TV REVIEW: ‘Moving Wallpaper’ / ‘Echo Beach’

Moving Wallpaper : Echo Beach 2008

By Ray Bennett

LONDON — Comedies set behind the scenes at television shows have met with varying success in the past, but Tony Jordan’s “Moving Wallpaper”/”Echo Beach” goes one step further by combining backstage antics with the finished product.

“Moving Wallpaper” is a sitcom about the people who are making a soap opera titled “Echo Beach.” The series are listed in U.K. schedules as two separate shows, but they clearly are of a piece, with setups from the first half-hour revealed in the second.

Jordan has impressive credentials as the creator of “Hustle” and co-creator of “Life on Mars,” both of which were made by this show’s producers Kudos Film & TV, which also is behind “Spooks.”

“Wallpaper” sees hotshot producer Jonathan Pope (Ben Miller) parachuted in 14 days ahead of launch to save a very somber soap opera set in a Cornish village on England’s southwest coast. One-liners fly thick and fast as Pope pays more attention to the design of his office than the show until it becomes apparent that it is on the verge of disaster.

Snapping to it, he changes the name of the soap to “Echo Beach” and orders it to be filled with glamorous people with a story line and production values designed to win British Soap Opera Awards.

He demands “wit, class and permanent erections” from sexy characters in a sultry landscape. Shot at Watergate Bay, the resulting visuals are gorgeous even if the beach parties appear to be happening in the cold.

Much will depend on whether audiences respond to the inside jokes and sly wit that spins off the sitcom into the soap opera. The two shows are very different in tone and look, but savvy viewers might well decide they make a handsome combination.

Airs: ITV1 9-10 p.m. Thursday, Jan. 10 2008; A Kudos Film & TV production in association with Red Planet Pictures; Executive producers: Tony Jordan, Jane Featherstone, Alison Jackson; Creator-teleplay: Tony Jordan; Production designer: Brian Sykes; Costume designer: Rosalind Ebbutt

ECHO BEACH

Cast: Jason Donovan; Martine McCutcheon; Hugo Speer; Ed Speleers; Christian Cooke; Hannah Lederer-Alton; Jonathan Readwin; Producer: Howard Burch; Director: Beryl Richards; Director of photography: John Daly; Composer: Steve Isles; Music supervisor: Ian Neil; Editor: Martin Sharpe.

MOVING WALLPAPER

Cast: Ben Miller; Lucy Liemann; Raquel Cassidy; Dave Lamb; Producer: Mark Hudson; Director: Dominic Brigstocke; Director of photography: Ian Liggett; Composer: Jonathan Whitehead; Editor: John Gow.

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THEATRE REVIEW: Catherine Storr’s ‘Marianne Dreams’

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By Ray Bennett

LONDON – Known for provocative productions, the Almeida Theatre has taken a typically adventurous approach to its first seasonal show for youngsters, “Marianne Dreams,” based on the 1958 novel by English writer Catherine Storr.

A fable about a 10-year-old girl’s reveries while she is in quarantine having treatment for a mysterious illness, it was made into a 1989 Working Title feature titled “Paperhouse,” starring Charlotte Burke, Glenne Headly and Gemma Jones.

For the stage production, Moira Buffini adapted the story into words, dance and pictures using colorful video projections and inventive lighting.

As a worried mother (Sarah Malin) and a fussy doctor (Jack James) oversee her care, young Marianne (Selina Chilton) is not happy that she must stay in bed all day, every day. But then she finds a pencil and encouraged by new tutor Miss Chesterfield (Siobhan Harrison), she begins to draw.

To Marianne’s astonishment, the things she draws take on a life of their own so that when she draws a house and forgets to put in stairs, the next time she draws them so she can go upstairs. There, she finds a young boy seemingly trapped against his will.

He turns out to be named Mark (Mark Arends), and he has polio. Moving in and out of her dreams, Marianne sets out to rescue the boy from his leg irons and find a cure for her own ailment, an adventure that causes them to flee sinister strangers toward the sanctuary of a lighthouse.

Will Tucker’s witty direction and choreography take Marianne into fantasies giddily but so spry is the writing and so persuasive the players – especially Chilton as the little girl – that they might not be dreams at all.

It’s another juvenile success for the grown-up Chilton, who played an artistic prodigy recently in “Lotte’s Journey” at London’s New End Theatre. Harrison also is very good as the governess while Lorna Heavey’s video art and projection design borders on the magical.

Venue: Almeida Theatre, runs through Jan. 26; Cast: Selina Chilton, Sarah Malin, Jack James, Siobhan Harrison, Mark Arends (Marianne in some performances: Sarah Boulton); Playwright: adapted for the stage by Moira Buffini from the novel by Catherine Storr; Director, choreographer: Will Tuckett; Lighting designer: Neil Austin; Music: Paul Englishby; Sound designer: Paul Groothius; Video art/projection designer: Lorna Heavey.

This review appeared in The Hollywood Reporter.

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Cannes hit ‘El Violin’ bows at the Renoir

El Violin dvdBy Ray Bennett

The brilliant Mexican film “El Violin”, directed by Francisco Vargas, will have a brief release in London starting today at the Renoir Cinema, one of the Curzon group, near Russell Square.

It’s really worth the effort to see it on a large screen although the Cameo Media DVD will be released in the U.K. on March 23. The film’s star, Angel Tavira, was named best actor in the Un Certain Regard sidebar at the Festival de Cannes in 2006.

Read my review from The Hollywood Reporter

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Year in Review 2007: Film Acting

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By Ray Bennett

Brad Pitt (above) is my choice as best actor with Casey Affleck as best supporting actor for “The Assassination of Jesse James By the Coward Robert Ford.” Laura Linney is best actress for “The Savages” with Romola Garai best supporting actress for “Atonement.”

Pitt deservedly won the best actor award at the Venice International Film Festival with a scorching performance combining his extraordinary charisma and poise with a psychopath’s hair-trigger taste for violence. Following his selfless ensemble work in “Babel,” Pitt has moved up to the level of movie stars who can really act and much will be revealed in his next choices.

Casey Affleck (below) is mesmerizing as the young man Robert Ford, who is wholly in thrall to the bandit star. The film’s director, Andrew Dominik, frames scenes that allow Ford’s adoration and envy to become increasingly haunting. Affleck applies shrewd intelligence to prevent the character from turning into simply a weasel.

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Laura Linney has been doing sterling work for years and she’s at her very best in Tamara Jenkins’ absorbing comedy drama “The Savages.” Linney combines with another outstanding actor, Philip Seymour Hoffman, to create indelible portraits of cultured siblings at a loss over dealing with their ailing father (Philip Bosco, also a fine performance).

Romola Garai has the toughest job in “Atonement” as an 18-year-old World War II nurse. She shows extraordinary poise in vital scenes, saying very little, as the director trusts her formidable expressive powers to convey meaning.

Best Actor in a Leading Role
Brad Pitt (The Assassination of Jesse James by the Coward Robert Ford)
Sergei Makovetsky (12)
Sasson Gabai (The Band’s Visit)
George Clooney (Michael Clayton)
Ivan Barnev (I Served the King of England)

Russian actor Makovetsky has the starry role in Nikita Mikhalkov’s brilliant trial drama “12” as the sole jury member to dissent from a rushed decision. He underplays to make the alcoholic idealist unforgettable among a dozen memorable performances. Sasson Gabai (left with Ronit Elkabetz) is superb as the strict Egyptian leader of a ceremonial police orchestra lost in Israel in “The Band’s Visit,” capturing the man’s grave dignity and the emotions churning inside. George Clooney’s performance as a jaded attorney who does the right thing in “Michael Clayton” is a master class in top-flight big-star movie acting. Using charm, artful phrasing, and silence, Clooney ranks with the best. Playing a slight but resourceful waiter in Jiri Menzel’s splendid Czech comedy “I Served the King of England,” Ivan Barnev has the physical grace of great comedians and expressive features that encourage sympathy despite some of the unsympathetic things he does.

Honorable mentions: Benicio del Toro (Things We Lost in the Fire), Christian Bale (Rescue Dawn), Philip Seymour Hoffman (The Savages), Mathieu Amalric (The Diving Bell and the Butterfly), Matt Damon (The Bourne Ultimatum), Jake Gyllenhaal (Zodiac), Christopher Plummer (Man in the Chair), Adam Goldberg (2 Days in Paris)

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Best Actress in a Leading Role
Laura Linney (above with Philip Seymour Hoffman), The Savages
Anamaria Marinca (4 Months, 3 weeks and 2 Days)
Cate Blanchett (Elizabeth: The Golden Age)
Ronit Elkabetz (The Band’s Visit)
Kierston Wareing (It’s a Free World)

Anamaria Marinca, who won acclaim on the Channel Four miniseries “Sex Traffic,” shines in “4 Months, 3 weeks and 2 days,” a harrowing tale of abortion in totalitarian Romania. As a pregnant girl’s best friend, she is superb at displaying internal turmoil as she mirrors the horrors of the situation. Cate Blanchett is the best thing in “Elizabeth: The Golden Age,” using her extraordinary vocal agility to capture a ruler at the peak of her remarkable power. Ronit Eljabetz plays the sympathetic Israeli woman who helps out a troupe of lost Egyptian musicians in “The Band’s Visit,” and she gives her wisdom and grace with a sense of no little regret. Kierston Wareing is Ken Loach’s latest acting discovery and she gives a winning performance as a brash and misguided young woman caught up in the exploitation of immigrants in the U.K. in Loach’s “It’s a Free World.”

Honorable mentions: Marian Alvarez (The Best of Me / Lo mejor de mi), Ellen Page (Juno), Julie Christie (Away From Her), Galina Vishnevskaya (Alexandra), Marianne Faithfull (Irina Palm), Guylaine Tremblay (Summit Circle / Contre toute esperance), Julie Delpy (2 Days in Paris)

Best Actor in a Supporting Role
Casey Affleck (The Assassination of Jesse James by the Coward Robert Ford)
Steve Buscemi (Paris je t’aime)
Tom Wilkinson (Michael Clayton)
Philip Bosco (The Savages)
Sergei Garmash (12)

Honorable mentions: Saleh Bakri (The Band’s Visit), Javier Bardem (No Country For Old Men), Josh Brolin (No Country For Old Men), Steve Zahn (Rescue Dawn), Sam Rockwell (The Assassination of Jesse James), Oldrich Kaiser (I Served the King of England), Philip Seymour Hoffman (Charlie Wilson’s War), Vlad Ivanov (4 Months, 3 weeks and 2 days)

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Best Actress in a Supporting Role
Romola Garai (above, Atonement)
Cate Blanchett (I’m Not There)
Marisa Tomei (Before the Devil Knows You’re Dead)
Noemie Kocher (1 Journee)
Laura Vasiliu (4 Months, 3 Weeks and 2 Days)

Honorable mentions: Allison Janney (Juno), Tilda Swinton (Michael Clayton), Emmanuelle Seigner (The Diving Bell and the Butterfly), Juliet Ellis (It’s a Free World).

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Year in Review 2007: My Top 10 picks

Jesse James 1 x650

By Ray Bennett

Top 10
1. The Assassination of Jesse James by the Coward Robert Ford
2. The Band’s Visit
3. I Served the King of England
4. The Diving Bell and the Butterfly
5. Atonement
6. Michael Clayton
7. The Bourne Ultimatum
8. The Savages
9. 4 Months, 3 weeks and 2 Days
10. Zodiac

“The Assassination of Jesse James By the Coward Robert Ford” is easily my choice as best film of the year with Andrew Dominik best director. It is an epic Western, elegant, detailed and profound, with an evocative production design by Patricia Norris, beautiful images by cinematographer Roger Deakins and expert editing by Curtiss Clayton and Dylan Tichenor. Dominik’s screenplay, adapted from a novel by Ron Hansen, gives a fine cast topped by Brad Pitt and Casey Affleck (pictured) plenty to work with.

My Top 10 list above for The Hollywood Reporter was restricted to films released in the United States. Otherwise Nikita Mikhalkov’s wonderful Russian remake of “Twelve Angry Men,” titled simply “12,” would be in there.

Other non-English language films I liked very much this year include Spanish director Jose Luis Guerin’s lyrical “In the City of Sylvia,” Marc Forster’s moving Afghan tale “The Kite Runner,” Samuel Benchetrit’s nutty French comedy “I Always Wanted to be a Gangster,” Russian director Alexandre Sokourov’s somber war story “Alexandra,” Nae Caranfil’s enthralling Romanian period epic about filmmaking, “The Rest is Silence,” Austrian director Stefan Ruzowitzky’s offbeat concentration camp tale “The Counterfeiters,” and German/Turkish director Fatih Akin’s story of ethnic strife, “The Edge of Heaven.”

English-language movies close to the Top 10 include Julie Delpy’s smart comedy “2 Days in Paris,” Jason Bateman’s hugely appealing “Juno,” Werner Herzog’s riveting POW picture “Rescue Dawn,” and Wong Kar-Wai’s first English-language film, the romantic “My Blueberry Nights.”

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Best director:
Andrew Dominik (The Assassination of Jesse James by the Coward Robert Ford, pictured above)
Elan Kolirin (The Band’s Visit)
Jiri Menzel (I Served the King of England)
Joe Wright (Atonement)
Nikita Mikhalkov (12)
Honourable mentions: Jason Bateman (Juno), David Fincher (Zodiac), Paul Greengrass (The Bourne Ultimatum), Jose Luis Guerin (In the City of Sylvia), Tamara Jenkins (The Savages), Cristian Mungiu (4 Months, 3 Weeks and 2 Days), Julian Schnabel (The Diving Bell and the Butterfly), Alexandre Sokourov (Alexandra).

Disappointments:
“No Country For Old Men” because the Coen Bros. refused to accept that they’d made a thriller, and only a thriller.
“There Will Be Blood” for being crazily operatic.
“American Gangster” for looking nothing like a Ridley Scott film.
“Ratatouille” because everyone said it was a treat but it wasn’t half as funny or interesting as “Bee Movie”

Dire:
“Knocked Up,” “The Darjeeling Limited,” “Lust, Caution,” “Into the Wild,” “Walk Hard: The Dewey Cox Story.”

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THEATRE REVIEW: ‘Much Ado About Nothing’ at the National

Zoe Simon Much Ado x650

By Ray Bennett

LONDON — Simon Russell Beale and Zoe Wanamaker (pictured) breathe new life into the roles of belated lovers Benedick and Beatrice in Nicholas Hytner’s warmly enjoyable production of “Much Ado About Nothing” at London’s National Theatre.

Clearly not youngsters, Beale and Wanamaker find the irony and humor in a couple that once shared something like love but lost it along the way. Encouraged by mischievous friends and family to believe that each is smitten with the other, they convey their characters’ loneliness and misgivings about contemplating happiness.

Their love story is a subplot in another Shakespeare play dealing with sexual jealousy spurred by envy and hunger for power. But where “Othello” is dark and pessimistic, “Much Ado” takes a happier path.

The “nothing” of the title derives from a word meaning “misperceptions,” and that’s what the “much ado” is about, with hotheaded Claudio (Daniel Hawksford) persuaded that his betrothed, the angelic Hero (Susannah Fielding), has misbehaved ahead of their wedding day.

This causes much grief between their respective fathers, Don Pedro, the Prince of Aragon, (Julian Wadham) and Leonato (Oliver Ford Davies), while the prince’s bastard brother Don John (Andrew Woodall) conspires to ruin the match.Simon Russell Beale Much Ado x300

The set is made up of wooden beams of the kind to be found in a sauna bath, but it rotates serviceably to create the Sicilian setting of Leonato’s extended family. Hytner uses it to comic effect as Benedick and Beatrice eavesdrop on the conversations that lead them back to romance.

Beale (right) is hilarious as a man who has accepted bachelorhood with some regret but who now rediscovers the possibilities of a life with a partner. Ducking behind beams too narrow to hide his girth and at one point diving fearlessly into a pool to avoid being found makes his physical comedy as rich as the wordplay.

Beale finds new ways to declaim familiar sentences to mine the querulous joy Benedick experiences as passion is renewed. Wanamaker matches him to create a truly grown-up love affair.

Hawksford’s Claudio and Woodall’s Don John add bite to the proceedings, and Davies makes the dismayed father of the bride deeply moving. Mark Addy gives the nitwit patrolman Dogberry added dimension, while Oscar-winning composer Rachel Portman drapes the production in her elegant score.

Venue: National Theatre, runs through March 29; Cast: Simon Russell Beale; Zoe Wanamaker; Mark Addy; Oliver Ford Davies; Julian Wadham; Andrew Woodall; Daniel Hawksford; John Burgess; Susannah Fielding; Zoe Wanamaker; Trevor Peacock; Playwright: William Shakespeare; Director: Nicholas Hytner; Set designer: Vicki Mortimer; Costume designer: Dinah Collin; Lighting designer: Mark Henderson; Music: Rachel Portman; Choreographer: Struan Leslie; Sound designer: John Leonard.

This review appeared in The Hollywood Reporter.

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TV REVIEW: Dickens’s ‘The Old Curiosity Shop’

Old Curiosity Shop Sophie Vavasseur and Derek Jacobi x650

By Ray Bennett

LONDON — Far from chestnuts roasting and choristers singing, Charles Dickens’ “The Old Curiosity Shop” is a curiously bleak tale for Christmas. Famous for the death scene of a most sympathetic character, it’s a sorrowful story of greed, poverty and grief, and ITV’s version makes the most of it.

Co-produced by WGBH Boston, the film has a starry cast topped by Derek Jacobi (pictured with Sophie Vavasseur) as the grandfather whose compulsive gambling leads to the loss of the quaint little shop mentioned in the title.

Old Curiosity Shop Toby Jones x325Toby Jones (“Infamous”) plays the unscrupulous moneylender Mr. Quilp (right) who drives the old man into the streets with his devoted granddaughter, Nell (Sophie Vavasseur).

They flee to the countryside, encountering assorted colorful characters like Mrs. Jarley (Zoe Wanamaker), who runs a wax works, and a couple of Punch & Judy showmen (Martin Freeman and Steve Pemberton).

Quilp sets off after them aided by a pair of married lawyers named Brass (Gina McKee and Adam Godley), while an impoverished young lad named Kit (George McKay) helps a mysterious stranger (Adrian Rawlins) who also is seeking the old man and Little Nell.

Writer Martyn Hesford keeps the story tidy, while director Brian Percival moves things along while helping his cast to resist the temptation to be overly Dickensian.

The film was made in Ireland with the help of the Irish Film Board, but it has the look of a low-budget production with many scenes shot in the dark and lots of close-ups. The exceptions are when grandfather and Nell have moments of freedom out in the country when the screen is suddenly filled with greenery.

Jacobi finds some vinegar in what could easily be a sweet old man, and Jones gives some shading to Quilp’s villainy. Stephen McKeon’s versatile score helps considerably.

It’s a dour, depressing tale, however, and attempts at a jolly ending serve only as a reminder that Dickens wrote it as a serial. It looks very much as if he were making it up as he went along.

Screens: ITV1 9-11pm Dec. 26; Cast: Derek Jacobi; Toby Jones; Sophie Vavasseur; Gina McKee; Adam Godley; Anna Madeley; Adrian Rawlins; Geoff Breton; Bryan Dick; Zoe Wanamaker; Martin Freeman; Steve Pemberton; George McKay; Teleplay: Martyn Hesford; Director: Brian Percival; Director of photography: Peter Greenhaigh; Production designer: Michael Pickwoad; Music: Stephen McKeon; Costume designer: Lorna Marie Mugan; Editor: Tony Cranstoun; Executive producer: Gareth Neame; Producer: Andrew Benson A Carnival, WGBH Boston, Ingeneous Broadcasting co-production with the participation of the Irish Film Board.

This review appeared in The Hollywood Reporter.

 

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FILM REVIEW: Rupert Everett, Colin Firth in ‘St. Trinian’s’

Film Title: St Trinian's

By Ray Bennett

LONDON – To remake eccentric English comedies is seldom a good idea, especially the ones from Ealing Studios with all those wonderful character actors. But against all odds, the new version of “St. Trinian’s” almost pulls it off.

Based on characters created by cartoonist Ronald Searle as a distraction during World War II, the original films from the 1950s and ’60s starred the incomparable Alastair Sim as headmistress of a girls’ school whose pupils turn to anarchy. It was all stocking tops and hockey sticks with the likes of Terry-Thomas, George Cole and Lionel Jeffries ogling the wild young beauties while Joyce Grenfell, Beryl Reid and Hermione Baddeley tried to maintain order.

Directors Oliver Parker and Barnaby Thompson, who have tried their hands at Oscar Wilde, bring the St. Trinian’s girls up to date with Rupert Everett (pictured left with Colin Firth), who apparently had the idea, taking the Sim role as Miss Fritton. It’s like water off a duck’s back even though no one could match the original actor’s extraordinary comic gifts.

Everett’s pretty good, though, playing off himself as the schoolmarm’s conniving brother Carnaby and flirting outrageously with Colin Firth as Geoffrey Thwaites, the minister of education who is trying to close the joint down. The headmistress greets him carrying a small dog named Mr. Darcy.

Firth is in good form too, once again displaying his talent for physical comedy, as he becomes the victim of some aggressively silly pranks by the formidably inventive young ladies, who include the wonderful Gemma Arterton (pictured centre below).

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The semblance of plot follows Carnaby’s daughter Annabelle (Talulah Riley) as she moves to St. Trinian’s as part of her father’s scheme to sell the school for the real estate. She quickly learns the outrageous rules and learns that the enterprising young women also manufacture specialty goods such as killer liquor and designer tampons for a local criminal named Flash Harry, played with assurance by hot British comedian Russell Brand.

When the education minister’s plan to close the school meshes with Carnaby’s desire to profit from its sale, Miss Fritton sets on a scheme to make enough money to carry on misbehaving in the school’s tradition.

When a popular television quiz for schools is to be held at the National Gallery, they plot to enter the contest so they can steal a famous painting. Mischa Barton (“The O.C.”) and Stephen Fry have small cameos as the film turns into a reasonably entertaining caper film featuring lots of very appealing young women, which makes a pleasant change from the usual sweating heavies.

Cast: Rupert Everett; Colin Firth; Jodie Whittaker; Lena Headey; Russell Brand; Talulah Riley; Celia Imrie; Gemma Arterton; Toby Jones; Mischa Barton; Stephen Fry; Directors: Oliver Parker, Barnaby Thompson; Writers: Piers Ashworth, Nick Moorcroft, based on the Ronald Searle cartoons; Director of photography: Gavin Finney; Production designer: Amanda McArthur; Director of photography: Gavin Finney; Music: Charlie Mole; Costume designers: Rebecca Hale, Penny Rose; Editor: Alex Mackie; Producers: Oliver Parker, Barnaby Thompson; Executive producers: Rupert Everett, Nigel Green, James Spring; Production: Entertainment Film Distributors (U.K.), Ealing Studios, Fragile Films; No rating; running time 101 minutes.

This review appeared in The Hollywood Reporter.

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THEATRE REVIEW: Stephen Fry’s pantomime ‘Cinderella’

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By Ray Bennett

LONDON – The traditional British pantomime, the seasonal romp that mixes fairy tales with broad comedy and lots of innuendo, is given a gay makeover by Stephen Fry in “Cinderella” at the Old Vic.

Many of the traditional elements are in place with men playing the Ugly Sisters, now named Dolce (Mark Lockyer) and Gabbana (Hal Fowler) and a flamboyant Fairy Godmother (Pauline Collins, pictured below).

But the principal boy, usually played by a woman, actually is a boy (Joseph Millson as Prince Charming), while Buttons (Paul Keating) has a crush not on Cinderella (Madeleine Worrall) but on the prince’s aide de camp, Dandini (Oliver Chopping).

Pauline Collins Cinderella x325There are colorful sets and lively music by Oscar-winning composer Anne Dudley (“The Full Monty”), but the whole thing feels rushed, as if it were put together at the last minute.

Also, the tone of Fry’s innuendo probably is too vulgar for little kids, with the emphasis on mispronunciation so that “her highness” becomes “her anus” and “West Virginia” becomes “west vagina.”

Fry’s erudition also is on display with references to Plato and terms like “pathological inanition” to describe Cinderella at her most pathetic, but it lacks his usual flair.

The character actually isn’t that drab, as Worrall makes the mistreated heiress who does go to the ball quite chipper, and her scenes with Keating’s Buttons are good fun.

The two share a love song but not for each other. While Cinderella sings of her longing for the prince, Buttons chimes in with a similar regard for the handsome Dandini. In Fry’s panto world, such affections end up being fully requited, but a happy ending always is required.

The Ugly Sisters are appropriately hairy and gross, but a slapstick sequence involving custard pies appears to be done on the cheap and is staged quite poorly.

British radio personality Sandi Toksvig brings a bright insouciance to the role of narrator of the piece and Collins brightens the entire show whenever she appears as a Cockney Fairy Godmother.

Ian McKellen set the standard for pantomime at Kevin Spacey’s Old Vic the past two years with his Widow Twankey in “Aladdin,” but Fry doesn’t come close to matching it.

Venue: Thee Old Vic, runs through Jan. 20; Cast: Pauline Collins; Madeleine Worrall; Paul Keating; Debbie Chazen; Mark Lockyer; Hal Fowler; Joseph Millson; Oliver Chopping; Matthew White; Penny Layden; Narrator: Sandi Toksvig; Book-lyrics: Stephen Fry; Music: Anne Dudley; Director: Fiona Laird; Set designer: Stephen Brimson Lewis; Lighting designer: Tim Mitchell; Choreographer: Francesca Jaynes.

This review appeared in The Hollywood Reporter.

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Dan Fogelberg dies

Dan Fogelberg

By Ray Bennett

Dan Fogelberg, the singer and songwriter whose hits “Leader of the Band” and “Same Old Lang Syne” helped define the soft-rock era, and who used to play now and then in Detroit back in the day, died Sunday at his home in Maine after battling prostate cancer. He was 56.

His death was announced Sunday in a statement by Anna Loynes of the Solters & Digney public relations agency, and was also posted on the singer’s Web site.

“Dan left us this morning at 6:00 a.m. He fought a brave battle with cancer and died peacefully at home in Maine with his wife Jean at his side,” it read. “His strength, dignity and grace in the face of the daunting challenges of this disease were an inspiration to all who knew him.”

Here’s the Dan Fogelberg website

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