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Dec. 14th, 2009 @ 11:16 pm Theatre review: Cock
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This has certainly been a good year for plays with dirty-sounding titles; but as with Pornography, the title of Mike Bartlett's play Cock isn't to be taken too literally. The play is, to a great extent, about sex, but Ben Whishaw has said he feels the title refers to his character's personality (I can't disagree) while designer Miriam Buether has interpreted it by designing the set to look like a cockpit (in the cockfighting sense, not the aeroplane sense) with the audience surrounding a pit where the actors fight verbally rather than physically. One line describes an encounter as the ultimate bitch-fight, which is a pretty fair description of the show as a whole, almost every moment features two or more of the actors verbally crossing swords.

John (Whishaw) had broken up with his boyfriend M (Andrew Scott) when he met W (Katherine Parkinson, from The I.T. Crowd) and had sex with her. But then he tries to get back together with M, and finds that he can't decide which of the two he wants to be with. Once we've seen John's relationships with both M and W, we end up with a disastrous dinner party where all three try to resolve the issue. John's secret motive for this is to pit the two against each other, hoping it'll help him choose between them. An added complication is that John has lied that W is a big, manly woman, so M has also invited his father F (Paul Jesson) along in case things get ugly.

While Cock does have things to say about sexuality not always being black and white (John maintains throughout that he still regards himself as gay, and W is the only woman he's ever fancied) its main strength is in the snapppiness of the dialogue - the characters may be being horrible to each other most of the time, but it's very funny to watch. All four actors make the most of the dialogue but Andrew Scott really stands out and gets the biggest laughs with some really snappy delivery. As with the last play I saw him in, Roaring Trade, Scott seems to be a good example of talent being sexy because when he walks on stage he's really not that attractive but by the end he seems to have got me going all proper like. The biggest problem with the play overall is just why so many people are transfixed by the immature, manipulative John (even F is determined that his son get to stay with someone who's clearly going to do nothing but keep breaking his heart.) I guess the fact that he's played by Ben Whishaw will explain it for a lot of people (the entire membership of [info]ohnotheydidnt seem to be transfixed by his beauty) but personally he doesn't quite do it for me (even with about a week's worth of stubble he's incredibly feminine.) That, and the fact that the conclusion is overly drawn out in places, are the only real drawbacks though, I'd be strongly recommending the show if the entire run hadn't long since sold out.

Cock by Mike Bartlett is booking until the 19th of December at the Royal Court Jerwood Theatre Upstairs.
Dec. 14th, 2009 @ 02:40 pm Doctor Doom, I presume
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In keeping with the general theme of Merlin series 2 it's been a couple of thoroughly meh episodes followed by a good'un. Spoilers for 'The Fires of Idirsholas' )
Dec. 13th, 2009 @ 09:37 pm Theatre review: Nation
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Back in May I read Terry Pratchett's latest all-ages book Nation, which is now the new Christmas family show at the National Theatre, adapted by Mark Ravenhill of all people. I don't think it's a secret that I've never been entirely convinced by Ravenhill as a dramatist and having seen the production I'm still not sold that he was the best person to adapt the book. The play keeps most of the major events of the book as after a tsunami Daphne (Emily Taafe) is washed up on the Nation where Mau (Gary Carr) is the only survivor. Ravenhill ramps up the role of the foul-mouthed parrot Milton (Jason Thorpe) who unsurprisingly goes down a storm with the younger audience members. Although there's still a strong presence of the book's science vs religion theme, there's much less emphasis on Mau questioning the existence of his island's god than in the original. The story's all present and correct, but it seems to lack some of the charm.

Luckily director/designer Melly Still throws in a lot of impressive visual touches which make the show a spectacular, and the actors' performances restore a lot of the emotional resonance. There really are some very clever special effects and bits of stage magic, plus some more of the animal puppets the National's been perfecting over the years, all of which make for an interesting show even if it didn't move me as much as the book did. Having said that, I went to see it with [info]vanessaw and her daughter, and I had to quickly find a tissue for Vanessa as she suddenly got tearful at the end, so maybe seeing the story fresh it has more of an impact.

Nation by Terry Pratchett, adapted by Mark Ravenhill, is booking until the 28th of March at the National Theatre's Olivier.
Dec. 13th, 2009 @ 10:25 am Quote unquote
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Once again I go ages without remembering a dream, then remember two days in a row. I was sitting with a friend (no idea who) by a table with a stack of paperbacks on it. I want to say they were Richard Matheson books, but it's probably more the case that they were the small-format paperbacks I have several of his books in, so I just associate them with him. We'd read one novel ridiculously quickly (as in, minutes) and moved onto the second one. Before reading the book itself I looked at the title pages, and each of them had one or two quotations on them, themed around freedom of speech and/or pornography. One was something like "No reader of pornography ever protested the removal of an article." For some reason I found this amusing and wanted to show it to my friend, but when I looked again I couldn't find it - every opening page had quotes on it, but none were that particular one. I kept trying to see if two pages had stuck together, and as I did the pages started to split in half. At this point the book went from a small paperback to a large hardback, with colour illustrations and tissue paper protecting the illustrated pages.
Dec. 12th, 2009 @ 12:26 pm Subsidence
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This morning I dreamed that I was walking along the main road, somewhere between my flat and the gym. On one corner was a building site, an almost-finished apartment block with builders still wandering around it. A man in a hard hat was standing where the entrance would eventually be, when the building suddenly subsided into the ground. The whole ground floor went under, taking the man with it. Two more builders ran to look down the hole he'd fallen into, when the ground shook again and the first floor went down as well, taking them with it. Obviously a lot of people in the street were now panicking, but nobody seemed to actually be doing anything about it, so I called 999 on my mobile. The operator agreed to send ambulances and police (actually wouldn't you need the fire service as well, to get the men out of the hole?) but with no real sense of urgency - actually he was just chatting with me on the phone. I remember thinking aww, he's nice, but this may not be quite the time to be all friendly.
Dec. 11th, 2009 @ 09:29 pm Being a month away
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Watch out - it's getting to that time again, when I keep reminding you that Series 2 of Being Human is coming soon. In fact we now know the broadcast date for episode 1: The 10th of January. At least it was announced as the 10th of January, it seems to have gone back to "unplaced" on the BBC website now, but in any case the second week of next year is when it's scheduled to reappear. So, just a month or less to go. To mark the imminent return the Being Human Twitter feed (@bbcbeinghuman) has been going mad with new photos and gossip, like this latest one, aptly titled "Behold! The mighty Russell Tovey!"



Oh dear. Considering how much time he spends in the show running around naked, it's faintly ludicrous how exciting it is that he's showing a hint of midriff. It's probably just as well I can't make this year's preview screening - meeting him once was risky enough, if I met him a second time I'm really not sure I could be held responsible for my actions.
Dec. 10th, 2009 @ 11:32 pm Theatre review: The Stefan Golaszewski Plays
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Originally premiered separately at the Edinburgh Festival in 2008 and this year, these two monologues written and performed by Stefan Golaszewski are now in a double bill at the Bush Theatre. First up, Stefan Golaszewski Speaks About A Girl He Once Loved goes back to the late nineties and follows an 18-year-old Stefan meeting a beautiful girl and spending just one amazing night on a date with her. Golaszewski is twinkly-eyed and endearing, and it makes for a very sweet story with a few sad moments but mostly a lot of laughs - at times it bordered on standup comedy. Incidentally, Golaszewski is the writer of Russell Tovey's new sitcom Young, Unemployed & Lazy which should be turning up sometime next year, so fingers crossed it should be good, at least now I know he can write a good gag.

Having gone into the past, after the interval we go into the future for Stefan Golaszewski is a Widower. In 2056 Stefan is 76 years old, and two years ago his wife died. Although there's moments of black comedy this is a much bleaker piece - at first we seem to be encountering what's left of a devoted old couple, but as he flashes back over their lives together we find out it's not so simple. This second play isn't anywhere near as effective as the first, largely because the picture Golaszewski paints of them in their prime isn't very sympathetic: They bitch about their friends behind their backs, and are constantly smug over Stefan's success (he spends 25 years as a camp sidekick on The Bill.) Performed on its own, it might have been an interesting look at how we react to tragedy striking people we don't necessarily empathise with; but coming straight after Girl, where the 18-year-old Stefan does display these judgemental qualities but balances them out with self-deprecation and likeability, Widower's harsh central characters are particularly jarring. Well worth seeing for the first play, but like so many sequels this one doesn't match up to the original.

The Stefan Golaszewski Plays by Stefan Golaszewski are booking until the 9th of January at the Bush Theatre.
Dec. 9th, 2009 @ 11:48 pm Theatre review: Potted Potter
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I'm not completely averse to going to kids' shows you know, OK they're not my first choice but my friend Andy texted me to say he had a spare, free ticket to Potted Potter, a parody¹ of Harry Potter that tries to condense all 7 books into 70 minutes. As it turns out almost all the audience tonight was adults, maybe 4 or 5 kids at the most. Performed by CBBC presenters Dan & Jeff (me neither; I'm guessing a sort of even-less-famous Sam & Mark) I got the feeling that if there hadn't been the handful of kids there the show might have veered into a bit more double-entendre than it did, but as it is the duo did well with putting across the show to the not-quite-target audience, and particularly by diffusing any potential awkwardness in the situation. Actually one moment, where they get the audience to split into Gryffindor and Slytherin to play quidditch, was probably funnier as a result, as it demonstrated once again that grown men will get much more competitive at kids' games than the children ever could. Hopefully though they'll get more kids in later in the run as it is a fun show for those kids familiar with the story, and the duo have a nice line in chaotic energy. Plus there's a few jokes that they just had to do, most notably "Cedric died, awwww, sad. But it's OK, he's got Twilight now. I'm Team Jacob though."

Potted Potter by Daniel Clarkson & Jefferson Turner is booking until the 2nd of January at Trafalgar Studio 2.

¹actually not so much, but in one of several asides for the benefit of the adults it's made clear that using the words "unathorised" and "parody" in all the publicity is just about all that stands between the show and a lawsuit from Warner Bros.
Dec. 9th, 2009 @ 12:34 pm Twitter ye not 38: Some shiny red beads
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Apart from the usual X Factor gubbins, obviously the other big news on my Twitter feed this week was the amazing astral alignment of Celia Imrie and some cake. Plus there was the brief return of one of the Twitter word games there used to be a lot more of - this time it was soup films.

Right, come on, must drag myself out of the house and to the gym. *procrastinates a bit more*
10:02 AM Dec 2nd from web

I wonder if #red still works today?
1:13 PM Dec 2nd from web


Predictably, after not wanting to drag my carcass to the gym this morning, I'm now really glad I did.
1:16 PM Dec 2nd from web

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Dec. 8th, 2009 @ 11:18 pm Theatre review: Pains of Youth
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Shows directed by Katie Mitchell can go either way - her Women of Troy was fantastic, her ...some trace of her teeth-clenchingly bad. The newspaper reviews have said her version of Ferdinand Bruckner's Pains of Youth is a triumph, but I'd heard audience opinions that it was more of a yawn, and unfortunately I agreed with the latter. In Vienna between the Wars, a group of medical students are generally fed up, and get themselves sexually entangled with each other in various pairings. There's lots of angst but while there's nothing wrong with the performances as such, the production is lifeless, not helped by the low lighting throughout. Things get a bit better when Geoffrey Streatfeild as a sometimes violent charmer is on stage, but as he's the only charismatic character any time he's gone is a time when I got dangerously close to nodding off. And it really doesn't help that Mitchell has lumbered the production with a gimmick for scene changes which starts mildly interesting, becomes tedious, and ends up being an actual hindrance to the performance's already muted energy levels.

Pains of Youth by Ferdinand Bruckner in a version by Martin Crimp is booking until the 21st of January at the National Theatre's Cottesloe.
Dec. 7th, 2009 @ 01:17 pm Ode to 35
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Thanks everyone who remembered what day it is today - now all I need you to do is immediately forget about it again. Honestly, I only turned 30 five minutes ago so it's a bit disquieting to suddenly be halfway between 30 and 40. To distract everyone's attention, hey look at this instead! Everyone's seen the Muppets' "Bohemian Rhapsody" by now, but I think I may like this even more: Beaker's "Ode to Joy." I love Beaker.

Dec. 6th, 2009 @ 07:37 pm Book review: Mister B. Gone
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I loved Clive Barker's early books, especially when I was in my teens, but went off his later ones when they started turning into bloated soap operas. His 2007 novella Mister B. Gone is pretty short so doesn't succumb to that particular problem, but it's still not a return to form. Mr B, a demon, isn't just a narrator, he's actually been imprisoned in the very words of the book. Right from the start he tries to beg, threaten or manipulate the reader into burning the book thus ending his imprisonment, a device which at first is pretty funny, but when it keeps resurfacing for several pages at a time starts to feel like padding in an already slight story. The story itself starts well enough, with Mr B recalling his childhood in a suburb of the Ninth Circle of Hell, and then how he was captured and brought to Earth. But it gets bogged down in the story of his love affair with another demon (like pretty much every Clive Barker character, Mr B is bisexual) and builds up to the revelation of a big secret. Since this turns out to be a pretty common idea in lots of supernatural fiction, the whole thing definitely ends as a damp squib.
Dec. 6th, 2009 @ 11:21 am Morgana be startin' something
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Camelot must have got over the knight shortage they had last year during the Lancelot episode, because lately they seem to be dropping like flies but there's still a steady supply. Spoilers for 'The Witch's Quickening' )
Dec. 4th, 2009 @ 11:45 pm Q9
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Yes, after my 8th trip to Avenue Q was the absolutely last one ever, the show only went and reopened so this is the third (and, surely, final) annual trip for me and Evil Alex to the late Friday matinee. We've been going on or near my birthday ever since Daniel Boys joined the cast, our first trip together being in his first week in the role. Which means this week is the start of his third year as Princeton and Rod - no wonder he sometimes sounds fed up with the job on his Twitter.

Well I've not been since the show moved to the Gielgud, but most of the cast is as it was. Although the programme still lists Mark Goldthorp, the note inserted in it says that Nicky/Trekkie/Bear are "now played by" Tom Parsons, which suggests to me that he's not actually understudying it any more, and Goldthorp has actually left, presumably suddenly. We also had an understudy Brian - again probably due to a quick reshuffle I don't know his name, as he was announced over the tannoy but isn't actually listed in the programme. He's also the first-ever skinny Brian I've seen - not that any newcomers to the show would have found it odd, as I think there's only one quick reference to Brian being fat in the actual dialogue. Both actors were fine, although I didn't like them as much as their predecessors. But there's also a new (third) actress playing Kate/Lucy, and I'm afraid I really didn't like Cassidy Janson in the role. While all the other actors seem replaceable (yes, remember even D-Boys is a replacement cast member, and Jon Robyns before him was also fab) Julie Atherton really seems matchless as the female leads. Janson's Kate Monster speaks way too quickly - loads of gags were completely lost. Her Lucy The Slut is better at first, but in the second act also succumbs to the rapidfire delivery. One place where Janson does beat the second Kate is "There's a Fine, Fine Line" - Rebecca Lock could belt it but never get much emotion out of it, but Janson does a lot better in that regard. But overall I'd say she was the weakest of the three lead actresses I've seen.

The rest of the cast are as at the last time at the Noël Coward; in tonight's performance Joanna Ampil (who seems to be the only Christmas Eve to have lasted a significant amount of time) got a particularly good reception from a largely young crowd.

And of course there's D-Boys, who still looks like he's having great fun even if his tweets sometimes tell a different story, so nice bit of professionalism there. He's still ridiculously hot, obviously, and either he's done some creative combing or his hair isn't receding quite as rapidly as it was last year, when it appeared to be in some kind of race against itself. The last couple of times I was rather taken by his arms; they don't seem to be any more muscular than they were before, but I think he might have been working on his pecs as he was looking particularly good in the faded black T-shirt. There was also almost-permanent nipple erection on show, so there's lovely. Now something a bit contentious: Evil Alex claimed that at one point D-Boys' sleeve rolled up particularly high, and he spotted a tattoo. Now, having been looking at his arms for much of the time I saw no such thing, although sometimes there was a shadow cast that could be mistaken for a tat, so I'm guessing Alex was seeing things. Besides which, this is Daniel Boys we're talking about. He's been on Songs of Praise FFS. Twice. I'm just saying, he may be many things (and in my imagination he also does many, many things) but *rawk* \m/ is unlikely to be one of them.

Anyway, back to the show, and surely when it closes at the Gielgud in March (which yes, I'll be going to, making it an even 10) it'll be gone for good, in this original production at least. I'm sure in 10-15 years' time it'll be ripe for a reimagining (undoubtedly at the Menier) but although it's still funny it's starting to feel a tiny bit dated. Not just the "George Bush is only for now" line which both this and the Broadway production struggled to replace once Obama got in (the current version here is "Swine Flu is only for now," getting a fraction of the response the original did - there's really not an equivalent replacement for that line to be honest.) I also noticed that although the song "Mix Tape" is still called that, Princeton now holds a CD, and "Side A/Side B" in the dialogue is now "Disk 1/Disk 2." It still works but it's really a noughties show with noughties concerns: Probably for the best if it bows out gracefully before outstaying its welcome in the next decade.
Dec. 3rd, 2009 @ 11:58 pm Theatre review: Mixed Up North (+ Celia Imrie cake madness)
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Oh all right, I'll do a review of the play as well, but mainly I want to get to the very exciting thing that happened during the play: The sort of thing that some people on my flist, especially those of a lowcultural persuasion, will be very jealous of; and some people, especially the Americans and other aliens, will stare at the screen blankly.

Mixed Up North is another piece of verbatim theatre (in which writers record interviews with real people, then edit them into a script) although writer Robin Soans and director Max Stafford-Clark don't go as far as Alecky Blythe, who gave her actors headphones onstage to listen to the original people speaking during the performance. The theme is racism and the setting is a youth club in Burnley, a town still dealing with the effects of the race riots there in 2001. The first half sees them attempt to do a dress rehearsal of the play they're putting on the next night, with the audience as invited observers. The dress rehearsal becomes a disaster, and in the second half we return the next night where instead of a performance they've had to put on a Q&A featuring a mixed-race couple who'd inspired their workshops.

It's lovely to see something at Wilton's Music Hall again, not least to know that the place is still standing and able to house shows. It's a bit of an odd match to have a modern play in a crumbling Victorian building, but designer Jonathan Fensom manages to make it work. There's good moments in the play and the cast are all very good (plus a couple of hotties in Tyrone Lopez and Kashif Khan - in keeping with a running theme chez this blog, the programme notes confirm they're both LAMDA boys) but all too often this play about community theatre seems to actually be a dodgy piece of community theatre. There's a lot of interesting things here about Burnley, including the idea that there's so little industry there that since 2001 creating problems and trying to solve them has become the closest thing to an industry and town identity they've got. But there's a lot of moments where the action stops so the characters can turn to the audience and give them a potted history of the town and how they relate to it, including some cringe-inducing linking dialogue. In the second half this feeling is even stronger as it's essentially just a recreation of a Q&A.

A lot of interesting ideas but they don't really feel fleshed out dramatically, despite many good moments along the way. On another note I found it funny that the poster photo shows a white boy chatting up an Asian girl, when the play has a running theme that the youth group's members are almost entirely white girls and Asian boys, and that mixed couples always seem to be that way round.

However there's something very exciting about this evening, and shows how sometimes by sheer luck you pick just the right seat: Celia Imrie plays Trish, the youth group leader. She's the first person to address the audience in their role as outside observers there to give their thoughts on the dress rehearsal, and says there's some cake on the way that they'll pass round. Then she says, tonight directly to me, "you could manage a slice of cake I'm sure." (I was tempted to be offended but the playtext programme means I could check that line was really there, and it wasn't a comment on my weight; she presumably has the seat I was in, at the middle of the second row, as her marker every night.) Then the really exciting thing: Later in the show a tin of cake does arrive, Trish says "I promised you a slice didn't I?" and gives me cake. Celia. Imrie. Gave. Me. Cake. MISS BABS + CAKE! I know! I said you'd be jealous. The whole two fronts rows got a slice, but after me Imrie passes the tin to another actress and asks her to pass it around, so although I wasn't the only one to get cake, I was the only one given it directly by Celia Imrie. Tonight, anyway. I KNOW!

Mixed Up North by Robin Soans is booking until the 5th of December at Wilton's Music Hall.
Dec. 2nd, 2009 @ 03:10 pm Twitter ye not 37: Well done with the secrecy, spies!
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This week on Twitter I have been mostly chuckling at a fake Cheryl Cole (@CherylKerl) who tweets phonetically-spelt "gossip" from behind the scenes at X Factor. And obviously tweeting my own X Factor thoughts, although those have mostly been self-censored because of that story that nobody's supposed to know about, let alone mention. Yeah, that one.

Old man: If the changing room's half-empty but you still squeeze yourself in between me and another naked young guy, I'm making assumptions.
1:12 PM Nov 25th from web

And by assumptions I mean from now on you will be referred to as Mr Herbert from Family Guy.
1:13 PM Nov 25th from web

#spooks turning into American Beauty = a bit odd
9:04 PM Nov 25th from web

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Nov. 30th, 2009 @ 03:03 pm Destiny and chicken
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Not up to last week's standard but not a bad Merlin this week all the same. Spoilers for 'Sweet Dreams' )
Nov. 27th, 2009 @ 03:46 pm Book review: Hangover Square
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Time for another of the freebie classics The Times was giving away a couple of months ago. One week's theme was "London" which was inexplicably colour-coded pink. Patrick Hamilton wrote the play Rope, which I'm going to see in January and which Hitchcock filmed. He must have had an interest in crime because his novel Hangover Square opens with a definition of schizophrenia, and then goes on to tell the story of large, graceless George Harvey Bone. He's a rather tangential member of an Earl's Court "set" that gravitates around the beautiful and bitchy Netta. George is utterly besotted with Netta, a fact that she openly takes advantage of for her own financial gain while frequently humiliating him; but every so often something "clicks" in his brain and all he can think about is murdering her.

Set in 1939 and leading up to the breakout of World War II, it's a satire of a certain type of socialite of the era, fecklessly spending money (usually other people's) and as the title suggests spending much of their time drunk. Not a lot happens but I still enjoyed it and got through it pretty quickly, with the black comedy offering a few chuckles now and again. It can be an uncomfortable read, I always find something upsetting in stories of people obsessing over someone who'll take advantage of them for it, and often found myself hoping George would get round to killing Netta and her sidekick Peter before he switched back to his more vulnerable personality. In the end it takes on an air of tragedy and overall gives you a strong impression of what it might have been like in that time and place, with the protagonists harshly viewed as seeing the oncoming war as little more than an inconvenience. And although Hamilton's understanding of Bone's mental condition feels a bit naïve, the book reads like a predecessor of the psychological thrillers which are more of a recent literary genre.
Nov. 26th, 2009 @ 11:40 pm Theatre review: Life is a Dream
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Pedro Calderón de la Barca was roughly a contemporary of Shakespeare's, and in this production of Life is a Dream the Spanish playwright shows many similarities with his English counterpart (an effect helped by Helen Edmundson's blank verse translation.) Nominally set in Poland, although only about as much as Twelfth Night is set in Croatia, it's a tragicomedy bordering on fairytale, featuring a cross-dressing heroine. Although if anything it resembles one of Shakespeare's Problem Plays with a collection of morally dubious characters and a rather harsh ending, brought into added focus in Jonathan Munby's production.

Basilio, King of Poland, listening to oracles of doom surrounding his son, imprisoned him from birth in an isolated tower. Decades later he decides to give Segismundo a chance, releases him and gives him ultimate power over the nation. Unsurprisingly after the way he's been brought up he turns out to be a brutal, half-feral ruler, and Basilio has him drugged and imprisoned again, with the instruction that he be told his interlude as Regent was just a dream. The succession passes to his cousins Astrolfo and Estrella, but now the secret is out, their enemies will seek to get Segismundo back on the throne.

It sounds like a ridiculously complicated plot (and this is only one strand of it) but luckily Munby's production is very clear and entertaining. Although Dominic West as Segismundo is the star name, and is excellent, the play isn't so much a star vehicle and gives everyone their moment. As if the confusion about which part of his life is real and which is a dream isn't enough, he also has to contend with a romantic interest who appears to him first disguised as a man, then in a dress, and finally as a sort of hermaphrodite warrior. Rosaura (KateFleetwoodHeyDidIEverMentionThatIWasInAPlayWithHerOnce?) also has a score to settle with one of the pretenders to the throne, Astrolfo (Rupert Evans - saddled with an iffy hairdo for most of it but back to *unf* levels once it gets mussed up at the end) and a secret even she doesn't know, connecting her to Segismundo's jailer, Clotaldo (David Horovitch.) The whole cast are fantastic as you'd expect, and the combination of a massive moral ambiguity plus an almost existentialist element due to the way the prisoner's view of reality has been manipluated, make for a pretty thoughtful play, but one filled with constant moments of light comedy. One of those productions that really makes you wonder why the play isn't better-known.

Life is a Dream by Pedro Calderón de la Barca in a version by Helen Edmundson is booking until the 28th of November at the Donmar Warehouse.
Nov. 26th, 2009 @ 01:28 pm Plenty of people to make omelettes for
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A couple more TV articles for the front page this week (there doesn't seem to be any lowculture-friendly theatre opening at the moment, although there should be a couple of new shows in January worth flagging up.)

On Tuesday I did one of those previews of a show I really wasn't that sure about, BBC1's Paradox. It looked rubbish but I kinda hoped it might be the Bonekickers kind of rubbish. Sadly it wasn't, it was just pants. Never mind the Paradocks.

And tonight don't forget the final series of Gavin & Stacey starts, also on BBC1: Not occurin' for much longer.

And that's it for now...