine example of fringe theatre that has had money spent on it and it shows. A delightful evening's entertainment with great jazz which exceeded my expectations.  

TABOO at the Brixton Clubhouse

Tuesday 30^th October 2012

Photo by Roy Tan

I remember seeing Boy George and the Culture Club in Sydney at the height of his fame. The fashion at that time was all about what Boy George was wearing and the shops were filled with 80’s period clothing from London. Who would have thought that I would meet London flatmate and dear friend Zee Asha in 2009 as one of his backing singers on that tour and who still works with George on and off to this day? During this tour I had no idea about George’s drug problem which only came to light for me a few years ago whilst he was performing community service as a result of being arrested. I was delighted at seeing this ‘rag to riches’ musical, directed by Christopher Renshaw, book by Mark Davies Markham, in which George’s musical prowess, composition and lyrics surpassed my expectations. The show hasn’t aged much since the original production at the Venue in 2002 but has, with the addition of new songs and a tightening or reshaping of the script been made quite appropriate for now. Whilst the Brixton tube station attendants and locals on the street had no idea where the Brixton Clubhouse was I found the intimate cabaret venue perfect for the production with the bar also being used as a stage area. I fell in love with some of the Act 2 Mike Nicholls and Christine Bateman costumes; the bondage trousers and kilt combo outfits which were most eye catching. The voices of the cast whether in harmony or solo singing were thrilling to hear, so well done to Anne Vosser for casting bright young talent making the most of George’s score. What astounded me was the acting of newcomer Matthew Rowland’s character George and Adam Bailey’s Marilyn who when not bitching and backstabbing each other, literally threw themselves with ‘gay abandon’ into their drug fuelled scenes. Paul Baker as Philip Sallon is cutting whilst providing humorous comedic moments in the piece and Billy-a struggling professional celebrity photographer is played by Alistair Brammer who is young, good looking and sultry voiced. He is the would be love interest to Kim played by Niamh Perry and as the central youngsters in the story, find their way in life and love. Popular pieces include Everything Taboo, Do You Really Want To Hurt Me and Karma Chameleon which feature in this musical representing the ostentatious and epicurean times of London in the 70’s, 80’s. A gratifying evening’s entertainment which an acquaintance next to me described as the best musical she had seen in a long time.

The Rise and Fall of Little Voice at the New Wimbledon Theatre

Friday 16^th November 2012

After having a great day teaching at my 100^th London school I was looking forward to this show despite the trek from South East London to the New Wimbledon Theatre boasting ridiculously expensive glasses of champagne and toilets at the back of the theatre whose comedy hand blowers can be heard when the door opens during the performance. After the show came down I felt quite melancholy despite the story of a heartfelt plight of a shy girl, Little V singing her glimmer of hope ‘Papa Can You Hear Me’ and the many jokes and laughs along the way in this tragic comedy. Jim Cartwright has written and directed this play where the show’s bleak storyline is set in working class Northern England and Lou Boo’s working man’s club giving the impression that life is a struggle for survival and there must be a better life out there somewhere? The vaudevillian acts before the show and Bingo during interval provide light entertainment and an immersing of oneself into the club culture of days gone by. The individual performances are worthy of praise but as I read in a colleagues review the connection between the characters leaves a lot to be desired and they lack chemistry, which is a shame. The set looks like a rickety National touring set with poor sight lines but the lighting design suits the iconic venue. Beverley Callard from Coronation Street as Mari plays a wonderful alcoholic, mutton dressed as lamb, shouty and domineering mother living in her broken down, crumbling home and newcomer Jess Robinson who plays LV does an admirable job of her multi-vocal impressions but I felt she didn’t quite nail them all. However, her scene stealing Act 2 nightclub moment is quite breathtaking. Ray Quinn moving into a straight acting part is more than capable but lacked a connection with LV as there isn’t much of an opportunity to enhance their storyline. I was disappointed that colleague Joe McGann wasn’t performing the role of Ray Say but thought Sally Plumb as Sadie Mae was outstanding and very comical without having anything to say. The play captures the sentiment of the film but doesn’t really hit the high notes for me whereas the film can fill in the gaps and flesh out the storyline.

Film: Twilight-Breaking Dawn Part 2. Greenwich Picture House

Sunday 18th November. 2012

Photo credit: Summit Entertainment. LLC

What a fitting end to the Twilight series of books and films written by Stephenie Meyer for all those ‘Twihards’ out there. It had moments of blood, beheadings, gore as well as glamour and humour. In fact, the whole cinema broke into laughter at one point, which is a relief, as the film doesn’t take itself too seriously. I noted changes in the storyline from the book to the movie keeping the scenes fast paced otherwise it would have become quite tiresome and boring. Characters Bella Swan played by Kristen Stewart (often wooden) and Edward Cullen played by Robert Pattinson (often inaudible) found fame and launched their careers with the Twilight series. Their characters have become immortalised on screen winning the hearts of millions who have followed them on film and social media, which in turn makes the Twilight saga a huge box office success. The recent scandal and infidelity of Stewart with married film director Rupert Sanders was thought to have a negative impact on the release of this film but as they say in showbiz, any publicity is good publicity even if it is bad. Stewart and Pattinson presented a united front for the press release of this film and their current relationship status seems to be on track. The first film, Twilight and the second, New Moon was so poorly scripted and acted in parts that it could have been a complete flop if not for the beautiful looking cast which made vampires and werewolves (bare chested Taylor Lautner with die hard abs) exciting and glamorous. Stewart starts to act in a more natural manner during this film, which is a relief, but the computer-generated image of the baby is not believable and awkward. It’s disappointing they didn’t use a real baby as child actor Mackenzie Foy who plays Renesmee (with whom Lautner as Jacob Black has imprinted upon) is a worthy future soul mate .The point of the film is the final showdown between the ‘good’ vampires including new vampire Bella Swan and werewolves against the ‘bad’ vampires or Volturi from Europe led by Martin Sheen as Aro blazing a trail to a comical conclusion. I was more impressed by the enormous list of stunt artists in the credits and the cast list with photos, which kept me sitting in my seat right to the end. Charles Grant writes that the film debuted at £15.85m at the box office, which is not a bad day’s taking.

LATEST NEWS

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Joining the International Tour of Chicago 2012

Wendy is thrilled and grateful to be joining the fabulous cast, crew and band in the last couple of weeks of the International tour- CHICAGO. Donning her black suit, red nails, sparkly earrings to sing a showtune or two. 

THEATRE AND MOVIE REVIEWS OCTOBER 2012

Theatre and Movie Reviews October 2012

Scenes From An Execution

Saturday 20th October. 2012

Scenes from an Execution was both superb and epic. Outstanding acting from lead Fiona Shaw in her depiction as Galactia the Venetian artist (16th Century) who is commissioned by Church and State to paint the celebrated Battle of Lepanto. The epic painting is so realistic in its depiction of carnage that both Church and State are horrified which leads to her incarceration only to be released months later as a celebrity figure with a cult following. Very telling about the artists of the day, their school of thought, how Church and State had power/ influence over how historical events were represented and reproduced in works of art and writing. Comical, provocative, sex and politics.

Love Marilyn. Empire Theatre. Leicester Square.

Sunday 14^th October. 2012

Love Marilyn is a documentary directed by Liz Garbus and expertly edited by Azin Samari. It has been released for the 50^th Anniversary death of once troubled film star, Marilyn Monroe. The film actors reading excerpts and interpreting her words include Uma Thurman, Glenn Close, Ben Foster, Marisa Tomei, Jeremy Piven, Viola Davis, Ellen Burstyn, Adrian Brody and other actors of note. Newly released notes, diary entries and letters in Marilyn’s own hand writing from Lee Strasberg’s archives talk of hopes in finding true love, dreams of being a credible actor in New York, accounts from her everyday life as well as coping with her depression and the obsessive need for self improvement. She battles head on with 20^th Century Fox film studio asking for dramatic acting roles instead of being cast as the ‘dumb blonde’ or ‘femme fatal’ but resorts to forming her own production company. Marilyn was the top box office draw card for 20th Century Fox during her career but wasn’t receiving the same wages as Elizabeth Taylor and Jane Russell as seen with the comparative wage slips. Considering the information comes from the Strasberg estate, it’s obvious that certain information surrounding Strasberg and his wife’s influence over Marilyn might be have been restricted for this film. The film also incorporates a multitude of photos spanning her life and career including her nudes on red velvet, which made their way to the first issue of playboy. Hugh Hefner got his hands on them and only paid Marilyn the paltry sum of $50. An essay from Truman Capote and a select group of live interviews are used incorporating interviews from people who knew Marilyn which have been expertly woven into the chronological storyline including her two husbands Joe DiMaggio and Arthur Miller. We have seen this information before in countless books, movies and biographies but with a new spin on it, this film isn’t tiresome but quenches our thirst for insights into the elusive starlet whilst leaving us still mystified about the Marilyn mystique.

Suzi Quatro Hippodrome Leicester Square

Monday 29^th October 2012

There is no doubt that Suzi Quatro is ‘the’ rock chick supreme and despite her long time rocker image she can still wear the trademark black leather jump suit. Looking fabulous for her 62 years the voice has lost its top notes and the keys of the songs could be taken down a notch. In saying that, there were more stories, photos and film clips to watch/ listen to instead of her actual performance, which was limited. It was for me, an insight into the 70’s, 80’s rock star, her long road to fame, courage at starting her career alone in her teenage years across the pond in London, the sacrifices, Elvis and how her image came about. Even though she has performed in theatre her delivery of dialogue and jokes didn’t’ quite gel and were at times awkward where a scriptwriter could have made it work seamlessly, as too the sequencing of clips and photographic images needed a professional touch. Suzi has had a long and illustrious career on stage, theatre, radio and TV which some of us can only dream about.

BIOGRAPHY  
Wendy’s performing career has been varied and exciting and she recently graduated with a Masters Degree in Musical Theatre-pathway producing at Goldsmiths College-London University. Also completing a Bachelor Of Music Education Degree and Certificate in Dalcroze Eurhythmics at the Conservatorium Of Music in Sydney, Australia majoring in piano and voice, she then studied Acting at the Australian Academy Of Dramatic Arts. Wendy also trained in all styles of Dance at Bodenweisser and Sydney Dance Company. Her theatre credits include: Mother Abbess in Sound Of Music, Pantoland! As Fairy Liquid; Come Dine With A Top Chef In Hell’s Kitchen as Mabel, Sprint Marathon as Trainer 1, Sleeping Beauty as The Good Snowflake Fairy, Chicago- UK/EU Tour and International Tour as Mama Morten, Fiddler On The Roof –UK Productions UK/EU Tour as Yente, Fiddler On The Roof-Savoy Theatre London- (Fruma Sarah and Shandel, understudy Golde, Yente and Grandma, assistant dance captain); Mamma Mia! International Tour (understudy Rosie, Tanya and Donna); Oliver! - Australia and Singapore (Mrs Sowerberry and understudy Widow Corney, Old Sally and Mrs Bedwin); Wizard of Oz-Star City, The Phantom Of The Opera- Australia and New Zealand (Confidante understudy Carlotta, Wardrobe Mistress and Mme Firman); Turandot- Sydney Football Stadium, Cats- Australia and South East Asian tour (understudy Jellylorum/Griddlebone, Jennyanydots/Gumbie); Chess- Theatre Royal. Her credits for the Australian Opera in Sydney and Melbourne include: Verdie’s Requiem Mass; Die Meistersinger Von Nurnberg; Fidelio; Der Rosenkavalier; Tosca; Adriana Lecouvreur; Le Nozze Di Figaro; Peter Grimes; Maria Stuarda; Romeo and Juliette; Fiddler On The Roof; L’Italiana In Algeri; Mer De Glace; Wendy’s concert credits include; Into The Woods- Melbourne (Cinderella’s Mother and Step Mother); Absolutely Not Entertainment- Australia, New Zealand and Singapore, Duelling Divas/ Hollywood Sirens; Phantomime, Absolutely Phantomless, Australian Opera Benevolent Concert, 2000 Australian Olympic Concert, 2001 Government House Australia Day. Wendy has recorded six CD’s, including cast recordings of Wizard Of Oz, Fiddler On The Roof and Nursery Rhymes for the Department of Education and has appeared in various television commercials, variety and mini series, films, session singing and voiceovers.

THEATRE AND MOVIE REVIEWS SEPTEMBER

THEATRE and MOVIE REVIEWS-SEPTEMBER

Chariots Of Fire-Gielgud Theatre

Saturday 1^st September.

I had heard rave reviews about this production and was told the staging was magnificent and magnificent it was. I have never witnessed such staging which worked perfectly for this production performed in the round where athletes/actors were seen running around the theatre in a figure of eight pattern, leaping over bodies and a fence for hurdles as well as choreographed, stylised, contemporary dance running sequences. In clever casting, actors displayed athletic prowess, choral singing ability, playing musical instruments and regaled us with various hymns including Jerusalem and traditional Gilbert and Sullivan repertoire which was a treat. So prolific was this transformation from book to film to stage that it cleverly wove the current London Olympics into the storyline and even had cast running in GB kit which brought tears of pride to the eyes and standing ovations. The popular Vangelis music was used and relished giving us an uplifting recognisable melody line in which to pin our historical reference points from the film, set in the Paris Olympics of 1924. I could only wish that this quintessentially British production could tour to Australia so all my friends could witness this outstanding production. I was thrilled to see colleague Natasha Broomfield playing the role of Jenny (a Scot playing a Scot) and watching her career grow in leaps and bounds from the National Theatre to Chariots Of Fire in the West End.

Anthony Rapp-Without You at the Menier Chocolate Factory.

Sunday 2^nd September.

A friend posted a recommendation on Facebook, Without You but I had no idea Anthony Rapp was the original Mark Cohen in the musical Rent. It is, as the blurb describes a ‘deeply moving’ autobiographical work, which talks about the shaping of the Broadway musical Rent, the passing of its composer Jonathan Larson and how this impacted on Anthony. He also goes into detail (similar style to the phone calls in Rent) about his relationship with his mother whom he is devoted to but not devoted to her illness. The music heavily relies on snippets of Rent, which represents his life in grief and the ability to overcome his fears with hope. Other musical works are original except for the opening song by R.E.M. A 5-piece band backs Anthony with the overall experience being quite overwhelming leaving me, the people surrounding me in tears and grabbing for tissues.  I take my hat off to people who can write autobiographical one-man shows. I have written a one-woman show, which is light, comical and instructional, but I’m certainly not ready to bare my soul yet like Anthony does.

Soho Cinders at the Soho Theatre

Friday 31^st August 2012 

What a refreshing and pleasant surprise this new work from George Stiles and Anthony Drewe is. I preferred it to Betty Blue Eyes (Mr Mackintosh might not like that comment) but as it says in the programme ‘it has been a long time coming’. But refreshing it was and with friends Michael Xavier (who was his usual outstanding handsome self) and Vivien Carter (recently seen as Velma in Chicago) this is well cast with stars and co-produced by another friend, fellow Australian Daniel Sparrow with Mike Walsh. Set in Old Compton Street W1 in Soho this slightly twisted gay fairytale of a rent boy, Robbie (Tom Milner) as Cinderella and a bi-sexual, running for Lord Mayor, James Prince (Michael Xavier) is the main plot which is nearly over shadowed by the larger than life ugly step sisters Clodagh and Dana (Suzie Chard and Beverly Rudd) who get all the great comical lines. Jenna Russell’s duet song with Amy Lennox as Velcro ‘Let Him Go’ is a beautifully written, heart-wrenching stand out piece. The choreography isn’t complicated and suits the fringe venue, as does the staging, which is supported by Stephen Fry’s narration. I walked away being thoroughly entertained and once again proud of my very clever friends.

Film: Lawless. Preview at the Greenwich Picturehouse.

Sunday 2^nd September.

This film is adapted from Matt Bondurant’s book ‘The Wettest County In The World’ based on a real life story with screenplay by Nick Cave. Not being a fan of Nick Cave’s music I thoroughly enjoyed his screenplay and score, which is steeped in 1930’s Southern style guitar music. The story is about three brothers (the Bondurant’s) running moonshine and stars the very handsome, once again smouldering and indestructible Tom Hardy alongside the OCD, evil agent with a shaved part in his hair and shaven eye-brows, great Australian character actor Guy Pearce. Also from Australia is another quirky character part actor Noah Taylor who keeps popping up in Indie films as the hapless assistant. Shia LaBeouf as the younger Bondurant, is a central character with his coming of age, internal struggle plot which he pulls off well. There is a mixture of naiveté and innocence in him, which is crushed when his innocent, crippled best friend is murdered by the sadistic Charley Rakes (Guy Pearce). Throughout, he courts a beautiful preachers daughter from a very Amish like sect. Her father is a scary looking, threatening man whose dialogue consists of looks and grunts but he does steal the scenes he is in because he is comical. In fact, there is minimal dialogue during this film but where there is dialogue, it is powerful which makes the saying ‘less is more’, truer.  Directed by Australian John Hillcoat (who also directed the Proposition) this beautifully filmed piece appears to contrast its setting from tranquil Southern country scenes to bloody violent Chicago gun fights over the illegal trading of alcohol during prohibition. The story is set in Franklin County Virginia and is beautifully shot by cinematographer Benoît Delhomme who is quite artistic in his representation of the work. A thrilling and bloody drama not to be missed.

Film. Step Up 4 Miami Heat

This hi-octane, feel good factor film is the 4^th installment in the Step Up movies, which despite the usual ‘please don’t make another sequel’ gets, better and better with a new spin on it. I know they’re just dance movies where the plot is exactly the same as the one before; girl from the right side of the tracks meets boy from the wrong side of the tracks, she’s a ballet/ contemporary dancer and he’s into hip-hop with a big gang, she loosens up trying hip-hop and he gets into contemporary dance. But with this movie, latest dance styles, better tricks and stunts and latest tunes I came out wanting to go straight to Pineapple for dance classes. Step-Up 4 successfully fuses the ever energetic hip-hop with contemporary dance and a plot twist .The flashmob scenes are so spectacular one wonders how kids from the street can afford souped-up cars, the costumes, the latest sound systems, professional art materials whilst uploading all these sequences onto a social website contest platform. The flash mobs must have taken months to choreograph and stage, they are that impressive. The flashmobs start out, art for arts sake then morph into making a political statement against the local Government and property developer in an attempt to foil the takeover of poorer housing and small businesses for redevelopment. The ending is always the same: girl and boy get together and the gang does one better by getting a publicity/ marketing contract. Lots of fun and great dance sequences.

Neville Staple (from the Specials-2 Tone Records) at the Islington Assembly Hall

Friday 8^th September 2012-09-07

Located on Upper Street the recently refurbished Islington Assembly Hall not only has a beautiful functioning stage but also is host to many a wedding, exhibition, conference and  ‘diverse range of performances’. The websites says, ‘the stunning hall, originally opened in 1930, has been fully restored to its post-war glory days. Retaining plenty of its original features (…) glorious interior decor and a fully sprung ballroom dance floor. There are also some modern twists to create a contemporary adaptable and accessible venue that has something for everyone.’ This is the third performance I have seen here, John Oates, Candi Staton and Neville Staple and his band. Neville was born on 11^th April 1955 making him 57 years of age. He has done a lot of living from what I have read and he kept reminding the audience that he is an ‘old man’ who can hardly stand? I attended his concert without doing my research first thinking it was either going to be R&B or from the Motown era but I couldn’t have been more wrong. Not being a fan of Ska or Reggae, I was standing in my orange maxi dress with little bolero, cream and gold sandals, hair piled up on my head with gold jewellery in the middle of 50-60 plus year old folk of all shapes and sizes jumping up and down and around like jellybeans on the beautifully sprung floor. It was also funny to watch the sound desk bouncing up and down too but these folk (dancing to the beat or not) were having the time of their lives. Some of these Ska fans were dressed in their tight fitting clothes from the 70’s or in regular street clothes ready for a night of sweaty dancing. And dance they did, they didn’t stop and were having a ball. Ska was a prolific style of British music in the 70’s growing out of Jamaica in the 50’s combining the styles of ‘Caribbean, calypso, jazz, reggae, rhythm and blues’ with a massive fan base of ‘British mods and skinheads, developing into three waves’. ‘Wave one was the 1960’s Jamaican influence, wave two was the 1970’s British 2 Tone revival and wave three was the 1980/90’s US era’. Growing up in Australia I remember commercial tunes from bands such as Madness and the Sydney based band the Allniters with their hit Montego Bay. Songs such as Baggy Trousers, A Message To You Rudy, On My Radio, One Step Beyond, Ghost Town, Israelites etc were popular and this crowd knew all the words. It was probably a good thing they were singing out loud as Neville’s voice was faltering with age but the combination of the crowd singing in full boisterous voice, the band’s 5 piece and backing vocals with the repetitive Ska beat music wasn’t reliant on Neville’s lead. I did see him next to the CD and T-shirt stand and noticed he is a man of great stature as well as having a relaxed, effortless rock star look and poise. The warm up act included Neville’s keyboard player and drummer, use of a different bass player and a very talented young man ‘Jesse Budd’ on vocals and playing guitar. His guitar playing was mighty impressive but not his inaudible patter with the audience, which led to one man to yell out ‘get on with it!’ The young lad, Jesse, with really dark circles under his eyes, took it all in his stride though and knocked everyone’s socks off with his ‘singing’ and multiple guitar playing techniques. The band named Flipron:  http://www.flipron.co.uk/

threw the audience badges with their name on it. Their new single, out on Monday 10^th September ‘The Comet Returns’ features Neville but Jesse is definitely an upcoming star with this new version and intelligent take on modernised Ska. Is this going to be wave four? The webpage has this depiction of Jesse: ‘He sings, plays guitars and other things and writes most of the songs. A contemplative, pensive type who, nevertheless, given the merest (spelled meerest on the page) whiff of an opportunity, seems hopelessly drawn to shameless frontman-style showing off. He will also talk far too long between songs, unaware of other band members nodding off or undermining his utterances with mocking gestures of contempt. His house is a grotto of worthless, broken musical instruments.’ The evening wasn’t my cup of tea but as an educator in classroom music I took this opportunity to appreciate the would be return of Ska culture (even if it was only at the Islington Assembly Hall) and looked on as others enthusiastically enjoyed Neville’s trip down memory lane recapturing the misspent years of this older crowd. 

Film Anna Karenina. Greenwich Picturehouse

11^th September. 2012

I look forward to a costume drama but movies with Keira Knightly beg me to question whether she is going to be any different than any of her other costume dramas? She is the same in this film even if she is charming and excruciatingly beautiful in Jacqueline Durran’s costumes. Poor Keira, she too must get bored of being a clothes horse for historical dramas even though Joe Wright seems to adore her having directed her in Pride and Prejudice as well as Atonement. Keira aside, I envisaged this film being shot against an Eastern European backdrop of devastatingly sumptuous landscapes much like Dr Zhivago but no. I didn’t know what to make of the film’s first 10 minutes and was thoroughly disappointed wondering what the director was doing until I persisted, watching the film grow into an opulent, sweeping, utterly romantic (between Anna and Vronsky and not Kitty and Levin), incredible and cleverly staged, theatrically produced tragedy, set in Tsarist Russia. For Wright, it’s all about the stylised images cascading over each other from one scene to the next. The artistically appealing score by Dario Marianelli is so appropriate for this film that awards should ensue for his exquisite work. I was astonished beyond belief at the transportation into theatre land, which I love and know so well. All my personal reference points were framed within this staged production because that’s what it is, a staged production, which included a horse race where a horse dives off the front of the stage. The film set is a theatrical stage in which Tolstoy’s novel takes place in 1874 Imperialist Russia with Tom Stoppard’s adaptation. The director uses the main stage with footlights, fly floor, wings, sub stage and auditorium for the story’s different scenes: ballroom dances with beautiful choreography and an emphasis on the fluidity of the arm and hand movements, the countryside, train stations, inside the train, houses, office, opera and the well to do social gatherings of the Russian aristocratic society where to comment and be seen in the right circles is the mainstay of their lives. Moscow is often mentioned as boring by the aristocracy preferring to reside instead in St Petersburg or Peter. The novel reflects the changing social and political climate of imperialist Russia depicting many an unhappy marriage where staying together for the sake of the children is imperative and divorce is completely out of the question. In Anna’s case, leaving the marital home and her beloved son means she is able to breathe again despite the stigma of being a social outcast and breaking the rules which inevitably leads to her ultimate demise, suicide. Jude Law plays Anna’s husband Karenin (working for the good of public Russia but is made a cuckold of) is the complete opposite of his youthful ingénue characters of the past which is good to see and the young Vronsky played by the astonishingly handsome and wide eyed Anton Taylor-Johnson takes ones breath away. His satirical comment that he doesn’t want to live his life in an operetta is quite telling considering the staging but he also posses a talent for moving around the dance floor with grace and ease despite his unconvincing portrayal of an officer. The dense and lavish images stay long with you after the film has ceased. Visually impressive moments are: Jacqueline Durran’s costumes which are stunning and a notable wonder, also the disturbing depiction of the train worked being killed at the beginning of the film and the theatre overflowing with flowers. The variations of love are woven through this novel: the adultery of Anna’s brother Oblinsky all the while knowing his wife remains devoted despite her anguish, Anna’s heated, demented and torrid sexual encounters with Vronksy resulting in guilt and paranoia in which drinking morphine is the only immediate escape, Lenin’s quiet longing for Kitty after she refuses his proposal of marriage and Karenin’s disassociation and indifference to his wife. It isn’t a perfect film by any means but it is visually enchanting.