Theatre and Movie Reviews November 2012
Dead On Her
Feet at the Arcola Theatre
Friday 2nd
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 4th
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 1st
November. 2012
The 50th
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 7th 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 3rd
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 12th
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 30th
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 16th
November 2012
After having a
great day teaching at my 100th 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.
