adaptation
Gary Naylor
Zorro (what a name!) is back, swashing and buckling his way into the West End, 13 years after he left and now not the only one wearing a mask. He’s also an entertainer turned political leader, inspiring his people to resist an evil martinet. Well, that sort of thing is back in fashion too.Stephen Clark and Helen Edmundson’s story sets up two brothers in the Spanish outpost of Los Angeles (it’s 1805) with one, Diego – younger, the favourite – sent to Barcelona to learn the skills he’ll need to lead the pueblo when his father dies, and the other, Ramón – older, resentful – staying in California Read more ...
Daniel Baksi
"Disgusting", "depressing", "sheer horror from start to finish", a "filthy, rotten, immoral play". Such were the comments from viewers published across a spectrum of British newspapers following the BBC transmission, on 12 December 1954, of Nigel Kneale’s Nineteen Eighty-Four.The papers themselves were similarly critical. "A Tory guttersnipe’s view of Socialism" was the assessment of the socialist Daily Worker. The Daily Express opted for sensationalism. Its headline read: "Wife dies as she watches".Adapted by Kneale, obviously, from George Orwell’s 1949 dystopian novel, and now released Read more ...
Gary Naylor
The Merchant of Venice is a comedy, you say? Shakespeare, as ever, refuses to be confined to convenient boxes, his best plays’ extraordinary pliability and longevity a testament to the piercing eye he cast towards the slings and arrows that assail humankind. More than most of his works, The Merchant of Venice requires a director to take a stance, especially these days, so as to send the audience in a chosen direction. This is not unique - no text can. nor should, be sacred - but those decisions bubble closer to the surface in The Merchant than perhaps any other play in the canon. Read more ...
Gary Naylor
We open on “Seventeen is Swell”, the antithesis of Janis Ian’s 70s angsty anthem, “At Seventeen”. Megan is living it large as the cheerleader’s leader with her football captain boyfriend, two loving if strict parents and a golden future of all-American domestic bliss ahead. In short, she has all her pom poms in a row.Well, except she doesn’t really enjoy the more intimate moments with the dim jock, Jared; she has pin-ups of Eva Herzigová where Johnny Depp should be; and she’s, horror upon horrors, a vegetarian! In the kind of Midwest town where you might expect Louis Theroux to turn up to Read more ...
Gary Naylor
Wind the clock back 45 years and the Big Apple was bankrupt, the lights had gone out and many native New Yorkers were packing their bags. Gangs controlled whole neighbourhoods, drugs were the currency of choice and, for a kid with no college, prospects were strictly limited. The movie Saturday Night Fever captured this social decay, illustrating the crisis of confidence that suffused so many big Western cities.In faraway England, the nihilism of punk was leaning into the "no future" narrative, but suddenly, here over the ocean was Tony Manero, this strutting master of the universe, Read more ...
Gary Naylor
Somewhere in the world right now, one can hear Mister Mister's AOR hit, "Broken Wings" on an MOR radio station, capturing mid-Eighties synth pop perfectly. Few listeners will know that its inspiration is a 1912 autobiographical novel by Lebanese-American poet, Kahlil Gibran. A source that worked for a four-minute pop song has now been extended by two hours and made into a West End musical. Stranger ideas have worked – unfortunately, this one doesn't.Having fled Beirut as a child with his mother and siblings when his father was imprisoned, 18 year-old Gibran returns from America at the Read more ...
Laura de Lisle
“If you want romance,” the cast of Emma Rice’s new version of Wuthering Heights say in unison just after the interval, “go to Cornwall.” They’re using the modern definition of romance, of course – Emily Brontë’s novel is full of the original meaning of "romantic", much wilder and more dangerous than anything Ross Poldark gets up to.Rice’s anarchic adaptation preserves that feral quality, with the Moor itself telling the doomed love story of Cathy (Lucy McCormick) and Heathcliff (Ash Hunter), but doesn’t do enough to keep up its energy.The opening is more Kafkaesque than Brontësque (though Read more ...
David Nice
It sounds like the title of a play by Rattigan. No such luck: “Force Majeure” – a legal term with which all too few will be familiar, in which circumstances beyond anyone’s control cancel a contract – is how Ruben Östlund’s 2014 film Turist is known beyond Sweden (an American remake with Will Ferrell and Julia Louis-Dreyfus, not good by all accounts, has much the best title, Downhill).This tragicomedy about the consequences of a husband and father running away from his family when an avalanche seems about to overwhelm a ski-resort restaurant has been adapted for the stage by Tim Price and Read more ...
Matt Wolf
A small film that packs a significant wallop, The Humans snuck into view at the very end of 2021 to cast a despairing shadow that extends well beyond the Thanksgiving day during which it takes place. Adapted from the much-traveled Tony-winning play of the same name, writer-director Stephen Karam's screen iteration of his own one-act seems even bleaker in this iteration than it did in my twofold experience of it on stage (including at the Hampstead, with its original New York cast, in autumn 2018). .Those who think American drama too often offers its characters the easy way out won't find that Read more ...
Gary Naylor
Charles Dickens and Martyn Jacques is a marriage made in heaven (well, hell I suppose): the Victorian novelist touring the rookeries of Clerkenwell the better to fire his imagination and, 150 years or so later, the post-punk maestro mining London's netherworlds for his tales of misfits and misdeeds.So it's no surprise to see The Tiger Lillies bring their unique sensibility to A Christmas Carol, Jacques' song cycle taking us into the head of the miser, Ebenezer Scrooge, paring the tale back to its psychological trauma and its bitter social critique. The Lillies' leader is front and centre, of Read more ...
Rachel Halliburton
It’s been seventeen years since Nicholas Hytner first directed Philip Pullman’s His Dark Materials at the National Theatre, ambitiously whirling audiences into Pullman’s universe of daemons, damnable clerics and parallel worlds. Now he has collaborated with playwright Bryony Lavery to bring this fluent, fluid adaptation of the prequel to His Dark Materials – The Book of Dust – to the stage, delving into Pullman’s myth-infused landscape to create a compelling narrative for our times.Samuel Creasey plays Malcolm Polstead, the bookish wide-eyed 12-year-old who becomes embroiled in forces beyond Read more ...
Adam Sweeting
I sympathised with the prosecuting barrister when she put it to the court that the accused, a man called Hero (Samuel Adewunmi), was “using his closing speech to construct a work of fiction”.This was a crafty meta-joke. You Don’t Know Me itself is a dramatic fiction adapted from the novel by Imran Mahmood, and Hero’s decision to defend himself at his own murder trial found him standing up in court and giving an actorly rendition of his own version of the plot.I liked it better than the prosecution’s version – is the law really just a story-telling contest? – even though Hero seemed to be Read more ...