Tanika Gupta’s superb reimagining of Henrik Ibsen’s modern classic A Doll’s House is both entertaining and deep.
Anne Washburn’s latest offering, Shipwreck, is a marathon play at the Almeida Theatre that takes direct aim at the Trump Administration.
Love London Love Culture rounds up the reviews for Rupert Goold’s production of Shipwreck, playing at the Almeida Theatre until 30 March 2019.
Shipwreck has its moments and the cast are uniformly excellent, but without strong character investment it dwindles to little more than a few well-hashed arguments we’ve all heard before.
The Almeida Theatre has announced the full cast for the world premiere of Shipwreck by Anne Washburn (The Twilight Zone, Mr Burns), directed by the venue’s artistic director Rupert Goold, running from 12 February to 30 March 2019 (press night is 19 February).
Robert Hastie’s opening salvo as the new Artistic Director of Sheffield Theatres might not immediately quicken the pulse as we’ve hardly been lacking for productions of Julius Caesar. But it is soon apparent that this is a canny director at work
It’s that time of year again when I am publicly shallow in my appreciation of the men that grace our stages – and given the hit counts I get on these annual posts, you’re all just as thirsty as me! (Note from Mates: Visit Ian’s site for many more, and more revealing, pics of each – plus archive lists since 2009!)
New entries this week are The Invisible Hand at the Tricycle Theatre and The 3 Penny Opera at the Natonal, and its the last chance to see Les Blancs, The Flick and People, Places and Things
New entries this week are the return of Funny Girl, transferred from the Menier to the Savoy, and A Midsummer Night’s Dream at the Globe.
The night after opening in the West End, Daniel Evans Sheffield Crucible production of Show Boat shoots straight into the top slot of Mark Shenton’s regularly updated list of top ten ticket recommendations. What are the other risers and fallers. Follow links to book tickets.
New entries this week in Mark Shenton’s Top Ten recommendations are Les Blancs at the National and How the Other Half Loves in the West End. Get tickets for all ten shows here.
After re-visiting The Book of Mormon, it makes it into this week’s Top Ten; so does People, Places and Things, newly transferred from the National to the West End. Plus, this week’s openings and other recommendations.
Directed by Paul Hyett
Helming his second full length feature, Paul Hyett’s Howl is a movie whose title along with the poster’s full moon, give a clear hint at the story’s lycanthropic pitch and proves to be one of the year’s best horror pictures so far.
Some of the best werewolf movies have been made in Britain and in one of the most imaginative takes on the genre since John Landis’ groundbreaking An American Werewolf In London, Hyett’s yarn (penned by Mark Huckerby and Nick Ostler) kicks off in the comfortingly familiar surroundings of Waterloo Station.
Train based terror has long fuelled the romance of ghost and horror tales and in a summer that has rail strikes gripping the nation, it’s refreshing to watch Alpha Trains’ (a fictional company whose livery is only loosely based on South West Trains) evening express pull out of the London terminus, with its dozen or so souls on board heading towards far more than their usual Waterloo sunset.
There is an ever-so British budgetary constraint to the movie that suggests an air of Hammer Horror. The cast are far from household names, (though in a neat touch, Rosie Day and Sean Pertwee, both carryovers from Hyett’s The Seasoning House make short-lived cameos) the purpose built railway carriage set wouldn’t withstand the scrutiny of even a mildly obsessive train-geek and some of the matte work is cringeworthy. But no matter, for as a deer on the line brings driver Pertwee’s train to a shuddering and unscheduled halt, it is only a matter of time before (nearly) all of the onboard souls succumb in turn to beautifully brutal slaughter.
In a sometimes creaking story, the director’s skill lies as much in the suspense he’s woven into the film as it does in the gruesomeness of his imagery. Having cut his teeth (sorry) designing special make up and effects for creature features such as The Descent movies, Hyett has a keen eye for what shocks. To be fair there’s nothing here that quite matches Rick Baker’s award winning genius in American Werewolf, but Hyett knows his craft.
Also impressive is that amidst a script of occasional corniness, (The Seasoning House had a far superior text) Hyett coaxes performances from his cast that convince throughout. Ed Speleers leads as a bumbling train guard searching for the hero inside himself, whilst Elliot Cowan is Adrian, a handsomely chiselled bounder and a womanising cad who in a neat post-modern touch reveals that he won’t employ women at his City finance house because of their annoying tendency to fall pregnant. Back in the day it used to be that just being a bastard marked a character out to deserve a spectacular death – turns out in 2015 he has to be a sexist bastard too.
For the cinephiles playing werewolf bingo, Howl trots out most of the tropes, (but not all mind, there are no silver bullets in this picture) with the occasional twist. We’ve been brought up to know that those bitten by the beast have to become werewolves themselves. Hyett however offers up a nod to the zombie genre by having his victims spew that particularly dark red blood, only ever found in those transitioning to the world of the un-dead. There is also a lovely touch as Ania Marson, Jenny an elderly female victim, finds herself vomiting out her dentures, only to then develop a far more useful set of incisors, infinitely superior to anything available on the NHS.
As Ellen the train’s trolley stewardess, Holly Weston gives an assured performance that suggests a hint of sexual frisson and rivalry amongst the characters, whilst Calvin Dean’s Paul provides occasional moments of drunken slob comedy (and classy suspense) before his number’s up.
Whilst Hyett’s best may yet await us, Howl remains a ripping yarn, cleverly realised and yet again, only enhanced by Paul E. Francis’ intelligent score. Not just worth the ticket and popcorn, it’s a great date-movie too.