Breaking Dawn

The Twilight Saga; Breaking Dawn, Part One (12A), 117 minutes, 2011
 
My 12 year-old daughter was bristling with excitement. "Don't spoil it", she admonished, just a little too loudly as we walked into watch Breaking Dawn One, “It isn't aimed at you". 

The penultimate instalment of the Twilight Saga, based on the best-selling books by Stephanie Meyers, (116 million copies in 50 countries) would, I agree, not normally attract me. Vampires and werewolves for the baby-boomer generation revive unwanted memories of second rate films; poor scripts, worse acting, Christopher Lee with false teeth. Today's generation, more impatient and more demanding would simply not tolerate what we unquestioningly sat through.
 
Despite no synopsis of the previous films, it’s not hard to fathom the storyline so far. Bella (Kristen Stewart), a human, loves Edward (Robert Pattinson) a vampire, but to consummate their relationship Bella must die. Thrown into the mix is a werewolf called Jacob – whom Bella still lusts after – his clan, the Quileute, and Edward’s family, the Cullens. After three movies of flirting and unimaginable self-control, our couple are united on a beach in Brazil. But Bella falls pregnant, their happiness short-lived.

The baby develops at impossible speeds, sucking the lifeblood of Bella herself.
The childbirth itself is gory and shocking and entirely inappropriate for a rating of 12A. It's less what you see and more what you hear, the tearing the squelching, the screaming, the sobs. That this passed the censor truly beggars belief.
 
Their romance itself is charming and innocent, Bella loving her vampire with, literally, all of her soul. Stewart and Pattinson reverse traditional roles; she flirtatious and forward, he respectful and patient, qualities of which her father Charlie Swan (Billy Burke) approves. "I know how to hunt people.. and use knives".. he tells his new son-in-law, adding a rare but welcome moment of light-hearted relief. Stewart herself is touching and sweet, gentle with Edward but sure of her love. While her mastery of the role is impressive to watch - she has vulnerable heroine down to a tee – the jury is out on how much more she can do. The dilemma for Pattinson is no less demanding –what else and where else is the question from here. Breaking Dawn Part Two sees Armageddon of the vampires, a death and death struggle as the Volturi seek revenge. My daughter can’t wait. 7/10.

Richard Smith-Morgan
December 2012

Blues Band

The Blues Band
Blackheath Halls December 18 2011

Their first album cratered selling but a handful of copies, the band even reduced into producing themselves. 32 years on and some 20 albums later, the Blues Band - Paul Jones (vocals / harmonica), Tom McGuinness (lead guitarist), Gary Fletcher (bass), Dave Kelly (slide guitarist) and drummer, Rob Townsend - are surely now regarded as one of Britain’s best-loved bands.

Their music – an eclectically odd combination of country, jazz and blues – has to be seen in a world of its own; “The music industry doesn’t bother us and we don’t bother them”, their oft-quoted theme. But if the genre is in question then their ability is not, all capable musicians with distinguished careers.

Jones is best known, actor, broadcaster and lead vocalist with 60s group Manfred Mann. He still seeks the limelight and stands centre stage but his timing is excellent and his vocals still strong. His rendition of his own song, “Suddenly I Like It”, was excellent, lyrical and tender, notwithstanding failed efforts to get the audience to join in. His manipulation of the harmonica – no tinny toy in his hands – was quite spectacular from the purity of his tone to the breadth of his range. But Blues Band the group is much more than just Jones, each of the band members (unusually) taking turns at the mic; McGuinness’s (also Manfred Mann) gentle tones, Kelly’s forceful energy and Fletcher’s rhythmic pitch. But if their vocals are strong their playing is better, the key reason they have lasted so long. Townsend’s rhythm at the back of the stage, Kelly’s facility on the bottleneck guitar, Fletcher’s flexibility with finger and thumb.

After a banal introduction and some inane repartee (somebody should really tell them), things finally got going with a crowd-pleasing mixture of classic old favourites – What you Wanted and Going Home – and more recent material - Living with the Blues and You are True - from their new album, A Few Short Lines. But at the end of each song, repartee – largely consisting of interminable requests to purchase the new album – reappeared, destroying what momentum the group had managed to build, an inexcusable mistake for an experienced group.

However, most of their loyal audience simply enjoyed what they heard, cheering and shouting before the end of each song, Blind Alfred Reed’s “How Can a Poor Man Stand Such Times and Live”, the highlight of the night.

An evening for fans. 6/10. Oh, and a Happy New Year!



Dick Morgan
December 2011

One Man Two Guvnors, Adelphi Theatre

One Man, Two Guvnors, Adelphi Theatre, The Strand
Christmas Eve, 2011

Do whatever it takes - beg, steal or borrow a ticket - but do not miss this play! Oh and do it quickly since this marvellous show moves to Broadway in April next year. It's a cornucopia of farce from beginning to end, witty and clever but also visually rich. There’s even a sharp-suited band interspersed between scenes.

Adapted and updated - to 1963 Brighton – by Richard Bean from the 1746 Commedia dell'arte classic, One Servant and Two Masters, by Carlo Goldoni, it stars James (Gavin and Stacey) Corden as the hapless go-between. The plot defies logic as is customary with farce, Corden caught between Rachel (Jemima Rooper) the disguised sister of her dead gangster brother and Stanley Stubbers (Oliver Chris), the “accidental” – he was stabbed three times – offender who just happens to be – you guessed it – the love of Rachel’s life. Corden is tossed about like a ship in a storm – “there's only so much tossing one man can take” he laments smirking, serving his two masters dinner simultaneously in the play’s iconic scene.

Bean and his Director, Nicholas Hytner, take their courage in their hands introducing an octogenarian waiter to this well-worn comic masterpiece. Thankfully it works, magnificently, Tom Edden’s bumbling, stumbling, trembling Alfie, surely in line for supporting actor of the year, his ability to fall vertically downstairs in the very best traditions of traditional, British farce.

Cordon is outstanding from his energy on the stage - his fight with himself one of the highlights of the play - "you wouldn't dare" he says to himself faced with a metal dustbin lid – to his interaction with the audience, a poor unsuspecting lady the unfortunate victim of both his charisma and his gags. Not only is Corden funny but he is sharp-witted and quick. When offered a humus sandwich by a man in the front row he shot back; “no wonder you’ve not eaten it” with barely a pause. But the power of the play is in the depth of the cast; Chris’s parody of a public schoolboy as funny as Corden himself; “Christian names are for girls and Norwegians” he says in all seriousness, Daniel Rigby’s wannabe actor, a thesaurus of stock theatrical phrases.

While the second half fails, not unreasonably, to hit the heights of the first, there is still much to enjoy. Broadway is surely in for a treat.

Consistently very funny and hilarious at times. 9/10. Happy New Year everyone! That’s it for 2011.

DM
December 2011

The Ides of March

The Ides of March (15) -100 minutes -2011

"Beware The Ides of March", warned the prophet. Caesar refused to take notice and it cost him his life, stabbed 23 times, in the back. George Clooney's Ides of March, his fourth film as director, is as dramatic, if less bloody and with the US Presidential race now upon us, rather more timely. With echoes of both Robert Redford's, The Candidate (1972) and Mike Nichols' Primary Colours (1998), IoM tells the story of corruption and compromise, of idealism betrayed and of innocence turned to dust.

Governor Mike Morris (Clooney) is on his way to the White House and lighting his way are his political aides, cynic, Paul Zara (Philip Seymour Hoffman) and idealist, Stephen Meyers (Ryan Gosling). As the two of them structure a flawless campaign, Zara's opposite number, Tom Duffy (Paul Giamatti), has ideas of his own. He ruthlessly sets out to destroy their campaign; “it isn’t personal” he tells a bewildered Meyers. However neither Chief of Staff planned on the nemesis of Presidents, the sensuous intern played by Evan Rachel Wood.

Clooney has assembled a very strong cast, watchable, competent and comfortable in their roles. Giamatti for example, is in the form of his life. From The Last Station (2009) and Barney's Version (2010) to Win Win (2010) and Too Big To Fail (2012) , this diminutive but touching actor is in almost constant demand. PSH, similarly omnipresent, is his usual, professional self, here, careworn, world weary and tired of doing battle. Also compelling is Rachel Evan Wood in a short but moving cameo as Molly Stearns and, despite some (false) modesty - "You simply don't have an option when George (Clooney) calls" - never out of her depth. Gosling himself is the star of the show. Flush with success from Nick Refn's thriller, Drive, the 31 year old Canadian, is on top of his game. Compelling and persuasive, particularly his scenes with Evan Wood, he seems suited to his role, his boyish good looks somehow symbolising his beliefs.

Despite his own, well-publicised political leanings, Clooney depoliticises the film, his sanitised thriller neither republican nor democrat. This is a film about the politics of greed and the uncontrollable need to rise to the top. Its acting is good, its dialogue is slick (though less sleek than West Wing), and its storyline neat, especially the twists.
Well-structured and intelligent and like Clooney’s own career, good but not great. 8.5/10.

DM
November 2011

A Christmas Carol Greenwich Playhouse

A Christmas Carol
Greenwich Playhouse December 6 2011 - January 15, 2012

Bah humbug, I was tempted to shout out early on. I don't want singing and dancing and actors running about. I want the old Dickens, the wordsmith, the craftsman of his age. Changing a masterpiece, to what end and why? Yet despite my best efforts I was slowly drawn in, enthused by the spirit of an infectious cast.

The story at least follows traditional lines with a miserable Scrooge (Stephen Barden) first seen hoarding his wealth. Then everything changes and he begins to repent, overwhelmed by ghoulish spirits who unfurl his dark life. Less traditional perhaps are the spirits themselves, their messages stark, their characters dark.

Christmas Past (Jess Mack) appears heaven-sent, clad entirely in white, her beauty and smile convincing Scrooge all is well. But as the veil on his childhood is gradually raised, her incessant cackling reveals a darker soul. Her message delivered, she ebbs violently away. Christmas Present (Tara Godolphin) is less subtle, her vulgarity unpleasant, her message no less cruel. “Oh Scroogy Woogy “, she addresses the by now babbling old miser, “come, let me show you what your life has become”. But Christmas Future (Barden again) is the darkest, its black hooded cloak reminiscent of the Reaper. Before it finally departs, Scrooge is at his wits end.
Less traditional still was the continuous music, the Yamaha keyboard too tinny and hollow. The carols were better, the harmonies strong, their timing allowing rearrangements of the set. The casting - 7 women and 4 men – was adventurous given restrictions of space but only rarely did the stage seem cluttered and (too) full.

While Scrooge usually dominates, here he does not, largely a function of the cast’s multiple roles. While Barden is competent, others catch the eye. Lee White as Bob Cratchett, unctuous but amusing, Charlotte Mason-Apps as Mrs Dilber and (Belle), elegantly comfortable in both of her roles and Christopher Rowland (Fezziwig and Fred) who promises much in this his first season in professional roles.

Bringing Dickens to life in a world without patience is an ambitious and difficult undertaking. But Sell A Door Directors, David Hutchinson and Phillip Rowntree are clearly more than up to the challenge. The theatre was full, the audience engaged and no more could be asked of the cast. While traditionalists (like me) may grumble and gripe, we should recognise what is good Christmas fare.

The play is amusing and enthusiastically portrayed and a Merry Christmas to one and all! 8/10