Saturday 3 December 2011

The Playboy of the Western World at The Old Vic by JM Synge


When this play was first on stage, back in 1907, it was received badly, causing riots in Dublin. Although hard to believe today, such are the issues raised by the playwright. The Old Vic’s version is a commendable performance, with plausible accents and gripping scenes. The themes and social context is positioned well with the performance with well placed nuances.
The folk singers and musicians heighten the atmosphere and create the right blend to accompany the storyline. Furthermore, this emphasises the roots of the original. Viweers need not know the historical or political background to appreciate the dark comedy or situations in order to appreciate and enjoy the play. In additon to this, the way that the stage design rotates are different points in the play adds a three dimensional quality to it. Although most of the action takes place in Pegeen Mike’s inn, the aura of the outside world is made more alluring by the stage design. We are given a glimpse of untouched countryside with the cleverly designed window scene.
It must be added that this play is wonderfully creative in the use of language. Not only does it preserve the original script, it keeps is fresh and quirky. Viewers are able to appreciate the quips and action. The language does not weigh down the humour or storyline, which can often prove a challenge with a new production.

Refreshing, lyrical and engaging. The Old Vic puts on a great cast and performance. One to be preserved and brought back to stage.











Gwendolen Chatfield
Karen Cogan
John Cormack
Niamh Cusack
Drew Dillon
Christopher Doyle
Diarmuid de Faoite
James Greene
Gráinne Keenan
Frank Laverty
Gary Lydon
Ruth Negga
Robert Sheehan
Bronagh Taggart
Kevin Trainor

Director
John Crowley
Designer
Scott Pask
Lighting
Howard Harrison
Music
Philip Chevron
Sound
Christopher Shutt
Casting
Maggie Lunn

Tuesday 1 November 2011

Snowdrops by A.D. Miller

(Shortlisted for the Man Booker Prize 2011)

A poignant tale which takes a twist on the classic crime novel. The descriptions of Moscow as a city, Moscow as a victim and its people too are surreal. A.D.Miller is able to describe in a way that does not rely on adjectives alone. The juxtaposition of what he describes and the backdrops used provide clear visions of a post-war Moscow.

The novel is narrated in the first-person almost throughout, with small snippets of direct speech to break it up. This works well in that it provides the reader with an outsider's viewpoint of Russia. Characters in this novel are described mostly through Nicholas's viewpoint. However, there is clear authorial intrusion in the way that Masha and Katya are described. Their clothing, their behaviour and their words which we get through direct speech, all indicate to the reader to take an immediate cold approach to them. The depiction of Russia, from its customs to the weather is very detailed, yet done in a subtle minimalist manner, again without the over use of adjectives. All this builds up a picture with which we are able to see strong contrasts to English culture and life in London.
 
As an outsider, we feel frustration at Nicholas’ lack of vision. Yet, at the same time, small actions and sentences throughout make us believe that he knows he is being taken for a fool, but he would rather withstand it is it means a life of excitement, danger and sexual satisfaction. Does Nicholas put up with it for a small price as money is disposable and it is worth the small excitement, danger and better than being alone? We get a sense of a lack of satisfaction of his life in London and Luton from what we are told about his pre-Moscow life and also from his Christmas visit back home to Luton. There is also the ambiguity of Tatiana’s innocence. How involved is she? Does she get her stake of the money and is on the scheme with the girls or is she also made a fool and left homeless on the streets? There is a strong sense of Russia and how the country’s politics have made up its people. Snowdrops not only describes the buried dead but also the lack of feeling, warmth and humanity in the country as a whole; how they have become so due to circumstance and instability – almost as a fight to survive on an autopilot mode. We are given a small sense of sympathy from the way that Masha and Katya describe the lack of opportunity and even the way that Nicholas's suggestion that Masha is less guilty due to her natural mother's instinct to protect her son. 

It is fair to say that there is a sort of anti-climax once the reader finally discovers the fate of the events that the story builds up on. As we are given an indication of ominous endings from the very beginning we await the result with baited breath and as the story reveals itself, expect the worst outcomes. As a result, the very ordinary revelation almost baffles the reader: are we being told the whole story? Paradoxically, this is the beauty of the A.D. Miller's writing. With very few words, he is able to highlight the cold nature, corruption and crime. Furthermore, the multiple narratives that encompass Nicholas's life, from his neighbour's missing friend, to the deadlings of his corporation, we are naturally expected to believe that the stories are loosely linked in some way. These anecdotes also heighten our anticipation. As a result, the effect is twofold: we question and compare between unfeeling and remoteness, morals and corruption.
 
Some may argue that characters are rather two-dimensional in this novel and that the prose is rather linear. I would argue that this actually highlights the writer's strength. Even though there is a lack of direct speech and just the single narrative viewpoint throughout, it is clearly more than the protagonist's viewpoint. In fact, by the reverting back to storytelling mode to his fiance, the readers is reminded that the events are told partly on reflection too. I would say that this is an extremely unique writing style to adopt, which A.D.Miller does skillfully.

Nicholas as a narrator makes it known to the reader about what a flawed character he is. This is refreshing to read not only as a storyteller but as an observer. His insights into Russian culture and society and his observations are well-balanced so that this is not too much of a shocking read.All in all, a strong contender for the 2011 Man Booker Prize and a worthy read.

Sunday 14 August 2011

Journey's End at The Duke of York's Theatre

RC Sherrif's World War I play is a classic, covering the messages and emotions of wartime and trenchlife.

The focus of the narrative is the relationship between idealistic and innocent Lieutenant Raleigh and the gallant and wearied Captain Stanhope. While many may see the play as old-fashioned, not only so in dialogue but in issues covered, this production lifts RC Sherriff's play to another level so that the emotions are conveyed in a very human like dimension.

Tear-jerkingly moving, funny, accurate and gripping. Skillfull acting, the kind which is able to transform and engulf you in what seems can be the only way imaginable so by the playwright. Particularly notable is the visibility of the characters' transformation through war and trenchlife. The endless waiting, the power of the mind and the horrors of trenchlife are all portrayed flawlessy. 
 
The final scenes leave you feeling overwhelmed with emotions. Powerful sounds, lighting and accurate stage design heighten all sensations. RC Sherriff's aim to convey the futility of war and the irony of patriotism is vivid.

Exemplary theatre at its finest. Highly commended and recommended.

Staring: Dominic Mafham, Graham Butler, James Norton, Tim Chipping and Christian Patterson.
Director: David Grindley
Designer: Jonathan Fensom
Lighting and Sound: Jason Taylor and Gregory Clarke
General Manager: Gareth Johnson


Sunday 26 June 2011

500 Days of Summer directed by Marc Webb

The title of this film creates much intrigue. Before the film even begins there is suggestion that there is more than meets to the eye to what may seem like just another rom-com. As the narrator tells us "this is not a love story".

The narrator plays an important role in the film. He guides the viewer to follow the story in the correct manner, as an outsider looking in. Much like authorial intrusion in a good novel, the narrator give a voiceover that is ever so slightly biased. Yet, the narrator's presence is not overpowering. Viewers are still able to intererpret and explore scenes in their own manner. In addition to this, the way in which the film plays in flashbacks, with the small help of flashcards with figures to help viewers keep on track, is brilliant. This gives the film a reality edge that makes it so unique. In real life, memories are non-linear and some memories are stronger than others, especially where love and romance are concerned. The film portrays this spot-on and outlines the underlying theme: the relationship between our consciousness and blurred reality when love takes a front seat.

I loved Rachel's role in this film- she is Tom's wise, younger sister who he turns to for advice. The way in which Rachel's character is portrayed: as Tom's consciousness and voice of reason, is excellent. Although the way the film is rolled out in flashbacks mean that we see events in memory form that are replayed in Tom's brain, Rachel's character and the narrator's subtle words remind the viewer that we are meant to look on as outsiders rather than through Tom's eyes.

A beautifully written and acted film. Creative, funny and thought-provoking. Almost everyone will be able to relate to it in some way or another. Finally, the ending is perfect as it suits every type of viewer, not too soppy nor hard-hitting.

"And remember, there is always another season ... maybe Autumn?"

Sunday 12 June 2011

Cause Célèbre at The Old Vic

Based on the true story of Alma Rattenbury who went on trial with her 18-year-old lover for the murder of her husband, Cause Célèbre is an intriguing tale of love, betrayal, loyalty and obsession.





The Old Vic's version of Terence Rattigan's final play Cause Célèbre is a theatre at its very best. I believe it works so well because the of how timeless it is. Themes of class, scandal and passion with the overlap of loyalty, morality and vice make for a perfect stage drama appealing to a wide audience. 


A compelling story, emotional and gripping; it will keep you guessing until the very end. Impressive costume and set design, especially so for the final courtroom act. Future productions will be hard pushed to match this spectacular performance by the winning combination of cast and production.



Cast:
Lucy Black
Timothy Carlton
Simon Chandler
Richard Clifford
Oliver Coopersmith
Niamh Cusack
Anne-Marie Duff
Rory Fleck-Byrne
Freddie Fox
Jenny Galloway
Patrick Godfrey
Nicholas Jones
Tommy McDonnell
Lucy Robinson
Tristan Shepherd
Richard Teverson
Sarah Waddell
Michael Webber
Tristram Wymark

Production

Director: Thea Sharrock
Designer: Hildegard Bechtler
Lighting: Bruno Poet
Music: Adrian Johnston
Sound: Ian Dickinson
Casting: Sarah Bird

Wednesday 18 May 2011

Another Year - written and directed by Mike Leigh

Another Year is a beautifully original and endearing film. Jim Broadbent and Mary Sheen team together and play the characters Tom and Gerry perfectly. Funny at times, sad a lot of the time yet heartwarming and thought-provoking too.

What makes this film powerful is the characterisation and subtlety of plot. The way that events unfold softly and the capturing of this through clever camerawork gives the viewer the upper hand: we are given the power to see through the characters not only neutrally, but through the eyes of Tom and Gerry too. Particularly impressive is the way that characters are uncovered through the film's progression. We see development and deterioration in some, yet there are others that remain unchaged. Furthermore, while on the one hand we learn more about Mary as the film goes on, we learn very little about Tom and Gerry: If we compare how much we learn about the couple from the beginning to the end, it is little. Yet, despite of this, we feel closer to the pair and more aligned to their way of thinking than we ever do to Mary. 

The characterisation, subtelties and camerawork give Another Year the edge of realism that puts it head and shoulders above other modern dramas. Theway in which it captures life makes it wholesome: how we all cope with what is trown at us and in turn how that makes or breaks us. Incredible acting worthy of many more awards.

Tuesday 5 April 2011

A Farewell to Arms: Ernest Hemingway

Keeping on the theme of war literature, this novel touches on the issues of war, mortality and love. What makes it stand out from other war literature is the way in which it is written. It is vacant and bare yet emotive and spells out the picture clearly.

The chaotic nature of war and how it drives nations and individuals is delicately explored. The well known way in which an idealistic, patriotic attitude disintegrates through time is highlighted in the main character. Other characters are also crippled emotionally. The war has changed them.

The underlying theme evoked in the novel is that moral progress in humanity can only be achieved through suffering.

One Day by David Nicholls

A novel about life, love, friendship and relationships that would appeal to both men and women. Not soppy romantic novelesque in the way the theme of love is treated, nor does it have lengthy descriptive passages; yet it manages to be utterly compelling. Situations, feelings and experiences felt in real life are those we have all felt in our own lives and can relate to.

Several narration techniques are used in the novel. It is told through the viewpoints of both main characters, Emma and Dexter, with authorial intrusion in parts throughout. The chapters switch from Emma and Dexter's life and from past to present, giving it the effect of living through memories and present day as the characters do themselves.  This also helps retain the readers' interest and raise many questions which we read on avidly in hope to have answers for. Even though the reader has the advantage of seeing the events unfold through both characters, Nicholls skillfully writes so that the reader is divided equally in sympathies and loyalties to Dex and Em.

What I most loved about One Day was how realistic it is and easy to relate to, whilst taking over your everyday life as you read it. The characters and their situations find themselves in your thoughts when you are not reading the book. It is also laugh out loud funny and full of literary goodness. Easy to read and great for those who love taking a trip down memory lane, it is nostalgic and warm. Highly recommended. 

Memorable quotations:

"Live each day as if it's your last', that was the conventional advice, but really, who had the energy for that? What if it rained or you felt a bit glandy? It just wasn't practical. Better by far to simply try and be good and courageous and bold and to make a difference. Not change the world exactly, but the bit around you. Go out there with your passion and your electric typewriter and work hard at ... something. Change lives through art maybe. Cherish your friends, stay true to your principles, live passionately and fully and well. Experience new things. Love and be loved, if you ever get the chance." - p.433 of the paperback version.

"You're gorgeous, you old hag, and if I could give you just one gift ever for the rest of your life it would be this. Confidence. It would be the gift of confidence. Either that or a scented candle" 

"Sometimes, when it's going badly, she wonders if what she believes to be a love of the written word is really just a fetish for stationary. The true writer, the born writer, will scribble words on scraps of litter, the back of a bus tickets, on the wall of a cell. Emma is lost on anything less than 120gsm."


Eternal Sunshine of the Spotless Mind - directed by Michel Gondry

A wonderful art film. I would say it is somewhat overlooked for the classic cinema techniques used. The storylines coils back on itself which means that events are redefined in several layers. This is a creative way of keeping the viewer's interest. 

For those who are able to relate to the feelings explored, from giving and receiving love and lost love, will appreciate the film for its subtelties. Very beautifully made so that the underlying messages are evoked without being spoken out too obviously. Finally, a feel good film for all, albeit in a complex way.

Praiseworthy performances by Kate Winslet and Jim Carey, showcasing their versatility as actors. 

Favourite quotations from the film: 

"Random thoughts for Valentine's day, 2004. Today is a holiday invented by greeting card companies to make people feel like crap" - Joel (voice over)

"How happy is the blameless vestal's lot! / The world forgetting, by the world forgot / Eternal sunshine of the spotless mind! / Each pray'r accepted, and each wish resign'd."- Mary, while reading to Dr. Mierzwiak out of Bartlett's Familiar Quotations, the lines are from Alexander Pope's poem Eloisa to Abelard.

"Sand is overrated. It's just tiny, little rocks."- Joel