Upright. New TV series by Tim Minchin.


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I’ll start by confessing that Tim Minchin has done nothing.  NOTHING for me in his fairly long and, largely, highly succesful career, so when it was suggested I watch this I doubted I’d get past episode one.

How wrong could I have been?

By the end of episode eight, binged in two days, the tears rolled down my cheeks.

It’s bawdy, ballsy, rude, ridiculous, hilarious, breathtaking, touching, sincere and is based on a largely unpredictable storyline that twists and turns like a Tasmanian Devil.

It also features a stand out, frankly equal footing, performance by 19 year old Australian actress, Milly Alcock, remember that name, she’s the next Margot Robbie.

A truly excellent TV series, right up there with Succession, Fleabag and Chernobyl as my favourites of 2019.

 

Little Women: Movie Review.


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I haven’t read Little Women by Louisa May Alcott, neither have I seen any of the previous film incarnations of her famed novel, so I came to this with no expectations other than that the cast is stellar and the director, Greta Gerwig, is highly noteworthy. (Lady Bird was superb in my opinion – next up is Barbie, written by Noah Baumbach and starring Margot Robbie – that should be interesting.)

What interested me structurally about the movie is that it is essentially both an autobiography and a fiction – the novel itself is represented as little stories but the narrative describes how the book came about.  For some critics this has been problematic as it requires (or allows if you prefer) a considerable amount of time-switching, that is not always captioned for the hard of intelligence.

The movie is an emotional rollercoaster with peaks of hilarity and depths of real pity as the four March sisters, that make up the main protagonists, live a struggling middle class life surrounded in close proximity by deep poverty and significant wealth.  It is this relationship with money, and the pursuit thereof, that is the central philosophical backbone of the movie and allows for many excellent vignettes and clear messaging that money is not the root of all happiness.

On the side of the rich sit three excellent portrayals; Timothy Chalomet (outstanding as the main love interest Laurie), his wonderful and generous of spirit grandfather (played beautifully and touchingly by Chris Cooper) and the ‘evil'(ish) rich Aunt March (Meryl Streep).  Laura Dern continues her annus mirabilis as the girls’ mother (it complements her performance in Marriage Story.)

More than once the beautiful tableaux’ that Gerwig sets up reminded me of Dorothea Langue’s Migrant Mother.  In that it resonates love and tenderness in the face of adversity.

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This is a tremendous piece of film making in every way.  It’s funny, moving, beautiful to look at, poignant and thought provoking.

Saoirse Ronan is excellent, as always, but Florence Pugh’s ability to appear both 14 and 26 is even more remarkable.  Emma Watson is solid and poor little Beth is played touchingly by Eliza Scanlen.

Overall it’s a great ensemble production with the real star of the show, Great Gerwig.

Bravo!

 

 

 

Present Laughter at The Old Vic: presented by NT Live.


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I won’t dwell too long on this because it isn’t easy to see, although I think an ‘Encore’ screening is happening again in Edinburgh, in December.  if it is You MUST go see it.

We saw an NT Live screening of it in Leith on Thursday, and it is fantastic.

Although it’s described as an ensemble cast this is one thing above all others, Andrew Scott.  (You know, the sexy, sorry girls he’s gay, priest from Fleagbag?)  He is screamingly, achingly, outrageously funny in a performance that must shed a few pounds in weight each night.  He must have slept well on matinee days.

It’s a simply miraculous performance with so many nuances that you simply sit mouth agape at times.  The laughter, by now, being too painful.  This must be in line for theatre prizes galore.

Noël Coward’s writing seems incredibly of now, and yet the play was written in 1939.  It’s aided by the gender-swapping of Helen and Joe Lyppiatt, so that Garry Essendine’s central character becomes bisexual (homosexual really) and it’s this confusion over his sexuality that makes it far more contemporary than it might have been.  Indeed In the 1970s the director Peter Hall wrote, “what a wonderful play it would be if – as Coward must have wanted – all those love affairs were about homosexuals”.

Director Matthew Warchus has to take the credit for manifesting the legendary Hall’s vision and for pulling off a series of performances that, despite being wonderfully OTT, fully engage the audience.  In particular the thunderously rousing assault that is Daphne Stillingon (by Kitty Archer) is simply breathtaking.  In no other circumstances would she remotely have got away with it.

Every moment of overacting (that clearly Garry is guilty of on the stage) has a knock on effect on the rest of the cast (when a butterfly flaps its wings in the Amazonian jungle,  a storm subsequently ravages half of Europe).

Most notably Garry’s secretary Monica Reed (Sophie Thomson) is simply hilarious and Suzie Toase as Helen (should be Henry) Lyppiatt.

The one calming influence in all this is Garry”s estranged wife, Liz (a beautiful study in arch wit by Indira Varma).

Amidst all this hilarity it’s clear that, hidden by the bravado, Garry is a bundle of self doubt.  Indeed his surname, Essendine, is an anagram of “neediness”.  I don’t think that’s a coincidence.

A tremendous and exhausting tour de force that deserves all the five star reviews it mustered in the summer.  See it if you can.

 

 

 

 

 

Local Hero by Bill Forsyth & David Greig: My Thoughts.


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It was announced that Local Hero could be a possibility while I was still on the Royal Lyceum board three years ago and it seemed like a wild dream, almost a fantasy really; that one of Scotland’s most iconic movies could be turned into a stage play, and a musical at that.

Even though it rates only a solid, but unspectacular 7.4 on IMDB, it has been taken to Scotland’s heart.  I only watched it myself, a month ago, in anticipation of this production finally, miraculously landing.  But I wasn’t overly taken with the movie I have to say.  It has dated and I found too many of the performances pretty easy to criticise and that let  it down. So I approached last night nervously.

There was no need to worry.  This is a smash hit in the making.  The buzz around The Lyceum was palpable and the after show party felt like the West End had dropped into Edinburgh.

The Director is John Crowley for God’s sake – he of the Oscar-nominated movie Brooklyn: the man who has just directed the most anticipated movie (for me anyway) of 2019; The Goldfinch.

The set designer is Scott Pask – Book of Mormon – heard of that?

And, of course, the music was developed and expanded by none other than Mark Knopfler himself.

The cast is not a Take The High Road reunion, indeed only two of the 15 have ever appeared on The Lyceum stage, and have Girl From The North Country, Kinky Boots, Our Ladies of Perpetual Succour, Les Mis, This House, Wolf Hall , School of Rock and Sweeney Todd, amongst many others, littering their CVs.

This is the real deal.  This is monumental ambition for a 600 seat theatre in  Scotland. (Albeit the Old Vic are co-producers).

So, onto a couple of old upturned fish boxes sidle Matthew Pigeon, as Gordon the hotel-owner and chief negotiator, and Ownie (Scott Ainslie) to conclude Ownie’s accountancy requirements with change from a fiver.  If only Gordon had change.

It’s a quiet start that does not prepare you for the technical wizardry that underpins the first showstopper of the night, “A Barrel of Crude”.  And there’s a laugh right from the off. Light humour that litters an excellent script.

Through the opening half hour the lilting lament that formed the musical motif of the movie slips and slides into earshot before finally emerging fully formed.  It’s beautiful.

The story is pretty much as per the movie, but the morals feels somehow even more upfront as we chart the greed of the locals over the environmental consequences of their signing away their home village of Ferness (You can’t eat scenery though).

The big bad American oilman (played impeccably by Damian Humbley) is a great foil to Katrina Bryan’s Stella and Matthew Pigeon’s Gordon in a love triangle that doesn’t really quite come off (that would be my only real criticism of the show).

I particularly liked the movement in this (directed by Lucy Hind).  It’s a play about contrasting scales (big skies, small villages, small-mindedness and big ambitions) and what she skilfully does is play with that scale through subtle but lovely choreography to bridge scenes and dramatise that juxtaposition of scales.  It’s really nice to see great movement that’s NOT trying to be John Tiffany: again.

The dance movement is slick and light of touch.  With a big mixed-age, mixed-size cast that’s no mean feat.

The band is top notch and excellently MD’d by Phil Bateman on keys.

Although the score is inspired mainly by the Celtic canon it succeeds much more than Come From Away (that I saw on Monday) which too draws from that canon – but does it to death.  Here we have ballads, tangos, a bit of rock and roll and, yes, that plaintive motif.

The light and shade in this production’s musical content, for me, frankly blows the multi Olivier-nominated Come From Away out of the water.  Indeed, on every level this is a much more enjoyable evening of theatre – so roll on the Oliviers 2020.

The comparisons can’t fail be made – both are Celtic musicals set in tiny communities, in wildernesses where big America comes to visit.

The Local Hero ensemble is universally excellent, the direction superb but the showstopper of it all is the scenic design.  You’ll need to see it to appreciate it.  I ain’t gonna do it any justice here.  All I’ll say is this.  You haven’t seen the aurora borealis until you’ve seen Local Hero at The Lyceum.

Bravo Lyceum.  Bravo.

The show richly deserves both its standing ovation and the Sold Out boards you’ll find in Grindlay Street for the next six weeks.

(I did take a peek at the website box office and you CAN get tickets for late in the run.  I’d do it if I were you.)

 

A ferocious, brutal and hilarious piece of theatre that will take your breath away. Ulster American at The Traverse Theatre from 20 Feb.


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I saw this at last year’s Edinburgh Fringe Festival.  It was the best show in The Traverse’s best Fringe for years.  Gobsmackingly brilliant and it’s back with the same cast.  A bigger venue, but what could possibly go wrong?

At the time I described it as the bastard child of Aaron Sorkin, Frankie Boyle (maybe Jerry Sadowitz) and Martin McDonagh.

I can’t recommend it enough.

But it’s sweary, violent, sexist, outrageous, scary, rude, bawdy.  If you don’t like any of those things you’ll just have to fuck off and watch Strictly.  (You twat.)