actors
Graham Fuller
In Clive Donner’s 1968 Here We Go Round the Mulberry Bush, which was released on DVD earlier this year, Barry Evans plays Jamie, a Stevenage sixth-former whose rush to lose his virginity leads him into a series of muted misadventures with girls. They are played by the likes of Adrienne Posta, Judy Geeson, Sheila White and Vanessa Howard. Jamie is randy but sweet, scarcely a rake, and Donner’s jocular film transcends its Swinging Sixties sex comedy label by getting under the skin of teenage doubt and desire. Geeson, playing the luscious blonde Jamie idealises, is the nominal female lead, but Read more ...
james.woodall
One wants to be antagonised by Harold Pinter. In his substantial early dramas (The Homecoming, The Caretaker, The Birthday Party), aggression and menace coil through the texts like rattlesnakes. He was, then, revolutionary. Maybe it's glib - critical shorthand - to suggest that there were, thereafter, two to three decades of falling away; but some of us might feel that much of his later work either became hijacked by his belligerent, unnuanced politics or, simply and contrastingly, softened.The latter charge cannot be laid against astonishing plays like No Man's Land (1975) and Betrayal (1978 Read more ...
Jasper Rees
Omid Djalili is a funny man with a funny provenance. There are not many stand-ups about who speak the languages of Presidents Havel and Ahmedinejad, who have played both Muslims and Jews without being either one or the other, whose CV includes stints performing Berkoff in Slovak and playing Whoopi Goldberg’s sidekick on NBC. In fact none. Djalili is by his own admission an accidental comedian. Though born (in 1965) in the United Kingdom, his Iranian roots made him an intriguing curiosity when he ditched acting for telling jokes. Then the War on Terror turned his comedy into a timely window on Read more ...
Jasper Rees
Yes, we’ve always claimed her as one of ours, even though her parents were both American and they moved her back to the States as war loomed. She appeared in her first film, There’s One Born Every Minute, with Universal Pictures, with whom she signed her first contract for $100 a week. It wasn’t renewed. Her production chief famously suggested that: “She can't sing, she can't dance, she can't perform.” Metro-Goldwyn-Meyer snapped her up and by 1942 she had appeared in Lassie Come Home (1943) opposite Roddy McDowall and a canine co-star who stole every scene. But her real elevation came the Read more ...
Jasper Rees
I can tell you the year (1983). I can tell you the theatre (the newly opened Barbican), the actors (Gambon, Sher), and the speech (“Blow, winds, and crack your cheeks!”). Hell, I can all but tell you the seat number. Lear and the Fool in the storm stood on a platform mounted on a high pole. It was an arresting way of establishing their elemental isolation. Or it would have been if the gantry gaining the actors access to the platform had been withdrawn. “That’s not meant to be there,” said the person next door to me. And then louder, “They’ve got it wrong.” My father. I still remember someone Read more ...
hilary.whitney
A disproportionate number of column inches seem to have been devoted to James Purefoy’s matinee-idol looks, his ability to carry off a pair of breeches and the amount of time he appears on television naked. However, while he has admittedly spent much of his career swaggering around in period costume - Vanity Fair with Reese Witherspoon, Mark Antony in HBO’s Rome, the recently released Ironclad - he has also played, among many other things, a psychopathic rapist, a stalker and the fraudster Darius Guppy.I met him earlier this week to discuss his return to theatre in Flare Path by Terence Read more ...
aleks.sierz
Recently, some British playwrights have gone back to school, and found that it feels very much like a war zone. All the old tensions between teachers and pupils have escalated into open conflict: knives are drawn, punches thrown and arguments are settled by fights. Likewise, the language is disrespectful at best, and always expletive-heavy. Vivienne Franzmann’s new play, which visits London after opening in Manchester last month, frankly refers to a war zone in its title, and its action is scarcely less antagonistic.Like John Donnelly’s The Knowledge and Steve Waters’s Little Platoons, Read more ...
Jasper Rees
In some ways it’s been an odd career. Everyone else in Another Country (1982), the stage play by Julian Mitchell about gays and Marxists in a 1930s English public school, shot out of the blocks. Colin Firth was the only actor to play both lead parts, one onstage, the other on film (1984), but he took the slower road to outright stardom and only now is he clearly the bigger cheese than Rupert Everett, Kenneth Branagh and possibly even Daniel Day-Lewis. For years as a young actor he laboured somewhat in their shadow. He was in a film adaptation of Laclos's Les Liaisons Dangéreuses, but not the Read more ...
Jasper Rees
@Wossy seems to have been cast as second baddie in #PiratesduCaribbean 4This intro is entirely about namechecking the films so they can cut away to the US stars who've jetted in from #TinseltownLame string of Little Fockers jokes.These clips montages always make films look like the complete Shakespeare. Then you go and see them...@Wossy seems to have been cast as second baddie in #PiratesduCaribbean 4This intro is entirely about namechecking the films so they can cut away to the US stars who've jetted in from #TinseltownLame string of Little Fockers jokes.These clips montages always make Read more ...
mark.kidel
Theatre, particularly tragedy, can pack a terrific punch when things are kept simple – even if the themes evoked are enfolded in layer upon layer of complexity. Brian Friel’s Faith Healer, a play with three characters, each of whom takes to the stage alone, explores in a multifaceted way the life of an itinerant Irish healer who plies his trade along the backroads of the Celtic fringes of Britain.It is as much a meditation on the business of moving the spirit and effecting spiritual and physical change in an audience as it is a complex exploration of the shifting borderline between fiction Read more ...
carole.woddis
Do Stanislavski and Lee Strasberg have a lot to answer for? Or can we place the blame, if blame it is, elsewhere? I’m referring to the steady, insidious advance of theatre mumbling. You may have noticed it at a theatre near you. It’s the art that disguises itself in “naturalism”, a kind of quasi “Method” style of acting.It’s not always easy to detect. At first you think you may be mistaken. Isn’t this “great acting” I see before me, the eyes furrowed towards the floor, the voice low, even a little seductive? You blink – and blink again. You wait for something to happen on stage. But wait a Read more ...
Jasper Rees
Toby Jones’s cameo in Notting Hill – he was cast as an over-eager fan of Julia Roberts - was deposited on the cutting-room floor. Most actors would have chalked it up as one of life’s bum raps. Jones, who while on set for his short scene was also failing to rent a flat in Notting Hill, fashioned a drama out of a double crisis. To perform Missing Reel he obtained permission to show the suppressed material. Anyone attending the play, or listening to it on Radio 4, would have laid long odds against the actor once cast as a stalker of stars eventually landing the lead in a Hollywood film Read more ...