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Posts Tagged ‘Lesley Manville’

This is the play that started my obsession with the work of American playwright Eugene O’Neill, more than thirty years ago in a Jonathan Miller production with Jack Lemon as James Tyrone and Kevin Spacey as James Tyrone Jnr. I was the same age as James Jnr. Now I’m the same age as James Snr. Subsequent productions had Timothy West and David Suchet as James Snr. The 2000 West End production had Jessica Lange as Mary Tyrone, with Olivia Coleman as the Irish maid. Now its the turn of Jeremy Irons and Lesley Manville.

It’s O’Neill’s most biographical play, which he insisted wasn’t published until 25 years after his death, and never staged, but his widow didn’t honour this wish. It’s a long play, 3.5 hours in this Richard Eyre production, part of the Bristol Old Vic’s 250th anniversary programme. It takes place over one day and night in one room in the Tyrone home. James is a Shakespearean actor, drinks a lot and is a bit of a bully. His wife became addicted to morphine during her recent illness. Youngest son Edmund is seriously ill. His elder brother has followed his father into acting, more by default than anything else. The only other character is Cathleen, the Irish maid, whose scenes bring some light relief to what is otherwise a rather depressing piece.

Rob Howell’s impressionistic design is beautiful, also lightening the gloom of the play. The performances were a touch tentative at first, but became more natural as the play unfolded. Jeremy Irons’ James is an appropriately charismatic presence as James. The wonderful Lesley Manville navigates Mary’s decline delicately, with carefully controlled emotionality. Rory Keenan plays a spiky James Jnr, under the influence of alcohol most of the time, and Matthew Beard a fragile Edmund, both excellent. I very much liked Jessica Regan’s cameo as Cathleen.

This is a high quality revival and its good to see another Bristol Old Vic production in the West End, but it didn’t engage me emotionally or maintain my attention as it should, probably more to do with me and the night I went. Don’t let me put you off.

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Perhaps it wasn’t the play to end an exhausting day, but as much as I enjoyed the staging and acting of this 90 minute Ghosts, I left the Almeida thinking the universal euphoria was maybe a bit over-the-top.

You can see why Ibsen’s play shocked 130 years ago. Widow Helene Alving decides to invest the inheritance from her unhappy marriage in an orphanage and uses Pastor Manders to make it happen. The past comes back to haunt her – the truth of her relationships with her husband and the pastor, the reasons for the sickness of her son and the parentage of her maid. Adultery, illegitimacy, sexually transmitted diseases and the church in the 80’s – the 1880’s!

It’s beautifully set on Tim Hatley’s partly transparent / translucent set. Lesley Manville is wonderful as Mrs Alving and there are fine performances from Will Keen as the pastor and Jack Lowden as her son Oswald. I’m not sure why the maid and her father have Scottish accents, but it didn’t detract.

In truth, it isn’t a favourite play by a favourite playwright, but it seemed to me that, unlike the Young Vic’s recent A Doll’s House or director Richard Eyre’s own Hedda Gabler at the same venue eight years ago, it isn’t as revelatory or illuminating. I can’t say I regret going; maybe its just another case of failing to live up to the critical hype.

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Seeing Saved two days before prepared me for a depressing experience. …….but Mike Leigh’s Grief isn’t depressing, it’s just sad.

We’re in 1957/58 and Dorothy still hasn’t come to terms with being a war widow. She struggles to maintain a functional relationship with her teenage daughter Victoria. Her brother Edwin lives with them but contributes nothing. Victoria does teenage rebellion. Edwin pours the sherry and occasionally breaks into song, with Dorothy joining in. Dorothy makes the tea. Their lives are dull, predictable and ever so sad. The performances of Lesley Manville, Sam Kelly and Ruby Bentall are however extraordinary.

Light relief is provided by occasional visits from Edwin’s friend Hugh (a lovely cameo from David Horovitch) and Dorothy’s friends Gertrude and Muriel, a terrific double-act from Marion Bailey and Wendy Nottingham. These three boast about their children’s achievements, their foreign holidays and their charitable acts. They also provide some well needed laughs to break up the sadness.

Alison Chitty’s design is pitch perfect late 50’s and I found myself spending much of the time soaking up the details of the brilliant set and costumes. This attention to detail is matched by the performances where every expression, glance and shrug seems to have meaning.

There are far too many short scenes, which creates an unsatisfying staccato feel and disrupts the flow of the piece. It’s a moving portrait of grief and sadness but it doesn’t really go anywhere and outstays it’s welcome by at least 30 minutes. Go for the performances and period picture, but don’t expect  much of a drama.

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Contemporary Music

Another gem at the lovely Union Chapel – The Carolina Chocolate Drops – absolute joy! Since I first saw them at Bush Hall a couple of years ago they’ve grown – and so has their audience. They play an eclectic mix of bluegrass, country, blues and jazz on fiddle, banjo, kazoo and percussion (including bones and jugs!). The between song chat between and by Dom and Rhiannon is charming and you feel you’ve got to know them as well as their music. Thoroughly uplifting.

Gem followed gem with John Hiatt delivering a glorious set at the Shepherd’s Bush Empire one week later. The new band is great, though it did seem to limit his song choices meaning there was less light & shade than we’re used to from Hiatt. That said, it was a terrific 2-hour rock / blues set with the second encore – Riding with the King – a magical five minutes in a lifetime of concert going.

Opera

ENO’s Radamisto was a musical treat with six well-matched performances (though Ailish Tynan almost stole the show) and the orchestra sounding lovely. The production / design, however, was often baffling. The first half had giant walls covered in black and red flock wallpaper and Prince Tigrane was played for laughs by the aforementioned Ailish Tynan in padded suit, false moustache and fez. Why? A rare lapse in intelligence from director David Alden.

Another lapse at the Guildhall School of Music & Drama, I’m afraid. Spinalba is a rarely performed early 18th century opera by an obscure Portuguese composer with Italian influences. Stephen Metcalf has set it in a contemporary old people’s home where the residents are rehearsing the opera. It’s a similar story to Shakespeare’s Twelfth Night and this production idea makes it virtually impossible to follow. To be honest, most of the time I didn’t know who was who or what on earth was going on in the opera within the rehearsal – I accept its innovation and cleverness, but at the expense of a complete loss of a story and characters? The music was pleasant if undistinguished and there was some good singing and particularly good playing, but it was all lost in ‘the big idea’ and I’m afraid I couldn’t drag myself back after the first 100-minute half.

Film

I found Social Network a fascinating insight into the extraordinary story of Facebook. It unfolds like a thriller, draws you in and keeps hold of you for the duration. Free of gimmicks, it’s beautifully filmed and edited with great performances. It’s great to see a young British actor (the excellent Andrew Garfield) get a Hollywood lead (playing an American too!), no doubt thanks to executive producer & honorary Brit Kevin Spacey CBE

Mike Leigh’s Another Year is charming and poignant, and a lot better than his last film Happy Go Lucky, but I still think he does edgy better than wistful! A study of loss and loneliness, each character is well developed and each performance is beautifully judged; Lesley Manville is simply terrific.

Filming the last part of Harry Potter was always going to be difficult but I’m not sure splitting into two, with the first half merely a long set up for the conclusion, was wise. Much of it is desperately slow, there aren’t enough ‘wow’ moments and the absence of scenes in Hogwarts and other iconic locations leaves you feeling a bit cheated. Of course, I’ll have to see the final part – let’s hope it’s a hell of a lot better. 

Art

I adored the Glasgow Boys exhibition at the Royal Academy, Unknown to me (and I suspect many others) these late 19th century artists stand up well against their contemporaries, the impressionists and post-impressionists. Their style is sort of Pre-Raphaelites meets Arts & Crafts and I loved it.

I learnt more from the British Museum’s Egyptian Book of the Dead exhibition than I did in two weeks in Egypt! It’s brilliantly curated; looking at lovely objects and learning about the practices of a great civilisation are given equal prominence and are equally rewarding – possibly the best of their big Reading Room exhibitions. 

Those wonderful people at Artangel have done it again with Surround Me, a song cycle for the City of London by Susan Philipsz which consists of pieces of appropriate early music broadcast at six locations across the city. Walking between them when The City is empty on a Sunday added to the pleasure. I sincerely hope she wins the Turner Prize, because the other three at the Tate Britain exhibition are dire! 

I’m afraid Treasures from Budapest at the Royal Academy was too full of things I don’t like – Madonna’s, Christ’s, still life’s and dimly lit drawings – to be at all enjoyable. With hindsight, I should have raced to the last three rooms and given the rest a miss.

James Turrell’s exhibition at the Gagosian includes a light installation for one person at a time. You enter it laying down on a sliding ‘tray’ and stay in there for 15 minutes. I’m not sure if I could have coped with that, but all the ‘slots’ are booked anyway, so I didn’t have to decide! Fortunately, the other two pieces – particularly the elevated ‘room’ you walk into where colours change and your perceptions are manipulated – are well worth the visit without it.

Kings Place is becoming completely indispensible and when I went this month there were no less than four exhibitions, plus interesting sculpture all around the atrium and outside. Developments in Modern British Art was a small but fascinating selling exhibition which included Sickert, Hodgkin and Riley amongst others. Face to Face was a captivating selection of c.60 British self-portraits from Ruth Borchard’s extraordinary collection. Jazz Legends was a superb selection of Sefton Samuels B&W prints of musicians from the 50’s through the 90’s. Norman Adams paintings had been hidden away so you had to hunt for them, but when you found them they proved to be a pleasant surprise. Amongst the sculpture, there was a terrific revolving water screw feature on the canal side. I didn’t go to either of the two concert halls on this occasion, but all the exhibitions are free and we had a great lunch in their restaurant. As I said, indispensible.

Visits

A visit to Sands Film Studios in Rotherhithe with the V&A Friends proved to be absolutely fascinating. It is an extraordinary place (think Dennis Severs House) over three floors of a former warehouse housing film stages, scenery costume and prop stores & workshops, a unique screening room / cinema and a picture research library. It’s run by two characters – Christina & Olivier – whose respective families also live there. Their most famous production is probably the brilliant 2-part 6-hour Little Dorritt made in the mid-80’s; the entire film was shot in 9 months inside these studios (no external filming) with every set, prop and costume handmade here too. There can be nowhere else like it and I feel privileged to have visited it as I suspect it won’t be able to survive this modern world; today they spend most of their time and effort making and hiring out period costumes – if you catch the forthcoming Treasure Island on Sky (I won’t!), it will be their craftsmanship behind the costumes.

I visited the new Supreme Court, again with the V&A Friends, and as much as I loved the building and found briefly sitting in on proceedings interesting, I could have done it all a lot cheaper and at my own pace by just turning up and moving between the three public galleries and wandering around the building; the guide added little. It’s a lovely restoration of the Middlesex Guildhall with original ceramics and woodwork alongside Peter Blake carpets and modern drapes and glass. In Court Two there were 5 judges, 13 barristers, 2 solicitors and 5 clerks hearing a case about knitting factory noise in the 70’s and 80’s – all that expense from my taxes rather wound me up!

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