THEATRE REVIEW: ‘South Pacific’ at the Barbican

south pacific 1 x650

By Ray Bennett

LONDON – The big numbers in the Rodgers & Hammerstein musical “South Pacific” are so entertaining that the Tony Award-winning Broadway production at the Barbican until Oct. 1 is irresistible even though the production is a bit too respectful for its own good.

Songs such as “A Cockeyed Optimist”, “Some Enchanted Evening”, “There Is Nothing Like a Dame”, “I’m Gonna Wash That Man Right Outta My Hair” and “Bali Ha’i” are worth the price of admission.

Director Bartlett Sherr and his team stage them with flair and the performances are mostly top notch. Michael Yeargan’s handsome sets allow quick changes from the World War II beach camp of the US troops to the elegant home of exiled French planter Emile de Becque, with whom Nurse Nellie Forbush falls in love.

Samantha Womack (pictured top right and below left) is a sprightly and attractive Nellie, the bundle of energy from Little Rock who discovers more than she expected on a remote island in wartime. Her Arkansas accent is a little wobbly although she exercises it gamely more when she sings than when she speaks, and her movement does not betray the dislocated toe (not broken as some reports have it) she suffered just as the show debuted.

south pacific 3 x325The love affair and the racism that is exposed when small-town Southern girl Nellie discovers her amour has two Polynesian children are treated with more seriousness than the show really needs. Brazilian-born baritone Paulo Szot (replaced from Aug. 29 to Sept. 21 by Jason Howard) won a Tony for his performance and it can only be due to his splendid performance of “Some Enchanted Evening”.

Nellie and Emile are the most unlikely lovers anyway and while Szot is suitably stern and sad, but while his slight stiffness might serve the character, it doesn’t make for a convincing love affair. His voice, too, has such deep resonance that it doesn’t fit with the pleasing but more relaxed stage delivery of the other singers.

The best of these is Loretta Ables Sayre who plays Bloody Mary as a ratty old bird and when the sweetest voice emerges for “Bali Ha’i”, it’s a real showstopper. Alex Ferns leads the chorus in a feisty rendition of “Nothing Like a Dame” that conveys the song’s clever mix of raunchiness and loneliness. Daniel Koek is dashing and handsome as the conflicted and callous Lieutenant Cable, and Elizabeth Chong is appropriately winsome as the beautiful but misused young island girl Liat.

The one real disappointment is that when Nellie delivers “Wash That Man”, Womack uses phoney lather instead of getting her hair really wet. It would require a quick-change but it would add some welcome frivolity to a very sober production.

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Venue: Barbican, runs through Oct. 1; Production: Lincoln Center Theater; Cast: Samantha Womack, Paulo Szot, Daniel Koek, Loretta Ables Sayre, Alex Ferns, Elizabeth Chong; Music: Richard Rodgers; Lyrics: Oscar Hammerstein II, also book with Joshua Logan; Director: Bartlett Sherr, Set designer: Michael Yeargan; Sound designer: Scott Lehrer; Lighting designer: Donald Holder; Costume designer: Catherine Zuber; Musical director: Ted Sperling; Musical staging: Christopher Gatelli. Running time: 2hrs 45mins.

Photos by Simon Annand.

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Meirelles’s ‘360’ to open 2011 BFI London Film Festival

Anthony Hopkins stars in romantic suspenseful film ‘360’ from Fernando Meirelles

By Ray Bennett

Brazilian filmmaker Fernando Meirelles’ “360”, starring Rachel Weisz, Jude Law and Anthony Hopkins, will have its European premiere to open the 55th BFI London Film Festival on Wednesday Oct. 12. It has its world premiere at the Toronto International Film Festival on Sept. 12.

The film, with an original script by Peter Morgan, reunites Meirelles with Weisz, who won the 2006 Academy Award as best supporting actress for his film of John le Carré’s “The Constant Gardner”.

“360” is a roundelay of affairs across many cities such as Vienna, Paris, Bratislava, Rio de Janeiro, Denver and Phoenix that the director calls “an intimate film that talks about our options in life”.

Festival director Sandra Hebron says it “combines masterful visual story telling with a modern and moving narrative, helped by strong performances from a terrific ensemble cast”.

The 55th BFI London Film Festival, in partnership with American Express, runs through Oct. 27.

Here’s more about the 55th BFI London Film Festival

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PREVIEW: Spies go back into the cold in ‘Tinker, Tailor’

Gary Oldman steps into the shoes of Alec Guinness as Smiley in ‘Tinker Tailor Soldier Spy’

By Ray Bennett

When John Le Carré created his master spy George Smiley – who is about to be revisited in Optimum Releasing’s Working Title Pictures production of “Tinker, Tailor, Soldier, Spy” – he made him a fat man.

The chunky Rupert Davies, who played Inspector Maigret in the 1960s BBC television series, fit the bill as Smiley in a brief appearance in “The Spy Who Came In From The Cold”.

When Alec Guinness signed on to play the shrewd and subtly ruthless Cold War espionage chief in the hit BBC TV series “Tinker, Tailor, Soldier, Spy” in 1979, the author feared he had been miscast. The Oscar-winning actor proved a revelation, however, and le Carré observed that, “he acted fat”.

For subsequent novels, le Carré said he wrote Smiley with Guinness in mind and so it makes sense that Gary Oldman, who shares the original star’s gift for changing character, should play the role in the feature film version.

It doesn’t hurt the film’s prospects that Oldman is an established star of Hollywood blockbusters including the Batman films, but after many years living in the film capital, he says he’s glad to be working in his homeland. “Its proper work, and I haven’t done that for a long time. I’ve played some amazing roles and I’ve had a good run, but this is something else. And it’s like coming home. I can’t remember the last time I played an Englishman,” he told the Daily Mail’s Baz Bamigboye.

A big admirer of Guinness, Oldman said he was determined not to let his ghost affect his acting: “There have been many Smileys, so he could be all things. ‘He’s mild-mannered, quite methodical and perspicacious. I know in the book he’s described as a short fat man, but he can be Denholm Elliott, he can be Alec Guinness, he can be James Mason—and he can be Gary Oldman, I think.”

Elliott took the role in a 1991 TV movie, “A Murder Of Quality”, while James Mason played him in “The Deadly Affair” (1966) although he was called Charles Dobbs because a different studio owned the rights to the character’s name. Guinness played him again in the 1982 miniseries “Smiley’s People”, which like the original “Tinker Tailor” is available on DVD.

For the new film, producers Tim Bevan, Eric Fellner and Robyn Slovo have cast some other British actors with box-office smashes to their name such as Oscar-winner Colin Firth (“The King’s Speech”, “Mamma Mia!”), Tom Hardy (“Inception”), as brash young agent, and Mark Strong (“Sherlock Holmes”) as an agent who has survived an assassination attempt.

Given the richness of the characters in le Carré’s complex tale of lies, double-dealing and betrayal, it is no surprise that a roster of top UK talent has also flocked to the picture. They include Benedict Cumberbatch (TV’s “Sherlock Holmes”), Ciaran Hinds (“Above Suspicion”), Toby Jones (“Infamous”), Simon McBurney (“Rev”) and John Hurt as Control.

The novel, which drew on real Cold War events in the 1960s and ’70s, was the first in the author’s trilogy about the impact on British Intelligence of Soviet spy chief Karla, who was played in the TV version by Patrick Stewart and in the film by Alexander Mercury (“Doctors”). The other titles were “The Honourable Schoolboy” and “Smiley’s People”.

Peter Straughan and the late Bridget O’Connor, who together wrote “Mrs. Ratcliffe’s Revolution” and “Sixty-Six”, scripted the film for Swedish director Tomas Alfredson, whose thriller “Let The Right One In” won the 2009 British Independent Film Awards prize as best foreign film.

Le Carré is on board as an executive producer and he decreed that the story should be kept in its original era and Colin Firth says the director has made the most of it. “It has the same sort of resonance that the ’40s had when viewed from the ’70s. This really feels like a rainy, low-tech London,” he told Bamigboye.

In the story, retired agent Smiley is assigned with a young intelligence officer named Guillam (Cumberbatch) to seek out a Soviet mole in the secret service known as the Circus, which places him at odds with director Percy Alleline (Jones) and his deputies Bill Haydon (Firth), Roy Bland (Ciaran Hinds), and Toby Esterhase (David Dencik).

Firth was pleased that Alfredson wanted to explore the human element of the saga. He says, “What I love about le Carré is that it’s more about human motivation than whodunit. The reason why somebody betrays his country is personal and passionate. It’s reality based as opposed to James Bond or ‘Mission Impossible’, and the thing is, we are fascinated by the basic nuts and bolts of the tradecraft!”

The film has its world premiere at the Venice International Film Festival on Sept. 5.  It debuts in the UK on Sept. 16 from Optimium Releasing, which changes its name to Studiocanal in September. Focus Features will release it in the US on Nov. 19.

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THEATRE REVIEW: ‘Anne Boleyn’ at Shakespeare’s Globe

Members of the cast of ‘Anne Bolyen’ talk to the crowd ahead of the performance.

By Ray Bennett

Finally made it to Shakespeare’s Globe in London to catch Howard Brenton’s Tudor romp “Anne Boleyn” before it closes today. A hit this summer as it was on its debut last year, the crowd- and critic-pleasing production will surely be back next year.

It might have started as a tourist attraction, and the summer crowd from London Bridge to Waterloo teems with overseas visitors, but the Globe has earned a deserved reputation for top-class theatre in a relaxed environment.

The actors come out onto the stage to talk to the Groundlings, and the fact that people will stand for two and a half hours (including an interval) to watch a play about the 16th and 17th century politics of the English court, speaks for itself.

Brenton takes a radical view of King Henry VIII’s second wife through the eyes of James I (James Garnon) reading her diary nearly 70 years after her death. In director John Dove’s vivid staging, Anne speaks directly to the audience and she wins the audience’s sympathy immediately thanks to the radiant and engaging performance of Miranda Raison.

Miranda Raison (third from left) is radiant, sexy and determined as a young woman with a cause.

The former “Spooks” star manages to combine a twinkle in the eye with the steely determination of a young woman who knows that if she can win the king’s heart, she can change the world. For Brenton’s Anne is a Protestant crusader who meets secretly with William Tyndale (Peter Hamilton Dyer), who wrote a banned English version of the New Testament, in order to further her cause.

Brenton explores with insight and wit the well-known Machiavellian intrigue of the day with Cardinal Wolsey (Colin Hurley) and Thomas Cromwell (Julius D’Silva) up to no good. He leaves out the role of Anne’s parents in her gambit to become queen and the “other Boleyn girl” is dismissed as a one-night stand.

According to Brenton, it was Anne’s revelation to Henry (Anthony Powell) that Tynsdale’s book argued that a king reported to his god and not to the pope that brought about the Reformation. When the James finds Anne’s diary and a copy of Tynsdale, it prompts the newly crowned king to call for his enduring new translation of the bible.

James Garnon, right, makes a gay and frolicsome King James I

It’s clever stuff but it’s very funny as well as dramatic and the accomplished cast puts it across with tremendous verve. “Foyle’s War” costar Powell gives Henry the right mix of bombast and lust; D’Silva’s stern and treacherous Cromwell stalks the stage with menace and Garnon’s gay and flighty James grows in stature as he calls on the disputatious religious factions to account for themselves.

Garnon matches Raison as a Groundlings favourite with his camp and frolicsome Scottish king, and when he speaks of god and England’s marvels, he takes advantage of the open air venue to glower at the sky with a noisy helicopter hovering above, and the crowd loves it.

Here’s a rundown of ongoing Globe productions at London Theatre.com  and here’s more about Shakespeare’s Globe

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FILM REVIEW: ‘The Guard’ starring Brendan Gleeson

Brendan Gleeson and Don Cheadle in John Michael McDonagh’s ‘The Guard’

By Ray Bennett

LONDON – There is a fish out of water in John Michael McDonagh’s entertaining Irish crime yarn “The Guard” but it’s not the black American FBI agent parachuted into Galway on the hunt for a gang of drug dealers. The film opened in the UK from Optimum Releasing on Aug. 19.

The odd man out is the title character, a veteran police sergeant named Gerry Boyle, played with great panache by Brendan Gleeson. Boyle is a solitary man who goes against the grain of his fellow officers. He likes Elvis and Guinness and listens to Chet Baker; he is considerate of his sick mother and despairing of feckless youth; and he tends to speak contrarily in order to rattle the truth out of friend and foe.

Boyle likes to play the dimwit with a touch of racism to gull people so they will underestimate him and that’s just what he does when FBI Agent Wendell Everett shows up with his slick methods of criminology. Don Cheadle plays the FBI man with exactly the right touch of exasperation over Boyle’s goading. In McDonagh’s well-constructed script, they win each other’s respect and the two actors find a very enjoyable chemistry.

McDonagh foreshadows just about everything in the film so whenever a plot development, character, or weapon is introduced, you can be sure it will show up again later. That is no bad thing, however, as the filmmaker says he views his picture as a Western and he’s got the formula right with considerable wit and inevitable violence.

Quentin Tarantino was obviously inspiration for the nature of the three villains in the piece, two Irishmen and an Englishman who reflect upon the need to kill people and debate the significance of their favourite philosophers and pithy maxims. Liam Cunningham plays the somewhat world-weary leader with David Wilmot as an Irish killer unsure if he’s a sociopath or a psychopath and Mark Strong as a dogmatic English hoodlum happy only when bullets start to fly.

Rory Keenan plays a rookie cop with a beautiful wife from Eastern Europe named Gabriela (Katarina Cas), and Dominique McElligott and Sarah Greene play a pair of cheerful hookers. All four figure in matters as the plot develops, and McDonagh gives them each the chance to add colour to the piece.

Fionnula Flanagan makes a typically vivid appearance as Boyle’s seriously ill mother, and her scenes with Gleeson are funny and moving. Gleeson works very well with Cheadle too, as they bang their heads together before they become a team.

Cinematographer Larry King takes full advantage of the Galway landscapes and with the director frames images that give that part of Ireland an Old West flavour. Music from alternative country band Calexico from Arizona gives the soundtrack pleasing authenticity.

Cast: Brendan Gleeson, Don Cheadle, Liam Cunningham, David Wilmot, Mark Strong, Rory Keenan, Fionnula Flanagan, Katarina Cas, Dominique McElligott, Sarah Greene; Director, screenwriter: John Michael McDonagh; Director of photography: Larry Smith; Production designer: John Paul Kelly; Editor: Chris Gill; Music: Calexico; Costume designer: Eimer Ni Mhaoldomhnaigh; Producers: Chris Clark, Flora Fernandez-Marengo, Ed Guiney, Andrew Lowe; Executive Producers: Paul Brett, Don Cheadle, Ralph Kemp, Martin McDonagh, David Nash, Tim Smith, Lenore Zerman; Production: Reprisal Films, Element Pictures, Crescendo Productions, Aegis Film Fund, Irish Film Board, Prescience, UK Film Council; Distributors: Optimum Releasing (UK), Sony Pictures Classics (US). Rated 15, 96 minutes.

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Nominees set for WSA, concert to honour Ronni Chasen

By Ray Bennett

The World Soundtrack Awards concert at the 38th Ghent Film Festival on Oct. 22 will be a night of mixed emotions because while it will celebrate the music of some great composers, it also will be dedicated to the memory of the late Ronni Chasen, the Hollywood P.R. legend who did so much to make the the annual event such a success.

Oscar winners Elliot Goldenthal, Howard Shore, and Hans Zimmer will be there to honour Chasen along with other regulars at Ghent, where Chasen held a birthday luncheon every year. Continue reading

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DVD and Blu-ray Disc rule in entertainment spending

By Ray Bennett

DVD and Blu-ray Disc account for 42% of all entertainment spending compared to 25% at cinemas, 27% for Pay TV or Premium TV, and 5% on Video On Demand and electronic sell-through, according to data published by the US Entertainment Merchants Association.

The dominance of packaged media was confirmed in the ENA document, “D2Report: Discs & Digital: The Business of Home Entertainment Retailing.

Figures showed that Blu-ray spending was up year-on-year 53% in 2010 as VOD spending increased 21% and EST was up 16%.

The EMA estimated that DVD and Blu-ray sales and rental accounted for more than 50% of revenue for Hollywood studios while theatrical box office stood at 26%.

It said that spending on 3D Blu-ray Discs reached $28.4 million in 2010 and estimated that it will hit $682.2 million by 2014.

EMA President and CEO Bo Andersen said that consumer spending reflected a desire for connectivity and the option to simultaneously access content on multiple devices, which included owning the physical copy of the product.

“The home entertainment industry should be encouraged by the strong consumer support for packaged media demonstrating that discs and digital content will coexist in the foreseeable future,” he said.

Meanwhile, replication firm Singulus Technologies said that all the signs point to a significant increase in the world market for Blu-ray media over the next several years.

Marketing and Sales VP Sylvia Hitzel said, “In 2010 we sold close to 30 Blu-ray lines. This year we are expecting sales of 50 Bluline II Series replication systems to clients around the world.”

Singulus noted in its half-year earnings report that long-time customers “have continued to invest substantially in the production of Blu-ray discs.”

This story appeared in Cue Entertainment.

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The Cliff Edge … my original photo

The view from the top of Tintagel Castle in Cornwall PHOTO: Ray Bennett

Many have asked to see my original photo at Tintagel, which became the logo for this website, so here it is.
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FILM REVIEW: J. J. Abrams’s ‘Super 8’

Kyle Chandler, Joel Courtney, Elle Fanning, and Ron Eldard in ‘Super 8’

By Ray Bennett

LONDON – Pity the poor kids who flock to see “Super 8”, the new film from J.J. Abrams and Steven Spielberg about kids and aliens that Paramount releases in the UK today. It’s not just that once again parents know nothing, the armed forces are the enemy and alien monsters are friendly, it’s that they might think that you can stop a speeding freight train with a pick-up truck.

Abrams is noted for the spectacular airplane crash that started his hit TV series “Lost” and he seeks to exceed that in the mount of metal that explodes and goes flying and crashing through the air.

He sets off all the fireworks in his CGI box at once with a spectacular sequence so long, fiery and noisy that it overwhelms the rest of the picture, but it’s entirely wrong. Only one thing happens when a huge locomotive of a very long train on flat terrain smacks into a pick-up : the train carries merrily along and there’s not much left of the truck.

The scene is staged wonderfully but it sets the energy bar so high that everything afterward seems dull. The setting is 1979 in a small Ohio town where a group of kids set out to make their own zombie film. How they’ve heard of zombies in that time period is a mystery, but that won’t worry the kids in the audience who know all about them.

After the train crashes, however, the military moves in en masse and initiates a cover up of the events that makes all the grown-ups cower in servility. Only the kids have the gumption to take a look-see at what the government is so eager to cover up.

The youngsters are all appealing with the inclinations of Joel Courtney’s Joe never questioned even though he’s a dab hand with lipstick and eye makeup. He has eyes only for the scrumptious Alice (Elle Fanning), who defies her loser father Louis (Ron Eldred) to befriend Joe, whose dad Jackson (Kyle Chandler), a local cop, holds Louis responsible for the death of his wife in a factory accident, which doesn’t help matters.

Riley Griffiths, as the young man with the camera, Gabriel Basso as a budding actor, and Ryan Lee, as a boy fascinated with blowing things up, all add charm to the piece.

There are anachronisms galore and plot developments that are implausible even within the context of an alien movie. There is jaunty music by Abrams regular Michael Guacharo and slick production values, as you would expect, and there’s no reason to suppose it won’t build on the $125 million it has already grossed in North America.

It’s boisterous fun for kids. Just so long as none of them gets the idea that a pick-up truck will survive an encounter with a speeding train.

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Martin Shaw’s ‘George Gently’ to air in US on public TV

Martin Shaw stars as a 1960s Scotland Yard veteran who relocates to Northumberland in 'George Gently'

By Ray Bennett

British period TV police drama “George Gently” will air for the first time on US television on public television stations across the country early next year. It stars Martin Shaw from the cult 1970s action series “The Professionals” as a 1960s Scotland Yard detective relocated to the north of England. Continue reading

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