Stewart Lee is one of those "marmite" comedians, you either love or hate him. He came to prominence in the 1990's as part of Lee & Herring and then hit the front pages by co-writing "Jerry Springer - The Opera" which caused the Christian right to protest against him, without having seen the piece, of course.
In recent years he has returned to touring and, like the best comedians having fallen under the radar, he has re-emerged as the "comedians comedian", appearing unexpectedly at 41 on Channel 4's Best ever stand-up comedian list.
Oddly, we first saw him at the Cheltenham Jazz festival in 2010, compering a Free form Jazz concert. Sadly, I generally hated the evening but it does begin to explain his comedy.
He is not your standard comedian. We finally caught his stand-up show in Cardiff last year after re-scheduling a "Vegetable Stew" gig. This year's show is " Carpet Remnant World" and basically the 2 hour set involves him haranguing the audience for not laughing more at cetain moments and confessing that being in his early 40's & staying at home looking after his young son he has nothing to say.
This of course is nonsense. Every word is meiculously crafted and the ability to pretend to end the first half on a badly received joke, allowing him to perform for another 10 minutes to get a better laugh and then moan that we had driven him to finish on a shitty pant joke is comedy genius.
The second half shows more of a theme emerging although he has a good swipe at modern comedians who use serious events in their lives to gain laughs & sympathy through pathos. (His hidden attack on Adam Hills was as wince-making as it was funny).
Finally we get a set-piece about how retail shops who use " World" in their title are little more than cons, though it does explain why a variety of carpets are standing proudly erect behind him.
You may be lucky enough to find funnier comedians around, but none will be as clever at constructing a show and controlling an audience.
Go and revel at the master of 21st century stand-up.
Wednesday, 4 April 2012
Sunday, 1 April 2012
Clybourne Park - 31st March 2012
In 2010 the Royal Court theatre continued its trend of producing new hard-hitting drama with Bruce Norris's "Clybourne Park".Following critical and public acclaim it transferred to London's Wyndham's theatre winning Best Play at the 2011 Olivier Awards, beating the much fancied "Jerusalem".
It has now just recently received its Cardif debut in the Richard Burton theatre at the Welsh College of Music and Drama. This intimate auditorium was the perfect venue for this intimate tsle of a married couple, Bev & Russ, in America in the 1950's with obligatory coloured housemaid. They are surrounded by packing cases as they are in the process of moving, a simple standard event until we realise the reason why they can no longer live there and the impact their new owners will have on the neighbourhood. The second half then moves us on 50 years in the same house with a modern day dispute about building permission.
This is a play about race and prejudice ,past present & future. The simple plot shows how much society has moved on in half a century, or have we? The best state of the nation plays makes us question what we would do in these situation but does not provide answers. The writer, rightly, makes you do the work. He always understands the power of humour to relax an unsuspecting audience whilst the characters attempt to step through the minefield they have found themselves in.
The acting is of a uniformally high standard, the American accents remained solidly impressive and you soon forgot these 21 year olds are portraying middle-aged people. For me Jessica Hayles and Carole Turner dominated the piece in their two differing roles especially at the end of the play when the tone changes, making uncomfortably (if extremely funny) watching. Mention must also go to James Peake for his comic turn as local vicar Jim, trying his best to be conciliating but clearly out of his depth.
This is writing, acting of a directing of the highest order. Sadly, this run has ended but look out for this play at other venues and visit the Welsh College of Music & Drama, to see what high quality of young talent is currently available in Cardiff.
A theatrical gem.
It has now just recently received its Cardif debut in the Richard Burton theatre at the Welsh College of Music and Drama. This intimate auditorium was the perfect venue for this intimate tsle of a married couple, Bev & Russ, in America in the 1950's with obligatory coloured housemaid. They are surrounded by packing cases as they are in the process of moving, a simple standard event until we realise the reason why they can no longer live there and the impact their new owners will have on the neighbourhood. The second half then moves us on 50 years in the same house with a modern day dispute about building permission.
This is a play about race and prejudice ,past present & future. The simple plot shows how much society has moved on in half a century, or have we? The best state of the nation plays makes us question what we would do in these situation but does not provide answers. The writer, rightly, makes you do the work. He always understands the power of humour to relax an unsuspecting audience whilst the characters attempt to step through the minefield they have found themselves in.
The acting is of a uniformally high standard, the American accents remained solidly impressive and you soon forgot these 21 year olds are portraying middle-aged people. For me Jessica Hayles and Carole Turner dominated the piece in their two differing roles especially at the end of the play when the tone changes, making uncomfortably (if extremely funny) watching. Mention must also go to James Peake for his comic turn as local vicar Jim, trying his best to be conciliating but clearly out of his depth.
This is writing, acting of a directing of the highest order. Sadly, this run has ended but look out for this play at other venues and visit the Welsh College of Music & Drama, to see what high quality of young talent is currently available in Cardiff.
A theatrical gem.
Secrecy - 29th March 2012
Making a film is not an easy event, so imagine being a first-time director with limited resources.I can't contemplate how you start but fortunately they still do.
Thanks to a " friend of a friend" I was his "spy" at the screening of Tom Betts first full-length film " Secrecy" at G39 a gallery space now based behind the Ernest
Willows pub on City Road. Not the most glamorous of locations but these who attended the event were like a collective positive focus group whilst a little unsure about what we were about to witness. This was probably the perfect atmosphere for what we would soon see.
Greeted by the naturally nervous film-maker I grab my glass of wine and head for the front row (why does no-one ever sit there?) for the most intimate of views. The film (written by the director) revolves around the virtually unseen Sean (played in the distance by the multi-talented director). His story pieced together through Adrian claiming to be his brother and gradually revealing his pursuit of a rare (and therefore hugely expensive) substance.
As you would expect a lot is filmes in familiar Cardiff surroundings but then he plays his trump card and moves the story to Japan. But not the beautiful settings of Bond films etc, no this is grimy, industrial,dirty,grey Japan which fits the story perfectly.
The plot is obviously important but not vital to the success of the evening. We are here to support a new talent. The sound isn't great as you would expect from a large warehouse mainly used for exhibitions and rehearsal space for a forthcoming National Theatre of Wales production. The camerawork is handheld & jumpy, the editing is not always subtle but these unpolished edges enhance the unpredictable,seamy side of the story.
"Secrecy" is not going to take the independent cinema world by storm but it is an impressive first step on the ladder of full-length movie making. It shows Tom Betts knows how to tell a story and has good visual flair. All he needs is someone to nurture his talent and support his work in the future.
Good luck,Tom.
Thanks to a " friend of a friend" I was his "spy" at the screening of Tom Betts first full-length film " Secrecy" at G39 a gallery space now based behind the Ernest
Willows pub on City Road. Not the most glamorous of locations but these who attended the event were like a collective positive focus group whilst a little unsure about what we were about to witness. This was probably the perfect atmosphere for what we would soon see.
Greeted by the naturally nervous film-maker I grab my glass of wine and head for the front row (why does no-one ever sit there?) for the most intimate of views. The film (written by the director) revolves around the virtually unseen Sean (played in the distance by the multi-talented director). His story pieced together through Adrian claiming to be his brother and gradually revealing his pursuit of a rare (and therefore hugely expensive) substance.
As you would expect a lot is filmes in familiar Cardiff surroundings but then he plays his trump card and moves the story to Japan. But not the beautiful settings of Bond films etc, no this is grimy, industrial,dirty,grey Japan which fits the story perfectly.
The plot is obviously important but not vital to the success of the evening. We are here to support a new talent. The sound isn't great as you would expect from a large warehouse mainly used for exhibitions and rehearsal space for a forthcoming National Theatre of Wales production. The camerawork is handheld & jumpy, the editing is not always subtle but these unpolished edges enhance the unpredictable,seamy side of the story.
"Secrecy" is not going to take the independent cinema world by storm but it is an impressive first step on the ladder of full-length movie making. It shows Tom Betts knows how to tell a story and has good visual flair. All he needs is someone to nurture his talent and support his work in the future.
Good luck,Tom.
Tuesday, 20 March 2012
Polar Bear - 27th January 2012
After not particularly enjoying their show at Cardiff University a few years ago Polar Bear were back on form at the Cheltenham Jazz festival in 2010. We then headed to the recently revamped Welsh College of Music and Drama with high hopes.
Earlier in the day they had performed a master class to students who enthusiastically filled the auditorium. Modern Jazz is not everyone's cup of tea but we had been entranced by the controlled music boldness that they had presented on stage and CD. Today, however, they seemed determined to push the limits as far as possible. There were a few tracks I recognised from their albums but generally they seemed keener to explore new and more experimental work. When they announced the end of the set after an hour I was preparing to leave until my wife pointed out this was merely an interval.
Ultimately, though I was proved to be right. There were more gaps in the venue after the break as other audience members resisted the urge to stay. Any hopes I had that we would hear more familiar tunes were quickly dashed and we were forced to watch another hour of Leafcutter John trying to find increasingly weird ways to create noise.
The main disppointment of the evening was that Sebastian Rochford was reduced to being a purely pedestrian backing drummer. We were therefore robbed of the chance to see his idiosyncratic drumming style leading his group. Let's hope he fares better when he joins Kit Downes at the Cheltenham Jazz festival in May.
Earlier in the day they had performed a master class to students who enthusiastically filled the auditorium. Modern Jazz is not everyone's cup of tea but we had been entranced by the controlled music boldness that they had presented on stage and CD. Today, however, they seemed determined to push the limits as far as possible. There were a few tracks I recognised from their albums but generally they seemed keener to explore new and more experimental work. When they announced the end of the set after an hour I was preparing to leave until my wife pointed out this was merely an interval.
Ultimately, though I was proved to be right. There were more gaps in the venue after the break as other audience members resisted the urge to stay. Any hopes I had that we would hear more familiar tunes were quickly dashed and we were forced to watch another hour of Leafcutter John trying to find increasingly weird ways to create noise.
The main disppointment of the evening was that Sebastian Rochford was reduced to being a purely pedestrian backing drummer. We were therefore robbed of the chance to see his idiosyncratic drumming style leading his group. Let's hope he fares better when he joins Kit Downes at the Cheltenham Jazz festival in May.
Monday, 19 March 2012
War Horse - 31st January 2012
Every now and again a play discovers a life outside out if it’s theatrical roots.Marianne Elliott and Tom Morris’s production of “War Horse” at the National Theatre in 2007 transferred to the New London theatre in 2009 where it has continued to delight audiences. Oddly, it didn’t triumph in the United Kingdom but it won Best Play at the 2011 Tony awards. It was only a matter of time before Hollywood came knocking in the forms of transatlantic film royalty Richard Curtis and Stephen Spielberg.
This should have immediately set off the “schmaltz” warning signs. The American is a good film-maker but occasionally over-indulges in saccharin emotions. Richard Curtis in recent years has also fallen on the wrong side of the acceptably emotionally manipulative fence.
It is still, however, a great and simple story (the best ones tend to be). A boy on a struggling farm befriends a horse and when he volunteers for the first World War, his horse is similarly (yet separately) shipped abroad.
They may have different war tales but you know there will eventually be an emotional reunion. This is all broken down into episodic adventures, some undoubtedly inserted for their cinematic qualities.
For all my concerns no-one directs war sequences as well as Spielberg. He also successfully treads that tricky path of not demonising either side. Neither army is perfect, their actions blamed on the consequences of war.
The act is of a reasonable level with some great British actors bringing as much to their roles as Richard Curtis and Lee Hall’s script will allow. The key role is Jeremy Irvine as Albert Narracott the young boy, but fortunately he is engaging so we are connected and keen to follow his story to its conclusion. John Williams score is generic but as ever the film is well shot (thanks to cinematographer Janusz Kaminiski), of over-long.
Overall, though this was an opportunity missed as this could have been a great cinematic epic but it’s failure opened up a clear run for “The Artist” to deservedly sweep this year’s Oscars.
This should have immediately set off the “schmaltz” warning signs. The American is a good film-maker but occasionally over-indulges in saccharin emotions. Richard Curtis in recent years has also fallen on the wrong side of the acceptably emotionally manipulative fence.
It is still, however, a great and simple story (the best ones tend to be). A boy on a struggling farm befriends a horse and when he volunteers for the first World War, his horse is similarly (yet separately) shipped abroad.
They may have different war tales but you know there will eventually be an emotional reunion. This is all broken down into episodic adventures, some undoubtedly inserted for their cinematic qualities.
For all my concerns no-one directs war sequences as well as Spielberg. He also successfully treads that tricky path of not demonising either side. Neither army is perfect, their actions blamed on the consequences of war.
The act is of a reasonable level with some great British actors bringing as much to their roles as Richard Curtis and Lee Hall’s script will allow. The key role is Jeremy Irvine as Albert Narracott the young boy, but fortunately he is engaging so we are connected and keen to follow his story to its conclusion. John Williams score is generic but as ever the film is well shot (thanks to cinematographer Janusz Kaminiski), of over-long.
Overall, though this was an opportunity missed as this could have been a great cinematic epic but it’s failure opened up a clear run for “The Artist” to deservedly sweep this year’s Oscars.
Sunday, 18 March 2012
The Descendants - 7th February 2012
For the discerning cinema goer the opening months of the year are the most exciting as films are released in time for the forthcoming awards season. This week's nomination for Oscar glory is " The Descendants", director Alexander Payne's dysfunctional family drama. Following on from "About Schmidt" and " Sideways" this quirky story is familiar territory for the writer/director.
The story revolves around Matt King whose wife is in a coma following a water-skiing accident. Suddenly George Clooney's character's life is turned upside down as he has to look after a troublesome daughter. This is basically a coming of age movie for all ages.
His wife may be static but it is her revealedsecrets that provide the dramatic tension of the movie. Clooney's personal and business life crumbles around him as he attempts to keep his close family together while determining the future of the piece of Hawaiian property his wider family has inherited.
We all know the camera loves George Clooney but this is the first time the lens allows you to see inside his head. You feel the workings of his brain as he battles whether to reveal the truth of his wife and therefore destroy the memories people will keep of her.
For a densely written piece this is a film that takes its time. You are given two hours to understand the characters, warts and all. It is also a film about the environment with Hawaii increasingly becoming a character in its own right. Early on we see modern Hawaii, all horrible soul-less skyscrapers. But as the film develops and Clooney (as lead trustee) has to decide the future of his family's inheritance the camera pans lovingly on the remaining beautiful unspoilt territory.
This is undoubtedly Clooney's film but he is forced to provide the performance of his career thanks to a splendid supporting cazt including Shailene Woodley as his troubled daughter and Robert Forster as his father-in-law attempting to conceeal his grief.
This may not sound like a barrel of laughs but Alexander Payne has the good sense to insert humour along the way to prevent this turning into one-paced melodrama. Clooney's running for example will be long remembered and credit must go for the perfect ending.
The story revolves around Matt King whose wife is in a coma following a water-skiing accident. Suddenly George Clooney's character's life is turned upside down as he has to look after a troublesome daughter. This is basically a coming of age movie for all ages.
His wife may be static but it is her revealedsecrets that provide the dramatic tension of the movie. Clooney's personal and business life crumbles around him as he attempts to keep his close family together while determining the future of the piece of Hawaiian property his wider family has inherited.
We all know the camera loves George Clooney but this is the first time the lens allows you to see inside his head. You feel the workings of his brain as he battles whether to reveal the truth of his wife and therefore destroy the memories people will keep of her.
For a densely written piece this is a film that takes its time. You are given two hours to understand the characters, warts and all. It is also a film about the environment with Hawaii increasingly becoming a character in its own right. Early on we see modern Hawaii, all horrible soul-less skyscrapers. But as the film develops and Clooney (as lead trustee) has to decide the future of his family's inheritance the camera pans lovingly on the remaining beautiful unspoilt territory.
This is undoubtedly Clooney's film but he is forced to provide the performance of his career thanks to a splendid supporting cazt including Shailene Woodley as his troubled daughter and Robert Forster as his father-in-law attempting to conceeal his grief.
This may not sound like a barrel of laughs but Alexander Payne has the good sense to insert humour along the way to prevent this turning into one-paced melodrama. Clooney's running for example will be long remembered and credit must go for the perfect ending.
Saturday, 17 March 2012
Avenue Q - 21st February 2012
Most new musicals (especially American) are based on films (often less than brilliant ones). Most comedy musicals are usually sadly unfunnny. Avenue Q, fortunately, proves to be the exception to both of these rules.
First produced in 2004 this musical defied logic by combining the cuteness of Sesame Street with the lewdness of writing you would not expect to see on Broadway.
Surprisingly, this show won 3 Tony's including Best Musical defeating " Wicked". Unlike a lot of award-winning musicals this transferred across the pond landing at the Noel Coward theatre in 2006 where its success continued.
Long runs don't revolve around good reviews or awards but ultimately word of mouth. This is a unique feel-good show which the audiences want to see again and again.
After it closed in the West End Cameron Mackintosh organised a National tour and it succeesfully ran at the Millenium Centre, Cardiff last year. I was surprised it returned to the Welsh capital so soon and that it was packed on the opening night. The knowing response to each character and song indicated that most of them had seen the show at least once already.
For those who don't what to expect " Everyone's a little bit racist" quickly tells you this is not Rodgers & Hammerstein. You soon also forget that the puppet is hand-operated in front of you and you can only wonder at the talents of the performers who not only have to act & sing but also bring their puppets to life. It is only later you realise that while some actors have 2 puppets, some have none.
All of the artists are outstanding but special mentions must go to Julie Yammanee and Luke Striffler. The former steals every scene she is in with her loud-mouthed Christmas Eve while you would never have guessed that Luke Striffler was an undertudy playing the key double roles of Princeton and Rod for the first time. It makes you realise how much talent there is in musical theatre nowadays.
I am pleased to have finally visited Avenue Q. As long as you are open-minded this is a show I can definitely recommend.
First produced in 2004 this musical defied logic by combining the cuteness of Sesame Street with the lewdness of writing you would not expect to see on Broadway.
Surprisingly, this show won 3 Tony's including Best Musical defeating " Wicked". Unlike a lot of award-winning musicals this transferred across the pond landing at the Noel Coward theatre in 2006 where its success continued.
Long runs don't revolve around good reviews or awards but ultimately word of mouth. This is a unique feel-good show which the audiences want to see again and again.
After it closed in the West End Cameron Mackintosh organised a National tour and it succeesfully ran at the Millenium Centre, Cardiff last year. I was surprised it returned to the Welsh capital so soon and that it was packed on the opening night. The knowing response to each character and song indicated that most of them had seen the show at least once already.
For those who don't what to expect " Everyone's a little bit racist" quickly tells you this is not Rodgers & Hammerstein. You soon also forget that the puppet is hand-operated in front of you and you can only wonder at the talents of the performers who not only have to act & sing but also bring their puppets to life. It is only later you realise that while some actors have 2 puppets, some have none.
All of the artists are outstanding but special mentions must go to Julie Yammanee and Luke Striffler. The former steals every scene she is in with her loud-mouthed Christmas Eve while you would never have guessed that Luke Striffler was an undertudy playing the key double roles of Princeton and Rod for the first time. It makes you realise how much talent there is in musical theatre nowadays.
I am pleased to have finally visited Avenue Q. As long as you are open-minded this is a show I can definitely recommend.
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