Theatre - One Man, Two Guvnors - NT Live

Star rating – 10/10

In all honesty I wasn’t expecting to love this play, hyped up as it has been and the recipient of rave reviews, with a West End transfer in the offing. That always makes me a bit nervous. Add to that my first experience of the National Theatre’s experiment of bringing productions to the provinces via your local multiplex screen via NT Live, and I felt it was going to be very much a hit and miss affair. How wrong could I be? I forgot about the slightly alien close up format in a matter of minutes, and I haven’t laughed so much in ages. And I mean really laughed, belly laughed, with tears streaming down many faces. It felt like a brilliant pantomime just for adults, and is theatre solid gold.

Richard Bean has adapted an eighteenth century Italian classic comedy by Carlo Goldini into a farce which serves as a complete and wonderful showcase for the comic genius of James Corden in particular, but of the whole of the rest of the cast too. It is always much harder to make people laugh than to make them cry, and the seeming simplicity of this story, and the way it is delivered with ease and panache, belie some very, very clever writing, and masterful performances.

The plot, when written down, it not much to behold at all, just lots of mistaken identities, cross dressing and deceptions. Goldini’s Italy is transposed into 1960’s Brighton. He accidently finds himself working for two different bosses, one is the sister of a dead gangster who is trying to swindle money out of a former associate of her brother’s to enable her to escape abroad with her lover, who just happened to murder her brother. Another is the said murdering lover. But all this is frankly secondary to the humour. And it takes audience participation to a whole new level.

Corden is a total revelation as failed skiffle player Francis Henshall. He is a master of comedy, at home ad libbing with the audience, and getting himself into a terrible muddle trying to follow instructions from two people who are unaware of the other’s existence, whilst all the while in the terrible throes of hunger pangs. Oliver Chris is excellent as the murdering toff, Stanley Stubbers, who gets public school crass stupidity and arrogance off to a tee. Daniel Rigby is wonderful as the budding thespian and failing lover who manages to get a Shakespeare quote into every over acted line. Suzi Toase is just brilliant as the busty personal assistant Dolly, who is a strident feminist when it suits, but manages to get the men wrapped around her little finger at every turn of her thumbscrew.

The riotous proceedings are opened and interspersed with a skiffel band to get the audience into the swing of things very nicely. There are also some hilarious musical interludes from cast members. I am not sure any review though can really do justice to this wonderful, outrageously funny play. My advice would be to catch it, either when it comes to Manchester next month, or on its West End transfer later in the year. You will not regret it for a minute.

Film - Jane Eyre - directed by Cary Fukunaga

Star rating - 9/10

It’s a very difficult challenge to add something new to such a beloved classic as ‘Jane Eyre’, which has been read and filmed so often that most of the audience will be anticipating every tiny detail. And of course a feature film length version cannot possibly include every detail from the wonderful Charlotte Brontë novel. But director Cary Fukunaga, whose last film ‘Sin Nombre’ was a world away from this classic romance, and screen writer Moira Buffini, have certainly more than done justice to the original story.

There is a good twist in the sequencing, as the film opens with a scene when Jane has fled from her employer and would be husband, Mr Rochester at Thornfield Hall, and arrives at the Rivers’ cottage for refuge from the storm – both literally and metaphorically. It then slips back to her unhappy childhood at the hands of her cruel Aunt Reid, and then at the equally brutal Lowood School.

But this story is all about the two central performances, and here we have two stellar ones. Michael Fassbender is wonderful as the taciturn, broody, and yet, in this version at any rate, irresistibly handsome Mr. Edward Rochester, who is concealing a dark secret in the attic. He is possibly a shade too good looking for Mr Rochester, who is after all, not supposed to be a handsome man, but far be it from me to complain. Mia Wasikowska is perfect as the intelligent, principled, and independent minded governess Jane. She was good in a supporting role as one of the children in last year’s ‘The Kids are Alright’, but really comes into her own here, perfect English accent and all. The on screen chemistry between the two is subtle and understated, as in the book, until it builds to a crescendo that neither can ignore.

Judi Dench is of course an absolute pleasure to watch, as always, as Mrs Fairfax the faithful housekeeper. The beautiful Derbyshire scenery is shown of to full effect with some wonderful cinematography. This version will undoubtedly have its critics, but for me it is outstanding, and a great showcase for both Fassbender and Wasikowska as thoughts will inevitably be turning to the crazy annual Oscar bun fight. But the real pearl is the brilliant, romantic, and Gothic tale by Charlotte Brontë. As we eagerly wait for Andrea Arnold to offer up more in the same vein with her take on Emily Brontë’s ‘Wuthering Heights’, let the Brontëmania begin...

Theatre - Edward II - Royal Exchange

Star rating 9/10

Edward II isn’t one of those kings that we learn about at school. And for that matter the original sixteenth century audiences watching Christopher Marlowe’s history play about this doomed monarch would not have been overly familiar with the details of his life either. But thanks to the skilful and engaging writing by Marlowe, and the fantastic production of the play at the Royal Exchange, familiarity matters not, and contempt is certainly not bred during this wonderful night out.

Edward suffered from coming between his father and his son, (also both confusingly called Edward) as kings are wont to do, who were reputedly brave, noble, and wise leaders of their country. Edward II, played here in a riot of passion and colour throughout by the mesmeric Chris New, was weak and not particularly concerned with affairs of state or war. He was more concerned with affairs of the heart, and as his heart was decidedly gay, his love for his favourite, Piers Gaveston, did not particularly delight either his barons, or his wife Queen Isabella of France, skilfully played with all the necessary degrees of despair and rejection by Emma Cunniffe. And thankfully no punches are pulled here with regard to Edward's sexuality.

Director Toby Frow and the team that produced last year’s excellent Doctor Faustus here, do not need to employ all the visual trickeries and magnificence that they used then. The action, tranferred to a more modern setting, spins along on its own, with a few lavish touches such as the coronation scene, complete with long and regal ermine robes, to help it on its way.

Marlowe is very clever in manipulating his audience so that for the first half of the play they have little sympathy with Edward and his weaknesses; but in the second half they are outraged and appalled at the treatment meted out to him. There are some contemporary touches, such as Edward being subjected to hooding and water torture, unfortunately still as relevant this week as they were in medieval times. Chris New’s performance is truly outstanding throughout all. And he is supported by another very fine cast.

The young child prince Edward is impressive in his loyalty to his wronged father, and his command of the auditorium. And no-one batted an eyelid when the part of the Archbishop of Canterbury had to be read through by a stand in due to last minute illness. This production is not one to let a small matter like that stand in its way. It is big, bold and very fast paced, but above all it is a fantastic night of transportation to another time and place by the Royal Exchange, currently enjoying an impressively excellent run of productions.

Books - Serenade by James M. Cain

Star rating 7/10

Written in 1937, and very much in the style of Raymond Chandler American crime noir, James M. Cain’s ‘Serenade’ has just been reissued. Some of Cain’s work has been turned into successful Hollywood films such as ‘The Postman Always Rings Twice’, and ‘Double Indemnity’, as well as the slightly disappointing recent Sky Atlantic Kate Winslet showcase ‘Mildred Pierce’.

Cain was an interesting character, who combined his work as both an author and a journalist with his love of music, which he inherited from his opera singing mother. In ‘Serenade’ he makes the central character, John Sharpe, and equally interesting and complex man, with the same love of opera that he himself possessed. Sharp finds himself in tightened straits in Mexico, who falls in love with a prostitute and runs away with her in search of something better.

The writing is taut and full of tension; giving that familiar dark pervasion that epitomises this genre. But there are a few curve balls thrown in there too, some of them rather shocking. At the start of their adventure, Sharp and Juana find themselves in a church sheltering from a tempestuous storm. He makes his move on her as she is crouching in prayer at the altar, and afterwards tells the reader that ‘Yes, it was rape, but only technical brother, only technical’. Not exactly an attitude to endear Cain to his modern readers perhaps.

The two eventually set up home together in New York, and Sharp becomes a celebrated star both there and in Hollywood, but all their hopes of happy ever after are dashed, as the story reaches a climax from out of left field. The writing is good, the atmosphere created is perfect, but the story line feels a little too forced and over dramatic to put it up there in the same category as Chandler.

Audio books - The Winslow Boy - by Terence Rattigan

Star rating – 9/10

Terence Rattigan is very much in fashion again at the moment, having had several successful adaptations of his plays entertaining packed audiences and receiving critical acclaim at the National Theatre, the Old Vic, and the West Yorkshire Playhouse over the last couple of years. He largely writes of the lives, loves and prejudices of a very English upper class world. His characters’ emotions are often very understated and subdued, but inevitably affect and infect their lives, usually with devastating consequences for them and those around them.

‘The Winslow Boy’, which Rattigan wrote in 1946, when he was in his mid thirties, is one of his most popular plays. In it a seemingly rather trivial incident just before the First World War involving a teenage boy at naval college, and the theft of a five shilling postal order, comes to be a matter of national importance, involving the House of Commons and the Admiralty. Farfetched though that may sound, it was actually base on a real case, which Rattigan used to show the importance of adhering to the principles of truth and right, whatever the cost.

This very well judged BBC Radio 4 adaptation from 1981, which has just been reissued as an audio book, captures the essence of the play brilliantly. Michael Aldridge is masterful as Arthur Winslow, the father of Ronnie the alleged thief. Arthur is stern and dominant as head of his family, but will not give up the fight to clear his son’s, and his family’s, name once he is convinced of his innocence. Sarah Badel is also determined and strong as Ronnie’s elder sister, who is as sure of her brother’s innocence as she is of the fight for women’s suffrage. And the formidable Sir Robert Morton, who as one of the most eminent barristers of his day, rather surprising takes up the case on the strength of the principle that they all hold most dear – truth. Aubrey Woods is excellent as the scarily effective barrister.

Rattigan brings out all sorts of moral and political issues in this play, and is his usual master of language to entertain and amuse along the way. It is all packed into 90 minutes of sheer joy to listen to, and very well worth the relatively small investment of time for such joyous rewards.

Books - The Sense of an Ending - Julian Barnes

Star rating – 9/10

Memory is a funny thing, we can choose to remember some things and forget others, and then long forgotten details about our past can suddenly come back to haunt us. Tricks of memory, and how we rewrite our personal histories to suit our current purpose, is the subject of the brilliant new novel by Julian Barnes.

In this beautifully written and absolutely compelling story, Tony Webster is our narrator. He recalls with riveting detail his school days in the 60’s when his friendship trio was enlarged to include the sparklingly intelligent and mesmerising philosopher, new boy Adrian. Adrian beguiles the masters with his sharp observations, and bewitches his new friends. At university Tony soon acquires and loses a girlfriend, Veronica, who seems to be out of his league in every single way.

It is these formative years and these adolescent relationships that come to dominate Tony’s life in later years. Barnes is a compelling story teller, and his descriptions of everyday ordinariness are irresistible. This book has some cruel twists of fate, the clues to which were really there all along. If only the reader had more than the unreliable reminiscences of Tony to guide them, the twists may not have been so shocking. But that is the beauty of this book. I enjoyed every minute of reading it and felt beret when it was over.