TV REVIEW: Ray Winstone in ‘All In the Game’

By Ray Bennett

LONDON – Ray Winstone at full throttle is like a force of nature and he’s firing on all cylinders as a passionate but corrupt English Premier League soccer manager in the scalding sports drama ‘All In the Game’ on ITV Thursday.

Spurning the shenanigans of ‘Footballers’ Wives’, this one-off telefilm also scythes down any romantic notions of football being ‘the beautiful game’ insisting instead that, as one character says, ‘the very soul of the game is rancid’.

Frankie (Winstone) is the popular manager of an ambitious club that has been given an expensive makeover by self-made millionaire George Swaine (Roy Marsden) but remains $60 million in debt and must struggle to maintain its place in the top division.

But while George and his savvy director of football Paul (Idris Elba) worry about results and falling attendance, Frankie is up to his foul mouth in the corrupt world of player transfers and kickbacks.

Television rights to the games of the 20 teams in the English Premier League have just been sold for around £1.7 billion ($3.15 billion) and that kind of money has generated an appetite that Paul alludes to in the film: ‘Wake up and smell the greed.’

Modern footballers, like American sports athletes, are paid huge fortunes and their written contracts are as worthless as one of Samuel Goldwyn’s famous verbal ones. Being young and mostly uneducated and gullible, they are ripe for exploitation by ruthless managers and sports agents.

In writer and executive producer Tony Grounds’s script, a gifted young player named Joel (Ike Hamilton) falls into the hands of not only Frankie but his sleazy son Martin (Danny Dyer), who hates football but loves the money it generates.

Grounds and director Jim O’Hanlon wisely spend very little time on the notoriously difficult task of simulating the game of football on film and focus on backroom treachery. Produced by the Manchester division of Paul Abbott and Hilary Bevan Jones’s Tightrope Pictures, the film has the crackle and pace you would expect from the makers of ‘Cracker’ and ‘State of the Play’.

It’s a good cast and Marsden (‘Dalgleish’), Dyer (‘The Business’), Elba (‘The Wire’) and Nicola Stephenson, as the mother of a boy whose football career ends abruptly, all make vivid contributions.

It’s Winstone’s show, however, as he makes the manager swaggeringly, charmingly and obnoxiously unforgettable. Granada International is handling international sales and they might need subtitles for some of his authentic Cockney slang. Crude, uncouth, and bitter, Frankie cajoles, bullies, sweet talks and begs in order to get his way with every second word having four letters. It’s a blistering performance.

Credits: Cast: Ray Winstone, Roy Marsden, Danny Dyer, Nicola Stephenson, Idris Elba, Ike Hamilton, Clare Perkins, Oscar Grounds; Writer and executive producer: Tony Grounds; Director: Jim O’Hanlon; Production designer: Donal Woods; Editor: Mark Thornton; Producer: Hilary Bevan Jones; Senior Commissioning editor for C4 Drama: Francis Hopkinson; Executive producer Tightrope: Paul Abbott; Director of photography: Peter Greenhalgh; Production designer: Donal Woods; Editor: Mark Thornton; Music: Johnny Clifford; Production: Tightrope North; Running time: 120 mins.

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MUSIC REVIEW: Morrissey at the Alexandra Palace

Morrissey Plays Alexandra Palace

By Ray Bennett

LONDON – The town crier of angst, former Smiths front man Morrissey filled the capacious Alexandra Palace for the first London concert of his current tour Monday, but he looked too bored, tanned and well fed to sing persuasively about how rotten the world is.

Having disappeared for a long stretch, Morrissey has returned to a warm welcome from loyal fans if no one else. His new Sanctuary album, “Ringleader of the Tormentors”, reached No. 1 on the U.K. charts but it came and went quickly.

The crowd Monday gave him a lukewarm reaction and it’s no wonder as his performance was sullen and dispirited. “For what you are about to receive, may you be truly sorry” was the first thing he said onstage.

Professionally speaking, Morrissey is what’s known in England as “a miserable git” and his songs complain a great deal about life’s little ups and downs, especially death. You could call it whining, and you’d be right.

His songs have a callow sensibility and they’re delivered in melodramatic tones that only emphasize how vacuous they are. Most of the songs from the new album were featured in the set and proved indistinguishable being driven by three guitars and percussion while Morrissey had left his charisma at home.

The occasional Smiths song (“Still Ill”, “Girlfriend in a Coma”, “How Soon is Now?”) roused the crowd a little but it took a brief keyboard rendition of the old English wartime ditty “Maybe It’s because I’m a Londoner” to spark a sing-along.

There’s something off-putting about seeing a comfortably upholstered middle-aged man singing a song titled “Life Is a Pig Sty” when it’s quite evident which little piggy ate the roast beef.

This review appeared in The Hollywood Reporter.

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TV REVIEW: Sean Bean in ‘Sharpe’s Challenge’

FROM ITV SHARPES CHALLENGE 23 and 24 April 2006 Sean Bean is back as the swashbuckling hero in SHARPE’S CHALLENGE.  A year after Wellington crushes Napoleon at Waterloo, dispatches tell of a local Maharaja, Khande Rao, who is threatening British interests in India.  Wellington sends Sharpe to investigate what turns out to be his most dangerous mission to date.  The fate of an Empire and the life of a General's daughter lie in one man's hands.... Pictured: SEAN BEAN as Richard Sharpe. For futher images please contact Patrick Smith on 0207 261 3474, patrick.smith@itv.com. This photograph is (C) ITV Plc and can only be reproduced for editorial purposes directly in connection with the programme or event mentioned above, or ITV. Once made available by ITV Plc Picture Desk, this photograph can be reproduced once only up until the TX date and no reproduction fee will be charged.  Any subsequent usage may incur a fee. This photograph must not be syndicated to any other publication or website, or permanently archived, without the express written permission of ITV Plc Picture Desk. Full Terms and conditions are available on the website www.itvpictures.com

By Ray Bennett

LONDON – Bernard Cornwell’s terrific creation Richard Sharpe, loyal soldier in the battles of the Duke of Wellington, hasn’t been seen in anything new on British television for eight years but he returns in great form Sunday in a new ITV1 two-parter, “Sharpe’s Challenge.”

Sean Bean is back as the dutiful rogue who rose from the unwashed ranks to become an officer in the British Army through all the fights against the French Emperor Napoleon up to the big one, the Battle of Waterloo. Daragh O’Malley plays Sgt. Harper with splendid exuberance.

Picture Palace’s Malcolm Craddock and Muir Sutherland have turned 15 of Cornwell’s 20-odd novels into TV movies that have proved popular around the world. They have yet to take the U.S. by storm, although that should change this summer when BBC America will broadcast the back catalogue and this new production.

Cornwell ranks as a master of popular historical fiction and his flare for adventure is matched by his attention to detail. The films are a little more relaxed about such things but they display a lusty sense of fun and Bean’s rough and rowdy presence makes them very entertaining.

“Sharpe’s Challenge” finds Sharpe retired and living in France, but grieving over the death of his wife. Napoleon has been defeated but the British Empire marches on and there’s still lots to do in faraway places.

When Wellington (Hugh Fraser) calls him to London and gives him an assignment to go to India to find a missing agent, Sharpe is not interested until he learns that the agent in question is his old fighting buddy Sgt. Patrick Harper.

Old loyalties die hard and the now Colonel Sharpe is soon riding in the fierce sun of India and having to deal with the same incompetent and arrogant British officers that he’s always encountered.

Inevitably there’s a great deal more to the situation than at first appeared and Sharpe and Harper become embroiled in a conflict with a renegade British officer named Dodd (Toby Stephens), who has sold his services to a corrupt Indian regime run by the gorgeous but deadly Mahuvanthi (Padma Lakshmi, pictured with Bean below).

There’s also the beautiful daughter of an English officer named Celia (Lucy Brown) who has been kidnapped, some tricky French soldiers to deal with and a crew of Indian thugs who like to drive nails into people’s heads.

Writer Russell Lewis has patched together some sequences from Cornwell’s previous adventures with the novelist’s blessing, and created a saga that Sharpe devotees will enjoy. Director Tom Clegg keeps things moving along nicely and Stephens and Lakshmi (writer Salman Rushdie’s wife) make a fine pair of villains.

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Airs: April 23, April 24 ITV1 U.K.; Cast: Sean Bean, Daragh O’Malley, Toby Stephens, Padma Lakshmi, Lucy Brown;, Karan Panthaky, Shruti Vyas, Hugh Fraser, Michael Cochrane, Peter Symonds, Peter-Hugo Daly, Alyy Khan, Aurelien Recoing, Thierry Hancisse; Director: Tom Clegg; Writer: Russell Lewis; Director of photography: Nigel Willoughby; Production designer: Tom McCullagh; Editor: Chris Ridsdale; Composers: Dominic Muldowney, John Tams; Producers: Malcolm Craddock, Muir Sutherland; Executive producers: Stuart Sutherland, Kathryn Mitchell, Steve Wilkinson; A Celtic Films Entertainment/Picture Palace Films/BBC America co-production for ITV in association with Azure Films and HarperCollins.

This review appeared in The Hollywood Reporter.

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TV REVIEW: Jimmy McGovern’s ‘The Street’

THE STREET Ep 1

By Ray Bennett

LONDON – Marital strife fierce and unsettling comes flying in the opening scene of the first episode of Jimmy McGovern’s new BBC series “The Street,” and it sets the tone for a show that brings fresh imagination to the conventions of kitchen sink drama.

McGovern has demonstrated similar ingenuity in previous shows such as “Cracker” and “The Lakes,” and he has assembled a top-flight cast and creative team to tell these new extraordinary tales of ordinary people.

The couple snarling at each other in the first scene are Angela Quinn (Jane Horrocks, pictured) and her husband Arthur (Daniel Ryan). He’s in construction; she’s at home caring for their three children. He’s exhausted and wonders where the money goes and why she spoils the kids. She’s exhausted and wonders if she’ll ever have a life. “Lazy, soft sod,” she yells. “Stupid cow,” he screams.

David Blair, director of the first episode, puts them right in the viewer’s face and it’s tempting to turn away, as you would in real life, but McGovern’s skill is in keeping us involved and the actors are so good that an everyday argument is immediately gripping.

Arthur has left for work, the children are at school and Angela is struggling with the washing machine when a pipe bursts and who should rush to help but hunky neighbor Peter Harper (Shaun Dooley). Something about wet clothes and a handy man leads to morning delights and the two of them are headed for the kind of complication in life that a writer like McGovern knows exactly what to do with.

Lovestruck Arthur is busy trying to catch a glimpse of Angela when he drives off to his own job as a salesman and he fails to see her daughter run out from behind a parked taxi. The girl ends up in a coma and McGovern spins his web out to snag many others who live on the street and witnessed the road accident.

These include Stan (Jim Broadbent), who is approaching his retirement at a factory unwillingly; taxi driver Eddie (Timothy Spall), who parked his cab where he should not have; and Peter’s wife Eileen (Liz White).

McGovern is remarkable in being able to take familiar dramatic paths and still drive his stories to unexpected places. The camerawork and editing in the show is a match for most feature films, and when in the second episode Stan has to deal with retirement, the surrealism is as convincing as the realism. Future episodes will deal with others on the street as all their lives intertwine.

That McGovern could attract such an A-list cast for “The Street” comes as no surprise as their work here is equal to their best. It’s a show that deserves to go way beyond its initial eight episodes and will be appreciated far and wide.

Airs: April 13 BBC1; Cast: Jane Horrocks, Jim Broadbent, Timothy Spall, Liz White, Shaun Dooley, Daniel Ryan, Christine Bottomley, Lee Ingleby, Neil Dudgeon. Creator: Jimmy McGovern; Directors: David Blair, Terry McDonough; Writers: Jimmy McGovern, Alan Field, Marc Pye, James Quirk, Arthur Ellison; Directors of photography: Daf Hobson, Ben Smithard, Steve Lawes; Production designer: Pat Campbell; Editors: Eddie Mansell, Charles Alexander; Music: Rob Lane. Producer: Ken Horn; Executive producer: Sita Williams; Production: ITV Productions.

This review appeared in The Hollywood Reporter.

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THEATRE REVIEW: David Soul in ‘Mack and Mabel’

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By Ray Bennett

LONDON — Longtime U.K. resident and now British citizen David Soul has matured into a major theatrical star and playing opposite the dazzling Janie Lee (pictured, right) he has a surefire hit in a winning new production of the Jerry Herman Hollywood musical “Mack & Mabel.”

Soul plays filmmaker Mack Sennett, who left the indelible marks of not only the Keystone Cops but also the failed property development name that partly fell down leaving the Hollywood sign as the most famous landmark in Los Angeles.

Sennett was known for spotting talent and among the stars to benefit from his keen eye were Carole Lombard, Bing Crosby and W. C. Fields. In the silent era, he worked with great clowns such as Roscoe “Fatty” Arbuckle, Ben Turpin and Charlie Chaplin.

Mabel (Lee) was slinging hash in a diner when Sennett found her and turned her into one of the biggest comedy stars of the silent era. Songwriter Herman and book writer Michael Stewart obey the John Ford rule of printing the legend so that while in truth Normand’s life was overtaken by squalid events, here her successes are celebrated and given a happy ending.

First presented in 1974, the show failed to ignite on Broadway but it is in loving hands in the new production, which was developed in the small Watermill Theatre in Newbury, west of London, and has just transferred to the Criterion in the West End.

On a practical but atmospheric set and with most of the actors also playing musical instruments, the show’s simplicity is one of its charms. Mack is gruff and tough, and Mabel is in love. He is demanding but she is willing, and their films please millions.

Hollywood has its way, however, and soon her ambitions lean toward more serious filmmaking, which leads to a liaison with director William Desmond Taylor (Richard Brightiff). Taylor’s fate helped feed the dark legends of Tinsel Town’s early days with his murder the subject of endless speculation.

Herman doesn’t dwell long on such unhappiness, preferring to speed things along to the kind of fantasy that Hollywood does so well. The score is fun and the songs have witty, grownup lyrics. The energetic cast gives full measure and Lee is a delight as Mabel, both in her comedy sketches and her singing.

Soul is in splendid form with just the right touch of regret in his voice on the memorable number “I Won’t Send Roses” and still full of fading optimism for the closing “I Promise You a Happy Ending.”

Venue: Criterion Theatre, runs through July 22; Cast: David Soul, Janie Dee, Matthew Woodyatt, Richard Brightiff, Tomm Coles, Robert Cousins, Michelle Long, Robin Pirrongs, Jon Trenchard, Simon Tuck, Sarah Whittuck; Music and lyrics: Jerry Herman; Book: Michael Stewart, with revisions by Francine Pascal; Director: John Doyle; Designer: Mark Bailey; Lighting designer: Richard G. Jones; Sound designer: Gary Dixon; Arrangements and music supervision: Sarah Travis. A Watermill Theatre Production presented by Laurence Myers, Jon Wilner and Richard Temple.

This review appeared in The Hollywood Reporter. Photo by Tristram Kenton.

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MUSIC REVIEW: Corinne Bailey Rae at Shepherds Bush Empire

Corinne Bailey Rae Play Shepherds Bush Empire

By Ray Bennett

LONDON – England’s biggest voices come in small packages and in a swinging set at the Shepherds Bush Empire on April 5 , Corinne Bailey Rae showed that while her debut album, a hit in the U.K., is easy listening, she can easily fill the room and occupy the imagination.

Corinne_Bailey_Rae_(album)A slight figure in a simple white dress, Rae nonetheless commands the stage whether standing at the microphone or sitting on a stool playing guitar. Confident and assured, she wrapped her crisp cadences and sensuous phrasing around a selection of ballads and lively songs that mostly she co-wrote. Backed by a seven-piece outfit with three horns, two guitars, a keyboard player and a percussionist, with two backup singers for some very sweet harmonies, Rae delivered an 11-song set plus two encores, to cover everything on her EMI album.

She kicked off with the engaging “Call Me When You Get This” and moved through some haunting ballads including “Breathless,” “Enchantment” and “Like a Star”.

Rae didn’t talk much except to thank the audience for being there and for buying her records but, as she introduced an insightful treatment of Led Zeppelin’s “Since I’ve Been Loving You,” she did offer a reminder that she’d once been in a heavy rock band named Helen.

Rae said she likes to write honest songs and aside from their appealing melodies, her tunes stand out with intelligent and cliché-free lyrics. Even “Butterfly”, a pretty song about growing up that she dedicated to her mother, was free of syrup.

A packed crowd responded to Rae’s warmth and cleverly adventurous voice so that by the time she went into her U.K. hit single “Put Your Records On”, they were up and dancing.

This review appeared in The Hollywood Reporter.

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MUSIC REVIEW: Anthony Minghella directs ‘Madam Butterfly’

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By Ray Bennett

LONDON – Anthony Minghella’s production of Puccini’s “Madam Butterfly,” which is back for a short English National Opera run before it opens the New York Metropolitan Opera season in September, might not please opera purists but it is a spectacular treat for the rest of us.

While admiring the singing, London’s opera critics looked down their noses at Minghella’s ravishing interpretation although it was liked well enough to pick up the Olivier Award for best new opera production and it’s been a smash hit at the Coliseum.

Film buffs curious to know what an Oscar-winning movie director can bring to an operatic classic are well served by Minghella’s approach to the much-loved “Madam Butterfly.” His films including “The Talented Mr. Ripley,” “Cold Mountain” and the Academy Award best picture winner “The English Patient,” have in common fluidity of movement and production designs that fill the frame and fully engage the eye. Those also are among the strengths he brings to the opera.

“Madam Butterfly” is a simple tale of exploitation set in 19th century Japan. U.S. naval officer Pinkerton (Gwynn Hughes Jones) follows the established pattern of colonialists there in taking a home on a 999-year lease that can be cancelled on a month’s notice. To his delight, he discovers he can make the same arrangement with a wife, and does so knowing he can leave her at any time.

His teenaged bride, Cio-Cio-San (Janice Watson), who had been working as a form of geisha, sees things differently. Not only does she take the marriage ceremony seriously, she also converts to the sailor’s church and views herself as American.

In the tragic way of such things, not only is she then spurned by her family and community, she also faces abandonment by the man she thinks of as her husband. With designer Michael Levine, Minghella chooses not to convey the clamor of the port city of Nagasaki but rather to present the tale as a universal story of loss and loneliness.

Japanese panels slide to and fro to suggest houses, and the sloping stage has a vast mirror as backdrop so that every action and image is magnified beautifully. Han Feng’s gorgeous costumes combine with globe lanterns and multitudes of flowers to fill the stage with color.

Minghella uses Japanese Bunraku puppetry to create the children in the story and the effect is enthralling. Puccini’s music is sublime and played splendidly under conductor David Parry. Watson sings gloriously and she is well matched by Hughes Jones, Jean Rigby as her servant Suzuki, and especially David Kempster as the conscience-stricken U.S. consul Sharpless.

Opera critics may say what they will, but music lovers who appreciate what a master director can create with a cinematic eye will adore this show.

Venue: London Coliseum (in repertory through May 31); Cast: Janice Watson, Jean Rigby, Gwyn Hughes Jones, David Kempster, Alan Oke, Toby Stafford-Allen, Julian Tovey, Philip Daggett, Roger Begley, Suzanne Joyce, Melodie Waddington, Morag Boyle, Stephanie Marshall, Mark Down, Nick Barnes, Finn Caldwell; Composer: Giacomo Puccini; Libretto: Giuseppe Giacosa, Luigi Illica, English translation by David Parry; Director: Anthony Minghella; Associate director, choreographer: Carolyn Choa; Conductor: David Parry; Chorus master: Martin Merry; Set designer: Michael Levine; Costume designer: Han Feng; Lighting designer: Peter Mumford; Puppetry: Mark Down, Nick Barnes, Blind Summit Theatre; An English National Opera co-production with the Metropolitan Opera and the Lithuanian National Opera.

This review appeared in The Hollywood Reporter.

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THEATRE REVIEW: ‘My Name is Rachel Corrie’

Royal Court Theatre, 2005

By Ray Bennett

LONDON – One of the most disturbing things about “My Name is Rachel Corrie,” the Royal Court play based on the journals and e-mails of a young American who died in Palestine for no apparent reason, is that it has yet to be seen in the United States.

The one-woman production starring Megan Dodds had been on its way to the New York Theater Workshop in March when it became derailed. Instead, it’s in a sold-out run at London’s Playhouse Theatre directed, as it was at the Royal Court, by actor Alan Rickman, who fashioned the play with journalist Katharine Viner.

Royal Court Theatre, 2005Rachel Corrie was a seriously earnest young woman from the American Pacific northwest who was born seeking a cause. At 10, she made a speech pleading on behalf of the poor at her school’s fifth grade press conference on world hunger and at 23 she left to take a look at the sharp end of where her country’s tax dollars were spent on things military.

She went to Palestine with an international goodwill movement and there she died, crushed by a U.S.-made bulldozer being used by Israeli forces that were knocking down Palestinian homes.

We meet Corrie in her apartment as she prepares to leave her comfortably chaotic and liberal environment in order to see what was really happening in one of the world’s trouble spots. A slight, blonde chatterbox, she is forever making lists about things to do and people to meet.

Full of middle class anxieties and well-meaning ambitions, she finds herself changed by a free trip to Russia where for the first time she saw poverty and genuine hardship. “It was flawed, dirty, broken and gorgeous,” she writes in her journal.

Flying home over Puget Sound, she realizes that its glorious radiance is not enough to make her feel glad to be home. She is hit hard by the realization that she is destined to live forever in a land of privilege unless she travels. She writes, “I can’t cool boiling waters in Russia. I can’t be Picasso. I can’t be Jesus. I can’t save the planet single-handedly. I can wash dishes.”

And so she journeys to Jerusalem and then to Rafah with a copy of “Let’s Go Israel” under her arm. She states clearly that she sees a distinction between the fate of Jewish people and the policies of the state of Israel. Her role, as she sees it, is to bear witness to what those policies mean for Palestinians.

Rickman and Viner have done a fine job to shape Corrie’s often luminous writing into something that resembles a play and Dodds is exceptionally good as she captures the intense young woman’s scattershot personality and deep desire to do good.

Her death is as random as so many others in that tragic part of the world. She died in Palestine but her writings suggest it could have been anywhere, on any side where the poor die pointlessly because of unreasoning conflict.

Venue: Playhouse Theatre, runs through May 21; Cast: Rachel Corrie: Megan Dodds; Taken from the writings of Rachel Corrie, edited by Alan Rickman and Katherine Viner; Produced with the permission of Rachel Corrie’s family; Director: Alan Rickman; Designer: Hildegard Bechtler; Lighting designer: Johanna Town; Sound and video: Emma Laxton; A Royal Court Theatre Production presented by David Johnson and Virginia Buckley.

This review appeared in The Hollywood Reporter. Photos by Stephen Cummiskey.

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THEATRE REVIEW: ‘One Flew Over the Cuckoo’s Nest’

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By Ray Bennett

LONDON – Alex Kingston has taken a demotion from the doctor’s role she played on “ER” and has a change of uniform, but she’s still very much in charge of things as the domineering Nurse Ratched in “One Flew Over the Cuckoo’s Nest,” which is back for another West End run.

The play was a critical and boxoffice London hit two years ago with Christian Slater in top form as the rebellious Randle P. McMurphy, Ken Kesey’s doomed hero made famous earlier by Kirk Douglas and Jack Nicholson. Slater is among several cast members who return from that production while Kingston steps in for English actress Frances Barber.

Kingston (pictured with Slater) brings the feminine steel that made her a fiery “Boudica” but she sets aside the licentiousness of “Moll Flanders”. Her Nurse Ratched does not have the shivery repressed sexuality that Barber gave the role, but she has more than enough bubbling inside her cruel demeanor to play off the credulous brashness that Slater gives to McMurphy.

Paul Ready does an excellent job as Billy Bibbit, the stuttering boy whose conflicted sexuality and fear of life make him easy prey for the manipulative Ratched.

Katy Tuxford’s clever design is back with ceilings that crackle constantly and make the frightening power of the electrical shock machines in the basement a creature from horror stories. So too is Chris Davey’s clever lighting design and Matt Clifford’s nightmarish music and sound.

Playwright Dale Wasserman’s moving adaptation of Kesey’s novel remains in the capable hands of directors Terry Johnson and Tamara Harvey.

The power of the setting in a mental ward with inmates who, with one exception, are there voluntarily seldom fails to grip and the shame of how the system can breed monsters and crush spirits remains deeply affecting.

Venue: Garrick Theatre, runs through June 6; Cast: Christian Slater, Alex Kingston, Paul Ready, Owen O’Neill, Brendan Dempsey, Gavin Robertson, Alex Giannini, Ian Coppinger, Alan Douglas, Simon Chandler, Lizzie Roper, Cornelius Macarthy, Felix Dexter, Rebecca Grant, Katherine Jakeways; Playwright: Dale Wasserman, based on the novel by Ken Kesey; Directors: Terry Johnson, Tamara Harvey; Set designer: Katy Tuxford; Lighting designer: Chris Davey; Composer, sound designer: Matt Clifford; Presented by Nica Burns and Max Weitzenhoffer for Nimax Theatres, Ian Lenegan.

This review appeared in The Hollywood Reporter.

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TV REVIEW: Tom Hardy, Kelly Reilly in ‘A for Andromeda’

By Ray Bennett

LONDON – ‘A for Andromeda’ is a tidy little science fiction picture starring Tom Hardy and Kelly Reilly (above) with a reach well within its grasp that is likely to please both sci-fi fans and those who can usually take it or leave it.

Serious buffs will be delighted to see a remake of the long-lost 1961 series that spooked a generation with its tale of aliens invading earth via a beautiful clone named Andromeda, played by Julie Christie in her screen debut.

The BBC has already resurrected 1950’s show ‘The Quatermass Experiment’ and writer Richard Fell, who did such a fine job on that one, has updated ‘Andromeda’ to exploit all the modern world’s knowledge of deep space and medicine.

Fred Hoyle and John Elliot wrote the original and it has the all essentials of a good nightmare with an enclosed space – a science installation isolated in wintry high country – and mysterious signals coming from a faraway galaxy.

Tom Hardy (‘Gideon’s Daughter’, ‘The Virgin Queen’) plays a temperamental but brilliant scientist named Fleming who has built a computer for the Ministry of Defence that will intercept and analyse communications from far and wide. The MOD wants the installation in order to look at e-mails and phone calls made by allies as well as enemies but when the deep space signals come in, Fleming sets out to decipher them.

With encouragement from his boss, Professor Dawnay (Jane Asher) and help from assistants Christine (Kelly Reilly) and Bridger (Charlie Cox), he decides quickly that a distant intelligence is seeking to make contact with mankind.

The signals feed in at a rapid pace and soon Dawnay is following its instructions to build a special computer that leads to the creation of artificial life. Bridger, however, is leaking the goings-on to a shady American (Colin Stinton) and the MOD, in the form of Gen. Vandenberg (David Haig), soon brings in the army to secure the place.

As such stories require, competing impulses soon lead to conflict with Dawnay keen to use the new computer to rid the world of its major illnesses, Vandenberg determined to put it to use for biological warfare, and Fleming having second thoughts about the whole thing.

When the cloned creature built under instructions from the alien intelligence turns out to look exactly like the beautiful Christine, the fun really begins.

Hardy and Asher have a good time in their white coats with all the scientific jargon and Reilly (‘Mrs. Henderson Presents’) gives her robotic creature the right degree of shivery sex appeal. Director John Strickland sets a lively pace, using Paul Lauger’s nifty production design to good effect, and he balances the tension cleverly with the frightening questions the story asks.

Credits: Cast: Tom Hardy, Kelly Reilly, Jane Asher, David Haig, Charlie Cox, Colin Stinton; Director: John Strickland; Writer/executive producer: Richard Fell; Director of photography: Sean Van Hales; Production designer: Paul Lauger; Editor: Patrick Moore; Composer: Nina Humphreys; Producer: Alison Willett; Executive producer: Bethan Jones; Production: BBC; running time: 90 mins.

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