There aren't many reasons to go out in Cardiff on a Monday night, but the chance to see Billy Connolly is one of them. Having seen him at the Millenium Centre in 2007 I wasn't overly excited about this show but I was interested to see if the great man had lost any of his touch.
I shouldn't have worries. A packed audience at the Powerpoint arena was in the mood to laugh. Billy Connolly needs no support act, big build up or computer graphics, he just appears and does what seems natural and effortless.
He immediately acknowledged the fact he is getting older (he is now 69) which makes his rambling style seem even more shambolic than usual. On the previous occasion I saw him it was apparent he eased himself in for the opening hour and then unleashed another hour of scintillating comedy few can equal.
Today, though he went at it from the start commencing with a reference to his last stay in a Cardiff hotel when he heard a Radio 4 programme about the Wankier music from the Indes.
Anyone of a certain age knows the mind wanders as you get older and tonight's performance showed that it can affect comedians. Every sentence seemed to lead him in a different direction though he was (generally) able to get back on track eventually.
Fans will be relieved to hear that he is not mellowing and I would have not liked to be the guy in charge of the air-conditioning after he verbally abused him several times. He was, however, more tolerant of a strange man who tried to sell him a tin of an unknown substance. As he mentioned earlier his method of dealing with hecklers is a torrent of four letter words which he demonstrated but he did ask the security guards to be gentle with this nuisance as they removed him.
Despite several stories left up in the air Billy Connolly finally called it quit after one last joke and as we streched our legs we realised we had spent two and a half hours (interval-less) in the company of the great man. His stamina and desire to continue to communicate with an audience after all these years is stunning. The purist may claim that little of the material was new, but does that matter if you are constantly laughing?
You can hardly move now for stand-up comedians filling concert halls, but the person who started it is still at the top of his game. No one does it the way he does. If you haven't seen him before, catch him while you can.
Saturday, 17 March 2012
Sunday, 11 March 2012
Hugo - 28th February 2012
If you mention Martin Scorcese you naturally imagine Italian-American gangster type drama littered with violence and strong language. The knowledge that he was making a chidren-friendly film and in 3D certainly took me by surprise.
"Hugo" is a young orphaned child living and (secretly) fixing the clocks at Paris station in the 1920's. A chance encounter with an ageing stallholder allows the current classic film-maker to open up the world of the forgotten turn of the century classic film-maker Georges Melieres.
For someone who has spent most of his life making gritty, realistic dramas you got the feeling Scorcese was like the kid who had been given the keys to the toy box. The intricacy of the station scenes are stunning with the huge clcokwork mechanism contrasting with the intimacies of the personal vignettes. I thoroughly enjoyed the
unexpected bonus of seeing so many British actors ( generally unused in films) eg Richard Griffiths and Frances De La Tour etc.
You can tell this is made by an old-style director as this is a film that takes it's time. The beginning is quite gentle as it introduces you to all the characters and sets up all the stories that will coincide later. Though " The Artist" has deservedly won critical acclaim for its lack of dialogue, "Hugo" is in similar vein. Obviously, both are set in Paris in the past, use music as an integral part of the story-telling and have a feel-good atmosphere about them.
All good movies need drama and "Hugo's" is provided in the unexpected form of Sacha Baron Cohen as an officious station attendant. He's not everyone's cup of tea but he does have a film presence and showed hitherto hidden emotional depths when his family and war-ravaged past was revealed.
After a slightly over-acted start Ben Kingsley improved as the film developed but it was the performance of Asa Butterfield in the title role that was the most important. If you don't care for his wellbeing you won't emotionally invest any time or time or involvement in the film. He mesmerises you will be extremely blue eyes whihc I finally realised I recognised as Mordred from BBC's Merlin.
"Hugo" is a triumph of film-making and adds yet another chapter to Scorcese's remarkable career.
"Hugo" is a young orphaned child living and (secretly) fixing the clocks at Paris station in the 1920's. A chance encounter with an ageing stallholder allows the current classic film-maker to open up the world of the forgotten turn of the century classic film-maker Georges Melieres.
For someone who has spent most of his life making gritty, realistic dramas you got the feeling Scorcese was like the kid who had been given the keys to the toy box. The intricacy of the station scenes are stunning with the huge clcokwork mechanism contrasting with the intimacies of the personal vignettes. I thoroughly enjoyed the
unexpected bonus of seeing so many British actors ( generally unused in films) eg Richard Griffiths and Frances De La Tour etc.
You can tell this is made by an old-style director as this is a film that takes it's time. The beginning is quite gentle as it introduces you to all the characters and sets up all the stories that will coincide later. Though " The Artist" has deservedly won critical acclaim for its lack of dialogue, "Hugo" is in similar vein. Obviously, both are set in Paris in the past, use music as an integral part of the story-telling and have a feel-good atmosphere about them.
All good movies need drama and "Hugo's" is provided in the unexpected form of Sacha Baron Cohen as an officious station attendant. He's not everyone's cup of tea but he does have a film presence and showed hitherto hidden emotional depths when his family and war-ravaged past was revealed.
After a slightly over-acted start Ben Kingsley improved as the film developed but it was the performance of Asa Butterfield in the title role that was the most important. If you don't care for his wellbeing you won't emotionally invest any time or time or involvement in the film. He mesmerises you will be extremely blue eyes whihc I finally realised I recognised as Mordred from BBC's Merlin.
"Hugo" is a triumph of film-making and adds yet another chapter to Scorcese's remarkable career.
The Best Exotic Marigold Hotel - February 13th 2012
Most films nowadays are made for the younger cinema-goer. The louder,faster and more explosions you have generally means profit. Plot,characterisation and good acting are often only found in smaller independent movies.
For someone who loved intelligent, well-made and interesting films the period between January and April is both the best and most frustrating time of the year. This is awards season and the contenders are generally released now to maximise the publicity which often means I miss films that fit my requirements, while the remainder of the year is filled with disapppointing blockbusters and remakes.
The success of "The King's Speech" last year proved that the " greying cinema-goers" can be lured to the mutli-plexes if they are ensured of a good fun, enjoyable night.This is the audience that "The Best Exotic Marigold Hotel" is targetting. Early on director John Madden played his trump card with a small scene showing the stellar cast sitting quietly in the airport. We could then relax and sit back we were in safe hands.
The premise was seven ageing disillusioned Brits moving to India to enjoy a better retirement or moperation than they wouild receive in their homeland.Naturally, their arrival at their chosen destination was not as idyllic as they had expected.
The stories that befall our ex-pats reveal no great surprises but the reasons for seeing this film are the director and the cast. John Madden, Oscar nominated for " Shakespeare In Love" knows how to tell a story and make his stars look good. When you see the list of names involved, Dench, Smith, Nighy, Wilton, Imrie, Pickup and Wilton you wonder how they are all going to get a reasonable amount of screen time.
Writer Ol Parker ( based on Deborah Moggach's novel) ensured that no-one was short-changed though as you woukd expect Judi Dench took central stage and brought an air of class to proceedings. The other all played supporting roles though Bill Nighy, Tom Wilkinson and Celia Ikmrie provided unexpectedly subtle performances. Credit must also go to Dev Patel who in a major role refuses to be over-awed by his illustrious co-stars and more than holds his own.
As you would expect there is an up-beat endng and we all come away having a thoroughly enjoyable ending and a desire for a curry. No, surprises but with such a great cast who cares. Oh and great music from Thomas Newman.
For someone who loved intelligent, well-made and interesting films the period between January and April is both the best and most frustrating time of the year. This is awards season and the contenders are generally released now to maximise the publicity which often means I miss films that fit my requirements, while the remainder of the year is filled with disapppointing blockbusters and remakes.
The success of "The King's Speech" last year proved that the " greying cinema-goers" can be lured to the mutli-plexes if they are ensured of a good fun, enjoyable night.This is the audience that "The Best Exotic Marigold Hotel" is targetting. Early on director John Madden played his trump card with a small scene showing the stellar cast sitting quietly in the airport. We could then relax and sit back we were in safe hands.
The premise was seven ageing disillusioned Brits moving to India to enjoy a better retirement or moperation than they wouild receive in their homeland.Naturally, their arrival at their chosen destination was not as idyllic as they had expected.
The stories that befall our ex-pats reveal no great surprises but the reasons for seeing this film are the director and the cast. John Madden, Oscar nominated for " Shakespeare In Love" knows how to tell a story and make his stars look good. When you see the list of names involved, Dench, Smith, Nighy, Wilton, Imrie, Pickup and Wilton you wonder how they are all going to get a reasonable amount of screen time.
Writer Ol Parker ( based on Deborah Moggach's novel) ensured that no-one was short-changed though as you woukd expect Judi Dench took central stage and brought an air of class to proceedings. The other all played supporting roles though Bill Nighy, Tom Wilkinson and Celia Ikmrie provided unexpectedly subtle performances. Credit must also go to Dev Patel who in a major role refuses to be over-awed by his illustrious co-stars and more than holds his own.
As you would expect there is an up-beat endng and we all come away having a thoroughly enjoyable ending and a desire for a curry. No, surprises but with such a great cast who cares. Oh and great music from Thomas Newman.
Saturday, 10 March 2012
The Muppets Film - 6th 2012
There aren't many people who haven't heard of the Muppets. Their television series ran from 1976 to 1981 before hitting the big screen and disappearing from sight in 2005 following " The Muppet's Wizard Of Oz".
However, the persistence of current high-flying comedian Jason Segal (also co-producer & co-writer)got the go-ahead for their return to the cinema. The concept is quite simple, they need to re-unite for one last show to raise ten million dollars to save their theatre from demolition by evil oil baron (is there any other) played with great relish by Chris Cooper.
Natgurally this allows us to be re-united with our favourites ( mine are Beaker and the Swedish chef) plus a few special guests along the way. But, where this film triumphs is in its warmth and its knowingness. It realises it will mainly appeal to existing fans and references its past with mentions, a clip and a variety of stills from past shows. Some of the performers may be long gone but the wackiness and charm of the Muppets hasn't died.
The two leads Jason Segal and Amy Adams willing provide the cheesiness that allows the Muppets to seem human in comparrison. A Muppets film wouldn't be complete without great music and the choice of Bret Mckenzie of " Flight Of The Concord" fame to the write the songs was inspired. "Man Or Muppet" was a delight and deservedly won the first Oscar for any Muppets movie.
This is not a film full of surprises. But, I was surprised how good it was, how much i enjoyed it and how much I had missed the Muppets. Welcome back, guys.
However, the persistence of current high-flying comedian Jason Segal (also co-producer & co-writer)got the go-ahead for their return to the cinema. The concept is quite simple, they need to re-unite for one last show to raise ten million dollars to save their theatre from demolition by evil oil baron (is there any other) played with great relish by Chris Cooper.
Natgurally this allows us to be re-united with our favourites ( mine are Beaker and the Swedish chef) plus a few special guests along the way. But, where this film triumphs is in its warmth and its knowingness. It realises it will mainly appeal to existing fans and references its past with mentions, a clip and a variety of stills from past shows. Some of the performers may be long gone but the wackiness and charm of the Muppets hasn't died.
The two leads Jason Segal and Amy Adams willing provide the cheesiness that allows the Muppets to seem human in comparrison. A Muppets film wouldn't be complete without great music and the choice of Bret Mckenzie of " Flight Of The Concord" fame to the write the songs was inspired. "Man Or Muppet" was a delight and deservedly won the first Oscar for any Muppets movie.
This is not a film full of surprises. But, I was surprised how good it was, how much i enjoyed it and how much I had missed the Muppets. Welcome back, guys.
Sunday, 4 March 2012
Pippin - 25th February 2012
First opening at the Imperial Theatre, New York in 1972, "Pippin" ran for 5 years and nearly 2000 performances. This was composer's Stephen Schwartz follow up to Gospell and his reputation as one of the bright lights of American musicals was enhanced. "Pippin" had a brief West End run in 1983 but it wasn't until "Wicked" opened here in 2006 that Mr Schwartz had a successful show on this side of the pond.
The Menier Chocolate Factory has a reputation of interesting and interpreted revivals with " A Little Night Music", " La Cage Aux Folles" and " Sunday In The Park With George" grabbing handfuls of awards. In recent months I have rather enjoyed their quirky productions of "Paradise Found" and "Road Show" and I can now add " Pippin" to that list.
The title character, the son of the despotic ruler Charlemagne, is constantly trying to find his role in life, trying war, love, religion, politics and power. And that is just the first half. I prophetically mentioned to my companion in the interval " It is good but I have no idea where it will go as it seems to have covered everything already". Sadly, I was right, it didn't really go anyway in the second half apart from a cosy predictable ending.
This appears to be the decade for the concept show. Last month my brain cells were
challenged by Ian Rickson's production of "Hamlet" at the Old Vic and today Mitch Sebastian chose to unveil this fairytale type production within the remit of Videogame, starting as you entered watching Pippin tapping away at his console.
I am not of the computer game generation and although I was impressed by the graphics used I wasn't convinced by the idea that every adventure was a level of the game.
The songs were good without being memorable but the performers certainly gave everything they had. Although I enjoyed it I am struggling to understand how it was such a big hit first time around. I assume the feel-good factor would have helped the Americans recover from the Vietnam and Watergate shocks and no doubt the present of Bob Fosse choreography would have been a factor. Nowadays, we are faced with the recession but the underlying moral of knowing your place and settle for what you have seems a little stiffling.
Harry Hepple was impressive in the title role providing a degree of vulnerability and innocence in contrast to Matt Rawle's all knowing and smarmy Lead Player. Having heard Lord Lloyd Webber advertising his latezt money-making venture, looking for a new Jesus ( aren't we all), I suggest he look no further than the young Mr Hepple. With the show stagnating at the break opportunities for the supporting cast to prosper similarly disappreared. Ian Kelsey's dominating King was barely seen and Frances Ruffelle's talents were wasted. The only person to take advantage of a cameo was Louise Gold who blew the roof off i her one scene and only song " No Time At All".
An interesting and unusual show but no award winner.
The Menier Chocolate Factory has a reputation of interesting and interpreted revivals with " A Little Night Music", " La Cage Aux Folles" and " Sunday In The Park With George" grabbing handfuls of awards. In recent months I have rather enjoyed their quirky productions of "Paradise Found" and "Road Show" and I can now add " Pippin" to that list.
The title character, the son of the despotic ruler Charlemagne, is constantly trying to find his role in life, trying war, love, religion, politics and power. And that is just the first half. I prophetically mentioned to my companion in the interval " It is good but I have no idea where it will go as it seems to have covered everything already". Sadly, I was right, it didn't really go anyway in the second half apart from a cosy predictable ending.
This appears to be the decade for the concept show. Last month my brain cells were
challenged by Ian Rickson's production of "Hamlet" at the Old Vic and today Mitch Sebastian chose to unveil this fairytale type production within the remit of Videogame, starting as you entered watching Pippin tapping away at his console.
I am not of the computer game generation and although I was impressed by the graphics used I wasn't convinced by the idea that every adventure was a level of the game.
The songs were good without being memorable but the performers certainly gave everything they had. Although I enjoyed it I am struggling to understand how it was such a big hit first time around. I assume the feel-good factor would have helped the Americans recover from the Vietnam and Watergate shocks and no doubt the present of Bob Fosse choreography would have been a factor. Nowadays, we are faced with the recession but the underlying moral of knowing your place and settle for what you have seems a little stiffling.
Harry Hepple was impressive in the title role providing a degree of vulnerability and innocence in contrast to Matt Rawle's all knowing and smarmy Lead Player. Having heard Lord Lloyd Webber advertising his latezt money-making venture, looking for a new Jesus ( aren't we all), I suggest he look no further than the young Mr Hepple. With the show stagnating at the break opportunities for the supporting cast to prosper similarly disappreared. Ian Kelsey's dominating King was barely seen and Frances Ruffelle's talents were wasted. The only person to take advantage of a cameo was Louise Gold who blew the roof off i her one scene and only song " No Time At All".
An interesting and unusual show but no award winner.
Sunday, 26 February 2012
Missing - 24th February 2012
To most people London theatre is safe,expensive shows,generally revivals and if possible featuring someone from Strictly Come Dancing. Dig a little deeper though and you will uncover a thriving fringe scene.
Often you will find a play that doesn't deserve a wider audience but occasionally you will unearth a little gem. The Tristan Bates theatre is hidden away near Seven Dials and is a lovely intimate space,providing a nice relaxing bar, worth visiting even if you don't want to see a show.
Their most recent production was " Missing" by Barney Norris, produced by Up In Arms.
The play revolves around two brothers and their relationship. On the surface it is about normal sibling rivalries, the older more dominant brother Luke and his more introverted sleep-walking brother Andy.
The success of most plays normally revolve around the words the playwright uses, but "Missing" works because of what is left unsaid. Early on the ending is revealed so most of the play involves piecing together the clues from the scenes presented not in any chronological order.
This could be confusing but the crisp direction from Alice Hamilton and the peformances ensure the audience can easily follow the various scene changes. Intimate venues immediately put pressure on actors who are so close to the audience there is no hiding place, especially in a two-hander. I cannot praise Rob Heaps & Joe Robertson highly enough.The play has run for nearly a month which certainly helps to build a rapport and you truly believed they were brothers.
The former probably had he trickier role of Luke as he was constantly reacting to the antics of his younger sibling as well as providing occasional monologues to the audience.
However, I was mesmorised by Joe Robertson as the less socially adept Andy. From his opening sleep-sobbing scene I was convinced this was a teenager suffering the angst and insecurities that period can bring. His angry yet resigned half-dazed stare was extremely unnerving, revealing a youth who understood that his future ( or lack of it) was all mapped out for him.
This sounds like a heavy piece but it isn't. Barney Norris perfectly adds humour when necesary, a running theme of mixed tapes received roars of laughter of recognition from the enthusiastic and most importantly does not over-write the play. At just over an hour this was the perfect length, allowing the drama to unfold without an interval breaking the flow.
Sadly the play has ended its run but all involved are worth following in the future. Also, this would be a real asset to the Edinburgh festival if it could be produced there. A highly impressive evening.
Often you will find a play that doesn't deserve a wider audience but occasionally you will unearth a little gem. The Tristan Bates theatre is hidden away near Seven Dials and is a lovely intimate space,providing a nice relaxing bar, worth visiting even if you don't want to see a show.
Their most recent production was " Missing" by Barney Norris, produced by Up In Arms.
The play revolves around two brothers and their relationship. On the surface it is about normal sibling rivalries, the older more dominant brother Luke and his more introverted sleep-walking brother Andy.
The success of most plays normally revolve around the words the playwright uses, but "Missing" works because of what is left unsaid. Early on the ending is revealed so most of the play involves piecing together the clues from the scenes presented not in any chronological order.
This could be confusing but the crisp direction from Alice Hamilton and the peformances ensure the audience can easily follow the various scene changes. Intimate venues immediately put pressure on actors who are so close to the audience there is no hiding place, especially in a two-hander. I cannot praise Rob Heaps & Joe Robertson highly enough.The play has run for nearly a month which certainly helps to build a rapport and you truly believed they were brothers.
The former probably had he trickier role of Luke as he was constantly reacting to the antics of his younger sibling as well as providing occasional monologues to the audience.
However, I was mesmorised by Joe Robertson as the less socially adept Andy. From his opening sleep-sobbing scene I was convinced this was a teenager suffering the angst and insecurities that period can bring. His angry yet resigned half-dazed stare was extremely unnerving, revealing a youth who understood that his future ( or lack of it) was all mapped out for him.
This sounds like a heavy piece but it isn't. Barney Norris perfectly adds humour when necesary, a running theme of mixed tapes received roars of laughter of recognition from the enthusiastic and most importantly does not over-write the play. At just over an hour this was the perfect length, allowing the drama to unfold without an interval breaking the flow.
Sadly the play has ended its run but all involved are worth following in the future. Also, this would be a real asset to the Edinburgh festival if it could be produced there. A highly impressive evening.
Thursday, 16 February 2012
Rosencrantz and Guildenstern are Dead - 14th February 2012
For the first play in this year's "On The Edge" season Michael Kelligan chose Tom Stoppard's" Rosencrantz and Guildenstern are Dead". This play opened at the Edinburgh Fringe festival in 1966 and is sporadically produced nowadays.
Tom Stoppard was the king of the British theatre scene for the following twenty years. an impressive feat for someone born in Czechoslavakia. While Alan Ayckbourn dominated the "cosier" world of suburban life Stoppard was more intellectual. He is capable of the killer one-liner but you have to earn the laughs by following the often compex plots and thought-processes within.
This play follows the characters who appear intermittently throughout "Hamlet", so an understanding of that play is extremely handy. We were very fortunate that having seen Michael Sheen's stunning performance in the title role last month, the plot was fresh in our minds.
Other members of the audience were less lucky. A lot of people I knew struggled to follow what was happening, especially the opening over-wordy sequence which sent the gentleman to my right into a noisy sleep. He failed to return for the second half and there were other noticeable gaps after the interval.
"On The Edge" was founded in 2004 to produce drama for audiences with few theatrical frills, concentrating mainly on the text with the actors using the script when necessary. It is a credit to the performers and the playwright that almost immediately you forget it is not a fully staged production.
The acting is of a high order, especially from Jon Holcroft and Aled Herbert in the title roles. From an audience persepective, this was a long evening. Modern plays are generally ("Jerusalem" excluded) getting shorter and shorter. I feel this production could have benefitted from an earlier start and cutting of some of the wordier less plot driven scenes. A 10.30pm end on a Tuesday was too late.
Overall, though it was still good to see this over-looked play being given an airing in Cardiff. And for £4 "On The Edge" again provides astonishing value for money.
Next up is "The Custom House" by local playwright Kit Lambert. Sounds interesting.
Tom Stoppard was the king of the British theatre scene for the following twenty years. an impressive feat for someone born in Czechoslavakia. While Alan Ayckbourn dominated the "cosier" world of suburban life Stoppard was more intellectual. He is capable of the killer one-liner but you have to earn the laughs by following the often compex plots and thought-processes within.
This play follows the characters who appear intermittently throughout "Hamlet", so an understanding of that play is extremely handy. We were very fortunate that having seen Michael Sheen's stunning performance in the title role last month, the plot was fresh in our minds.
Other members of the audience were less lucky. A lot of people I knew struggled to follow what was happening, especially the opening over-wordy sequence which sent the gentleman to my right into a noisy sleep. He failed to return for the second half and there were other noticeable gaps after the interval.
"On The Edge" was founded in 2004 to produce drama for audiences with few theatrical frills, concentrating mainly on the text with the actors using the script when necessary. It is a credit to the performers and the playwright that almost immediately you forget it is not a fully staged production.
The acting is of a high order, especially from Jon Holcroft and Aled Herbert in the title roles. From an audience persepective, this was a long evening. Modern plays are generally ("Jerusalem" excluded) getting shorter and shorter. I feel this production could have benefitted from an earlier start and cutting of some of the wordier less plot driven scenes. A 10.30pm end on a Tuesday was too late.
Overall, though it was still good to see this over-looked play being given an airing in Cardiff. And for £4 "On The Edge" again provides astonishing value for money.
Next up is "The Custom House" by local playwright Kit Lambert. Sounds interesting.
Subscribe to:
Posts (Atom)
