Olivier Awards performances rock the joint

magic-flute-impempe-yomlingo x650

By Ray Bennett

LONDON – The joint was jumping at the Olivier Awards Sunday night with performances from the nominated musicals and a tribute to the works of lifetime achievement honouree Andrew Lloyd Webber.

Most unforgettable was the reaction of the young cast of “The Magic Flute – Impempe Yomlingo” (pictured) who had performed earlier. They were watching from the balcony of the ballroom at Grosvenor House and when the show was named best musical revival, boy, did they sing out in triumph!

It was exhilarating, and a grand advertisement for the Young Vic production, which sets the Mozart classic in South Africa, and is playing at the Duke of York’s Theatre through April 12.

star-elena-rogerThe casts of the Donmar’s “Parade,” “Fiddler on the Roof,” “Little Shop of Horrors” and the night’s big winner, “Hairspray”, also were in top form. Connie Fisher from “The Sound of Music” sang “Take That Look Off Your Face” from “Tell Me On a Sunday” and Lee Mead did “Close Every Door to Me” from “Joseph and the Technicolour Dreamcoat” in the Lloyd Webber salute.

But the one who had the industry crowd standing in applause was Elena Roger (above). The petite Argentine star of the 2006 revival of “Evita” performed “As If We Never Said Goodbye” from “Sunset Boulevard” and blew the roof off.

Richard E. Grant was the droll host of the evening, dripping with sarcasm over many of the corny lines he had to deliver. Presenters included Kevin Spacey and his “Speed-the-Plow” costar Jeff Goldblum who was paired with a delighted Barbara Windsor.

All the winners were gracious although I didn’t hear best actor Chiwetel Ejiofor (“Othello”) name-check his Iago, Ewan McGregor. The best acceptance speech was by surprised choreography winner Toby Sedgwick, who devised the motion of the puppets in the National’s hit “War Horse”, which returns at the end of the year.

Sedgwick observed that working with the faux equines for so long didn’t necessarily turn a person into a horse and then began to snort and stamp his foot.

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OLIVIER AWARDS: Wins for Ejiofor, Scott Thomas, ‘Hairspray’

Scott Thomas Ejiofor Oliviers 2008 x325By Ray Bennett

LONDON – Chiwetel Ejiofor and Kristin Scott Thomas (left) and the Broadway smash “Hairspray” won top honors Sunday at the Laurence Olivier Awards, Britain’s equivalent of the Tony Awards.

Ejiofor was named best actor for his title performance in “Othello,” while Scott Thomas took the actress prize for “The Seagull.”

With a record-breaking 11 nominations, “Hairspray” picked up with four prizes, including best new musical.

Ejiofor, whose film credits range from Steven Spielberg’s “Amistad” in 1997 to Ridley Scott’s “American Gangster” last year, triumphed over competition that included Ian McKellen in “King Lear” and Patrick Stewart in “Macbeth.”

Ewan McGregor, who co-starred as Iago in the Donmar Warehouse’s hit production of “Othello,” was not nominated. Tom Hiddleston, who also was nominated for playing Cassio in “Othello,” won as best newcomer for “Cymbeline” at the Barbican.

Rupert Goold, who directed Stewart in “Macbeth,” was named best director, and Rory Kinnear won for best performance in a supporting role for the National’s revival of George Etherege’s restoration comedy “The Man of Mode,” which also won for Vicki Mortimer’s costume design.

“Hairspray” also won for best actor in a musical for West End veteran Michael Ball, best actress in a musical for newcomer Leanne Jones, and best performance in a supporting role in a musical for Tracie Bennett.

Richard E. Grant hosted the ceremony at Grosvenor House, where Andrew Lloyd Webber received a lifetime achievement award. Presented by the Society of London Theatre since 1976, the prizes were named the Laurence Olivier Awards in 1984.

This story appeared in The Hollywood Reporter.

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THEATRE REVIEW: Miller’s ‘The Man Who Had All the Luck’

'Man who had all the luck'

By Ray Bennett

London’s Donmar Warehouse has taken a forgotten play by Arthur Miller, “The Man Who Had All the Luck,” which folded after four performances on Broadway in 1944, and reveals that it deserves an honored place among the late American playwright’s works.

A fable about a man who cannot believe his own good luck, the writing is sturdy and provocative, as you would expect from Miller. In his 30s at the time, he explores such themes as the conflict between fathers and sons and how life has a way of catching us out that he would explore further in his greatest plays.

Casting director Anne McNulty has supplied director Sean Holmes with a cast of fine actors who are not only relaxed in their serviceably generic U.S. accents but also somehow have the faces of hardworking rural Americans in the 1940s.

Designer Paul Wills’ evocative sets — including a roadside garage with a period automobile that descends from the ceiling — are bathed in Paule Constable’s autumnal lighting to amplify the play’s mix of hope and despair.

Miller’s central character, David Beeves (Andrew Buchan) is a man who has lucked into a job as a car mechanic but who believes that in America a man should get what he deserves. When good things always seem to come his way, he refuses to believe that he’s earned them. It will spin him toward madness.

Miller said his parable was about a young man who has “succeeded in piling up treasures that rust, from which his spirit has already fled.” The man’s conviction that everyone has a curse that will one day emerge to blight life is deepened by the cruel fate that has been dished out to everyone else he knows.

His brother Amos (Felix Scott), who has a fine pitching arm, having been driven to train by their obsessed father (Nigel Cooke), keeps waiting for a scout from the Detroit Tigers to show up. Friend J.B. (Mark Lewis Jones) keeps drinking as his longed-for chances to become a father become slimmer. Girlfriend Hester (Michelle Terry) has a brute of a father (Roy Sampson) who threatens to shoot David if he comes near her.

There are other well-drawn characters, too, whose aspirations have been tarnished by one or another misfortune and a series of events that make compelling drama. The acting is exemplary, and it’s hard to believe that if the Donmar’s production takes Miller’s play back to Broadway that it won’t have much better luck this time.

Venue: Donmar Warehouse, runs through April 5; Cast: Mark Lewis Jones; Andrew Buchan; Aidan Kelly; Sandra Voe; Nigel Cooke; Felix Scott; Michelle Terry; James Hayes; Roy Sampson; Shaun Dingwall; Gary Lilburn; Playwright: Arthur Miller; Director: Sean Holmes; Set designer: Paul Wills; Lighting designer: Paule Constable; Sound designer: Christopher Shutt.

This review appeared in The Hollywood Reporter.

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THEATRE REVIEW: Shaw’s ‘Major Barbara’ at the National

Major Barbara 2008 x600

By Ray Bennett

LONDON – Bernard Shaw’s play “Major Barbara” tackles themes similar to the movie “There Will Be Blood,” but instead of the American Daniel Plainview it’s a very English capitalist named Andrew Undershaft who takes on religion and wins.

President Eisenhower warned of the dangers of the military industrial complex in his farewell address in 1961, but it was on playwright Shaw’s mind in 1905, when the play was first produced. Now, a major revival brings out all of Shaw’s skill in creating interesting characters and writing well-structured and often very funny scenes.

Directed by Nicholas Hytner and starring, as Undershaft, Simon Russell Beale –surely the best stage actor in Britain – the play retains Shaw’s cynicism and idealism and does not shirk his inclination to be didactic in respect to society and politics.

Undershaft manufactures weapons of all sizes and sells them to anyone that wishes to go to war. Immensely wealthy, he pays his workers an honest wage and provides homes, schools and health care. He does this not only because he believes treating them well will prevent revolution but also from his belief that the worst crime in life is poverty.

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The mogul also provides for his estranged family, haughty wife Lady Britomart (Clare Higgins), feeble son Stephen (John Heffernan) and two daughters, giggly Sarah (Jessica Gunning) and the very independent and resourceful Barbara (Hayley Atwell, pictured with Beale).

Barbara, in fact, has rejected the trappings of wealth and joined the Salvation Army along with her doting boyfriend, Adolphus (Paul Ready), a scholar of Greek.

Shaw pits the father and the boyfriend against each other to win over Barbara; one to draw her towards capitalism, the other towards idealism. It’s not a fair fight, and Hytner uses Shaw’s text to illustrate exactly why with all its references to government, industry and world affairs remaining highly pertinent.

The play moves through three impressively detailed sets designed by Tom Pye as Shaw takes his characters from a cozy drawing room to an unsettling Salvation Army soup kitchen to a very scary weapons factory filled with bombs that might be nuclear.

Russell Beale relishes the chance to play a much darker character than usual, and Undershaft’s exchanges with wife, daughter and Adolphus are riveting. Higgins and Ready respond in kind, and Heffernan shows the son’s better colors before the play is over.

Oddly, Shaw doesn’t give his title character many great lines, and while Atwell is fine, she’s not given the chance to impress, as she surely will later this year as Julia Flyte in a new feature film version of “Brideshead Revisited.”

Venue: National Theatre, runs through May 15; Cast: Simon Russell Beale; Hayley Atwell; Clare Higgins; Paul Ready; John Heffernan; Tom Andrews; Jessica Gunning; Playwright: Bernard Shaw; Director: Nicholas Hytner; Set designer: Tom Pye; Costume designer: Vicki Mortimer; Lighting designer: Paul Pyant; Music: Matthew Scott; Sound designer: Mike Walker; Presented by the National Theatre with sponsorship by Travelex.

This review appeared in The Hollywood Reporter.

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Many left behind in digital world: report

By Ray Bennett

LONDON — Teenagers live in a different world of entertainment and technology compared to the rest of the population, a new survey confirms.

Revealing what it calls “an astonishing divide in digital entertainment takeup and technology ownership between consumers of different ages”, the report by Entertainment Media Research concludes: “There is a substantial proportion of consumers that feel left behind. All this adds up to a significant untapped market for digital technologies and services.”

Young people have embraced new technology being hooked into next generation games consoles, wireless networks, advanced mobile phones and digital music players. Many grownups, in contrast, remain reliant on traditional media.

The London-based researcher says the poll of 1,608 people showed that a great many adults, especially females, confessed they were confused by the jargon of the new technology. “A fairly massive chunk of the market” has major barriers to overcome before adopting the new media.

“These barriers include awareness, understanding and acceptance. Providers wishing to maximize takeup of new technologies should not underestimate the extent to which they need to educate a substantial tranche of the market,” the report says. “But more often than not, new technology is riddled with jargon and a fair amount of prior assumed technology know-how. This only adds to the barriers facing many consumers. There is a much bigger market available for consumer technology and digital media is these barriers are overcome.”

Polling for the survey took place before Toshiba Corp. threw in the towel on HD DVD and it reveals that 31% of participants said they owned, had access to or planned to buy an HD DVD unit compared to 18% heading Blu-ray’s way. With 24% of respondents indicating they would watch HD packaged media, that’s good news for Blue-ray.

The figure compared to 7% who said they planned to stream or watch Internet video-on-demand although 84% expressed interest in seeing movies released via VOD at the same time as on DVD. Ad-supported VOD appealed to 70% of those polled with 15% saying they would prefer a subscription or pay-per-view model.

Around 6% said they would stream TV programs, 4% would rent standard DVD movies while 2% suggested they would watch a pirated DVD.

From other questions, the survey concluded that social networks have the potential to become major content distribution platforms and are an essential place to be for brands.

For the majority, however, the strongest ties remain with printed books, watching TV via Sky or subscription TV and listening to the radio, the report says.

“Whilst much attention is placed on digital entertainment trends, it is still the traditional media to which consumers are most emotionally attached,” it says.

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Soho club owner Paul Raymond dies

By Ray Bennett

Soho multi-millionaire Paul Raymond, who has died at 82, looks like Peter Sellers on a very bad day in the photos run alongside his obituary in the newspapers.

He made his money from nudie magazines and cabaret shows plus a very shrewd eye for property in the center of London.

paul raymond x325His flagship nightspot was the Raymond Revue Bar and I recall it well from a story I did as a young man for the entertainment guide Where to Go In London.

The Raymond Revue Bar got away with nudity because it was a private club and it actually aspired to rank with the Folies Bergere in Paris in those days. My story was about the mogul’s wife, Jean Raymond, who oversaw the productions at the club.

Aside from importing top strippers from the continent, she also put together the music. For this, she told me, the great Hollywood film composer Henry Mancini used to fly over once a year and provide music that he’d written but had been unable to use.

Jean Raymond was very proud of the fact that the man who wrote the scores for “Breakfast at Tiffany’s” and “The Pink Panther” amongst many others, and won four Oscars, created the music for her shows. It seems her days of wine and roses did not last, however. According to The Times, she and Raymond divorced after 23 years of marriage. She died in 2002.

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THEATRE REVIEW: ‘The Hour We Knew Nothing of Each Other’

'The Hour We Knew Nothing' 2008

By Ray Bennett

We all know about silent movies, but a silent play? Peter Handke’s “The Hour We Knew Nothing of Each Other” at London’s National Theatre is mercifully not mime and it’s not completely silent, but it is wordless even with 27 actors onstage playing 450 characters.

The Austrian playwright drew his inspiration for the production, which actually lasts for 95 minutes, from people-watching in a tiny square in Trieste in northern Italy. In Meredith Oakes’ new translation, it’s a cavalcade of people from all levels of society going about their daily lives.

Most are individuals crossing a square between tall buildings, possibly a restaurant, an opening to a subway and some pillars. One or two are together, and there’s the odd group of tourists or characters linked by common dress.

Men and women of many races and walks of life stride, stroll or loiter, but if they speak to each other, we don’t hear it. Events take place unexplained, including what seems to be a small earthquake and perhaps some kind of military uprising with uniformed men racing through bearing machine guns.

Workers haul statues and machinery to unknown places. Two well-dressed young women kick a soccer ball about and a young man falls off his skateboard. Several elderly folk find their way gingerly between the buildings.

People queue in a corner for an unknown purpose. The sky darkens and lightens, the wind blows, and there are the sounds of clatter and fuss from beyond the square. Sometimes the square is packed and at other times it’s empty. Life goes on.

Director James Macdonald alters the pace intriguingly between furious haste and moments of idleness. Most of the characters are seen so briefly that no attempt is made to establish identity. There is one joker, played by Jason Thorpe, who earns laughter as he mimics other people, including a uniformed flight crew rushing presumably to an airport somewhere.

Anyone who has spent time gazing at humanity in all its weird and wonderful variations will see what Handke is getting at. For the most part the play holds attention, but it lacks dramatic cohesion, so that in the end it resembles daydreaming in some European square and feels just a bit like wasting time.

This review appeared in The Hollywood Reporter.

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THEATRE REVIEW: Pinter’s ‘The Lover’ and ‘The Collection’

'The Lover' 'The Collection' 2008

By Ray Bennett

LONDON – Nobel Prize-winning playwright Harold Pinter has long been fascinated by the tension that exists between two men who love the same woman.

It got out of hand in the recent film version of Kenneth Branagh’s “Sleuth,” but it is demonstrated in much subtler ways in “The Lover” and “The Collection,” now revived at London’s Comedy Theatre.

Both written for British television in the early 1960s, the two clever and amusing one-hour tales deal with deception and infidelity viewed with Pinter’s typically cool and distant eye where all is not as it first appears.

Harold Pinter’s “The Lover” and “The Collection” starring Gina McKee and Richard Coyle (pictured) are at London’s Comedy Theatre until May 3.

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THEATRE REVIEW: Spacey, Goldblum in ‘Speed the Plow’

'Speed the Plow' 2008 x650

By Ray Bennett

LONDON – David Mamet’s 20-year-old play “Speed-the-Plow,” which uses the ruthless setting of a Hollywood studio to explore male chicanery and misogyny, looks fresh and scintillating in Matthew Warchus’ new Old Vic production starring Kevin Spacey and Jeff Goldblum.

The two actors, with their intense stage presence and movie star grace, are as exciting to watch as a Jimmy Connors and John McEnroe tennis classic. Batting Mamet’s coiled and dangerous words back and forth at high speed, they reveal all the hunger, envy and fear of men trapped in their own ambitions with only their egos and wallets keeping score.

Goldblum plays Bobby Gould, the new head of production who can greenlight one film a year with a budget less than $10 million but who needs clearance from the studio chief for anything beyond that. Along comes old pal Charlie Fox (Spacey) with a killer package involving a script with a tested formula and a surefire star ready to become attached.

Breathless and alternately cocky and desperate, Fox sells Gould the package. Wary of being promoted by opportunists, Gould senses a good thing but takes his time being persuaded. These opening exchanges show Spacey and Goldblum in immediate command of their characters and the pace never flags.

Mamet poisons the well of their self-satisfaction by introducing Karen (Laura Michelle Kelly), a temp manning Gould’s reception desk who confesses she doesn’t actually know what to do. Her boss does, however, and makes a $500 bet with his buddy that she will be in his bed that night.

His plan for seduction involves having the young woman give a “courtesy read” to an improbably earnest novel about the end of mankind. That night, at his home and on his bed, Karen convinces Gould that it would make a splendid movie.

The scene is set for an explosive climax in which Fox excoriates Gould for taking his eye off the ball and letting a duplicitous woman fill his head with the idea of playing the game nobly rather than going for another smash.

Director Warchus stages the encounters with great flair and the electricity of the two male stars is matched by Kelly who injects a sly ambiguity into the role that makes the outcome even more unsettling.

Mamet’s observations about the way men and women manipulate each other and the bile that erupts when sparkling prizes remain just out of reach are now familiar but they retain their bite in the hands of the expert cast. The Old Vic has another hit.

Venue: The Old Vic; Cast:Jeff Goldblum; Kevin Spacey; Laura Michelle Kelly; Playwright: David Mamet; Director: Matthew Warchus; Designer: Rob Howell; Lighting: Paul Pyant.

This review appeared in The Hollywood Reporter.

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THEATRE REVIEW: ‘The Importance of Being Earnest’

Earnest 2008

By Ray Bennett

LONDON – Decorated with more quotable lines than any play has a right to, Oscar Wilde’s “The Importance of Being Earnest” is given a sprightly revival at London’s Vaudeville Theatre with the women, for once, having the edge.

Penelope Keith and Rebecca Night at the Vaudeville till April 26

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