Talking Movies

August 22, 2016

Graham Greene Festival 2016

Filed under: Talking Books,Talking Movies — Fergal Casey @ 2:03 pm

The Graham Greene Festival returns after a sojourn last year for another hectic long weekend of events in Berkhamsted.

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Thursday 22 September

Court House, The Gatsby, The Rex Cinema

Afternoon session (Cost: £5)

Court House, beside St Peter’s Church

 

2.15 ‘Graham Greene’s Common’: a guided walk (under three miles; includes WW1 trenches) led by Brian Shepherd, with readings from A Sort of Life and The Human Factor by Judy Mead and Richard Shepherd.

Assemble outside the Court House for introduction. Cars/lifts and stout walking shoes required for the start of the walk at Inns of Court War Memorial, New Road car park. If wet, illustrated talk with readings in the Court House.

 

Evening session

The Gatsby

5.30 Social gathering and buffet supper at The Gatsby. -7.15 Two courses and a glass of wine; vegan/vegetarian option. (Limited to 73 tickets. Book by Thursday 15 September at the latest.) Cost: £16

 

Film Night at The Rex Cinema

 

7.30 The Power and the Glory (CBS Television, 1961 – 90 -9.30 minutes) Director: Marc Daniels. With Laurence

Olivier, George C. Scott, Julie Harris, Cyril Cusack, Roddy McDowall.

Introduced by Professor Neil Sinyard. Cost: £9

 

Tickets are available for purchase online at www.grahamgreenebt.org, or by telephone: 07988 560496

 

Friday 23 September

The Town Hall, The Civic Centre

 

Morning session (Cost: £15)

The Town Hall

 

9.45 Journey With Maps: the beginning of Greene’s Quixotic holidays: a talk by Professor Carlos Villar Flor on Greene and Father Leopoldo Duran.

 

10.45 Break for tea and coffee

 

11.15 Travels with Auntie: the BBC’s James Naughtie interviews Nick Warburton about his writing career and his radio adaptations this year of The Honorary Consul and The Power and the Glory.

 

Break for lunch

 

Afternoon session (Cost: £15)

The Town Hall

 

2.30 The Catholic Muse: a talk by Lord (Roy) Hattersley.

Why, until the end of the nineteenth century were there so few distinguished Catholic writers and why were so many of the Catholic poets and novelists of the twentieth century converts? Roy Hattersley – carefully distinguishing between Catholic writers and writers who were Catholics – offers answers to those questions and tries to resolve the age old conundrum, was William Shakespeare, in the language of his age, a Papist?

 

3.30 Break for tea and coffee

 

4.15 Graham Greene Book Club: eight discussion groups, each focusing on a different Greene novel: The Man Within, England Made Me, The Power and the Glory, The Ministry of Fear, The End of the Affair, Our Man in Havana, The Human FactorThe Captain and the Enemy.

 

Evening session (Cost: £10)

The Civic Centre

 

7.45 Film night: two episodes from Shades of Greene -9.45 (Thames TV, 1975-6): Two Gentle People (50 mins), with Harry Andrews and Elaine Stritch, and Dream of a Strange Land (40 mins), with Ian Hendry. Introduced by: Dr David Rolinson of

Stirling University.

 

Saturday 24 September

Deans’ Hall and Old Hall, Berkhamsted School

(Castle Street)

 

Morning session (Cost: £16)

 

Deans’ Hall

9.30 Current Greene Research: presented by a University of North Georgia panel of students and faculty.

 

10.30 Break for tea and coffee

 

11.00 Graham Greene remembered: Vincent McDonnell, author of The Broken Commandment, interviewed by Mike Hill.

 

12.00 Launch of Graham Greene Studies by Professor -12.15 Joyce Stavick.

 

Break for lunch

 

Mid-afternoon session (Cost: £16)

Deans’ Hall

 

2.15 Greene and Jews: a talk by Professor Cedric Watts on the paradoxical treatment of Jews in a number of Greene’s nonfictional and fictional works, including The Name of Action, Stamboul Train and Brighton Rock.

 

3.15 Break for tea and coffee

 

3.45 Regarding Graham: Caroline Bourget, Greene’s daughter, and Nick Dennys, Greene’s nephew, interviewed by Dr Jon Wise.

 

Late afternoon session (Cost: £12)

Deans’ Hall

 

5.00 The Birthday Toast: by David Pearce.

 

5.15 ‘I’ve always wanted to be in a publisher’s office’ (Graham Greene, 1933): a talk by Professor Judith Adamson on Greene the publisher.

 

Evening session (Cost: £35)

Old Hall

 

7.45 Festival Dinner: three courses with wine and coffee; vegan/vegetarian alternative. (Limited to 60 tickets. Book by Thursday 15 September at the latest.)

 

Sunday 25 September

Careers Library and Old Hall, Berkhamsted School

(Castle Street)

 

Morning session (Cost: £15)

Careers Library (next to Old Hall)

 

10.00 ‘Something to catch hold of in the general flux’: Greene’s presentation of religious ideas and longings in his first three novels – The Man Within, The Name of Action and Rumour at Nightfall: a talk by Dr Alice Reeve-Tucker.

 

11.00 Break for tea and coffee

 

11.30 Taking liberties: two controversial film adaptations of, and by, Graham Greene: a talk by Professor Neil Sinyard.

 

Lunch (Cost: £24)

Old Hall

1.00 Farewell Lunch: cold buffet, wine and coffee; vegan/vegetarian option. (Limited to 60 tickets. Book by Thursday 15 September at the latest.)

August 13, 2016

The Constant Wife

Alan Stanford directs Somerset Maugham’s 1920s comedy of marital infidelity and hypocrisy to amusing effect, but in a broad manner.

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Constance Middleton (Tara Egan Langley) has it all: rich, lovely house, delightful daughter at boarding school. But her friends and relations feel sorry for her. Well, some of them do. Her redoubtable mother Mrs Culver (Belinda Lang) most certainly does not; indeed she has called on her daughter expressly to prevent her spinster daughter Martha (Rachel O’Byrne) informing Constance that her husband John (Simon O’Gorman) is having an affair with Constance’s bubbly and vacuous best friend Marie-Louise (Caoimhe O’Malley). Both of them are surprised when they learn that Constance knew all along, and even more surprised when she manages to convince Marie-Louise’s husband Mortimer (Peter Gaynor) that he is a monstrous cad for suspecting his wife. Little do they realise that Constance has a plan, involving gossip, plausible deniability, and her former beau Bernard (Conor Mullen) just returned from China.

Constance takes a job with her entrepreneur friend Barbara (Ruth McGill), and emancipates herself from economic dependence on her husband; much to his fury. Indeed there’s a lot of comic male bluster in this play. The Constant Wife is quite funny, but is played as slapstick. Gaynor has a fantastic stride of determined and manly apology, while Mullen lurks in a doorway looking back and forth at the adulterous couple with the suspicious gaze of a man who’s just been told what’s going on (and leans back hilariously for one parting warning glance), and O’Gorman nearly blows a gasket in remaining dashed polite to a man he wholeheartedly desires to knock down and set to.  Given Constance’s Shavian speeches on economics and her mother’s Bracknellisms you wonder if Patrick Mason could elicit subtler laughs and trim the third act repetitions.

O’Malley Fassbenders as the callous airhead, and Lang is delightfully withering, but O’Byrne overplays her RP accent somewhat. Eileen Diss’ appropriately airy set design gives us a drawing room flooded with light, and Peter O’Brien pulls out all the stops in designing a whole wardrobe of glorious flapper era outfits for Maugham’s women to model. Programming this as high summer fare, for the second time in a decade, seemed an absurd exemplar of Michael Colgan’s latter sterility as artistic director, and news of his retirement followed soon after. Maugham’s play is good, but can one justify reviving it when the Gate has only produced three Stoppard shows since 1984? Being The Real Thing, and Arcadia twice. We know the Gate needs full houses but couldn’t an exuberant Stoppard like Night and Day, Indian Ink, or Jumpers pack a house too?

The Constant Wife is entertaining, but not of Cowardian calibre. It and the Abbey’s ramshackle The Wake have represented a veritable Scylla and Charybdis of commerce over aesthetics and ideology over aesthetics this summer.

3/5

The Constant Wife continues its run at the Gate Theatre until the 3rd of September.

August 12, 2016

Mike & Dave Need Wedding Dates

Zac Efron and Adam Devine need nice girls to accompany them to Hawaii for their sister’s wedding. Instead they get Aubrey Plaza and Anna Kendrick.

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The inseparable Stangle brothers Mike (Adam Devine) and Dave (Zac Efron) live together in a chaotic flat, work together selling liquor to the harassed likes of Marc Maron, and party together just a bit too hard. And so their parents (Stephen Root and Stephanie Faracy) insist that they both find nice girls to bring as wedding dates or be barred from the wedding of their beloved younger sister Jeanie (Sugar Lyn Beard). The idea being that the brothers rile each other up when they go stag, whereas some respectable girls will calm them down. But when their Craigslist ad goes viral, they get royally played and end up taking Tatiana (Aubrey Plaza) and Alice (Anna Kendrick). Soon the self-absorbed co-dependent hedonistic BFFs Tatiana and Alice have wreaked more destructive chaos on the wedding than the brothers stag ever could have.

Bill Nighy at a 2009 L&H Q&A promised with perfect deadpan that The Boat That Rocked contained “a lot of stupid jokes … profoundly stupid jokes.” One might say that Mike & Dave Need Wedding Dates is a stupid comedy, a profoundly stupid comedy, without many jokes. It is in fact a variation on the great transatlantic comedy chasm, but unlike previous summer puzzlers Let’s Be Cops and The Heat this is not an obvious thriller script repurposed as a comedy by the addition of crassness, crudity, and mugging for laughs rather than the insertion of jokes and comic characters. Bad Neighbours writers Andrew Jay Cohen and Brendan O’Brien have penned a cookie-cutter Apatow gross-out rom-com about accepting responsibility, but without Rogen or Hill to riff absurdly, the improvisation encouraged by SNL director Jake Szymanski produces little of true value.

Continuing the trend noted by Bret Easton Ellis whereby gay characters fade out of spectacle aimed at the international market but proliferate in domestic fare, we have stand-up Alice Wetterlund as Cousin Terry; a bisexual yuppie tormenting Mike in a fashion not dissimilar to Kieran Culkin’s constant poaching of Anna Kendrick’s boyfriends in Scott Pilgrim. Except that, as with Silicon Valley star Kumail Nanjiani’s bizarre cameo as a masseur, in the absence of charm and wit you find yourself unsure how to interpret this. Laughing at and with minorities at the same inclusive time? Is it a bold move or sheer laziness to have Jeanie’s black fiancé Eric (Sam Richardson) be so unambiguously boring? Is the movie’s apparent need for Beard to do what Plaza and Kendrick presumably wouldn’t slightly creepy or predictable? And can zippy pacing and breeziness overcome inanity?

Mike & Dave Need Wedding Dates, like Suicide Squad, contains lines in TV spots and trailers that don’t appear in the movie. But we don’t need Szymanski’s director’s cut.

2.5/5

August 10, 2016

Edfringe Lift-off

At Large Theatre Company are taking three one-act shows to the Edinburgh Fringe Festival, and they did a warm-up in Players Theatre before leaving Dublin.

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Beryl

Beryl (Lesley-Ann Reilly) offers a very specialised service to gentlemen callers to her modest flat, but not what you think…

Frank (Alan Rogers) is an extremely diffident man, who seems continually on the point of bolting as if this was all a bad idea. Beryl meanwhile has more bonhomie than is needed for the two of them. The early interchanges in Lesley-Ann Reilly’s script entice us to understand this as a man paying for sex for the first time, before we realise it’s something entirely different: Beryl’s services are allowing men to dress in women’s clothes for the first time. But as Beryl draws Frank out of his taciturn shell, and he stalks about in high heels that remind him of his mother, proceedings take a dark twist as his guilt-ridden motive for availing of her services is laid bare.

Director Grainne Curistan keeps the potentially lurid subject matter nicely underplayed for the most part; a tense exchange where Beryl presses a glass of wine on Frank who does not want it recalls the power-plays in Pinter’s The Homecoming concerning a glass of water. A moment where Frank adjusts a scarf around Beryl becomes extremely menacing because Rogers is so successful at keeping Frank an enigma, lost in the mazes of his own mind – he may confess to past misdeeds but in the present he remains unknowable. Reilly’s turn is less cryptic. She is amusing and believable as a chatty Cathy but when Beryl forces Frank to confront his sins and competes with his guilt the performance becomes too outré.

Beryl is always engaging, but ultimately Beryl’s need to trump Frank’s crime by confessing a minor infraction of her own undermines its dramatic impact.

3/5

 

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The Meeting

Writer/director Grainne Curistan unfurls a perfectly normal, perfectly tedious business meeting that starts to go decidedly sideways to delirious effect.

The chairwoman (Elaine Reynolds) begins the meeting with all the confidence of Josh Lyman briefing the White House Press Corps in The West Wing, and it’s just as misplaced as her attempts to canter thru the agenda late on a Friday evening fall foul of her co-workers. Professional absentee Linda (Ann Hogan) is intent on querying a directive on actually replying to emails, Italian Antoine (David Breen) wants something actually done about the stupid f****** doors that keep hitting him in the face and he doesn’t care about not putting bad language on the agenda, and permanently out to lunch assistant Daisy (Kate Feeney) wants to create a taskforce to name the photocopiers to improve morale; the photocopiers’ morale. As squabbling intensifies Linda’s friend Stephanie Morris-Ni Shuilleabhain (Gillian Fitzgerald) arrives late and asks to be recorded as present, only to be trumped by an even later entrant – an enraged boss…

Linda and Daisy are delightful comic creations. Linda’s commitment to union procedures taken to the brink of madness could stand next to Peter Sellers’ I’m All Right, Jack shop steward without raising eyebrows. Indeed her devotion has taken boss Owen (Daniel O’Brien) over the brink of madness, hence his drunken arrival with a baseball bat. If one wants to quibble the lighting design leaves Owen in shadow too often and his roaring indignation runs out of dramatic road, but it transmutes into wonderful groaned apologies and acquiescence in the finale. Michael O’Kelly, Brendan Rooney, and John O’Rourke keep the more farcical elements grounded with their straight men. O’Kelly’s double act with Breen is a particular joy, as he repeatedly is forced to act as translator when Linda affects not to understand Antoine. Curistan’s script builds to a logically demented climax with a sensational and unexpected pay-off of an earlier element.

The Meeting is a hilarious one-act play, fleshing out nine characters whose grains of truth are magnified to comical proportions and loosed in absurdity.

4/5

 

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Nowhere Now

Writer/director Daniel O’Brien satirises international trade, media saturation, and macho posturing in a bizarre, inexplicable, theatrical, and memorable fever dream.

A trade deal is being done. A preposterous amount of beef is to be sold. Many people will make a lot of money. Other people will have no beef to eat. Everything waits upon the arrival of the Prime Minister. And so the Ambassador (Darcy Donnellan), the CEO (Kate Cosgrave), and the Minister (Yalda Shahidi) wait around a table for the PM to arrive and bring all their mind-bending travails to fruition. Meanwhile journalists and victims of the deal (played by Grainne Curistan, Noel Cahill, and Ciaran Treanor) eat from bowls, lie on the ground despairingly, and run about the stage with angel wings strapped to their backs – all part of the colour scheme of red and white that dominates.

Nowhere Now does not have a driving plot. What it does have is lashings of theatrical mood in the cod-Beckettian set-up of people waiting for an important individual who stubbornly refuses to appear as scheduled. Shahidi’s hapless functionary contrasts wonderfully with the swagger with which Donnellan dominates the stage. Donnellan’s interactions with Cosgrave, both women wearing white shirts, red braces and ties, flip from macho aggressiveness to a hyper-theatrical incantation praising the cows that form the meat of the deal; ending with a kiss that further complicates the gender-swapped Mametian shapes being thrown as Cosgrave seems both the secretary and the betraying executive from Speed the Plow. Curistan, Cahill, and Treanor meanwhile act out bizarre scenarios ranging from a lengthy list of excuses to go home that get increasingly demented, to a horrifying way to get your beef hit, and, in, a climax that is hysterically funny, the PM explaining ‘live’ (ahem) on radio that he’s come rather a cropper.

Daniel O’Brien’s hour of madness may not be everyone’s cup of tea. There are undeniably longueurs, indeed it probably doesn’t need to be an hour. Cahill and Treanor can be a bit too shouty at times, and in the finale resort to arm-clenching gurning in the background which distracts from the main action. But even with these reservations, O’Brien conjures spectacle from a colour scheme, draws out some great performances, and asserts the theatricality of not needing to make sense.

Nowhere Now in its most coherent moments resembles Speed the Plow assaulted by The League of Gentlemen, and betimes it’s visually striking and memorable.

3/5

August 6, 2016

Suicide Squad

Fury auteur David Ayer gets to play with Batman’s Rogues’ Gallery and the result is an amusing, supernatural-tinged comic-book guys and gals on a mission flick.

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Amanda Waller (Viola Davis) needs more meta-humans to keep America safe in the wake of Superman’s death. So she turns to the dark side of the force, more or less literally in the case of alien witch Enchantress (Cara Delevingne). When Midway City is torn apart by an eruption of supernatural power Joel Kinnaman’s long-suffering Rick Flagg has to lead into combat the assassin Deadshot (Will Smith), angry mercenary Captain Boomerang (Jai Courtney), half-man half-crocodile Killer Croc (Adewale Akinnuoye-Agbaje), repentant pyrotechnic Diablo (Jay Hernandez), and the woman who put the psycho in psychotherapy, Harley Quinn (Margot Robbie). But true love never did run smooth and the Joker (Jared Leto) is out to reclaim his woman from the forces of evil – i.e. the government.

All eyes were on Robbie’s take on Harley, and it’s a creditable one. There are notes of winsomeness and instability, and the accent is nice when it’s played up. Her brief interactions with Leto’s Mistah J are a comic-book fan’s delight to finally see in live action, but only capture part of the full twisted relationship. Leto is severely underused but makes an impact; he’s more or less Paul Dini’s comics Joker – sinister, but playful. Interestingly Leto’s method madness is apparent onscreen as his appearance in a scene seems to genuinely unsettle all the other players. Will Smith confirms the finding of Focus, that he has found where he left his charisma, even if Ayer doesn’t feed him enough good one-liners. Or anyone else for that matter. Perhaps he was too busy constructing a wishlist for his music supervisors. Suicide Squad‘s budget must have gone in large part on music rights as a preposterous amount of hit songs are blasted out at the least provocation. You could almost imagine Ayer was working through his frustration at never before having helmed a project with the heft to simply buy the rights.

Smith beautifully disses the ‘swirling trash in the sky’ that has become the cinematic convention of the apocalypse this summer, and somehow Suicide Squad feels more faithful to Ghostbusters than the travesty remake; with an ancient evil speaking with a low growl through a young woman, all leading to a confrontation at ornate steps leading to a portal to another dimension. This ‘trippy magic stuff’ as Harley dubs it is a world away from any previous Batman film, and with Batman making cameo appearances here, and the squad’s backstories being sketched in like so many short tales from Dini and Timm, the feel of a comic-book being (at times uncomfortably) plastered up on screen is omnipresent; especially a detail about the Joker’s luck. Smith and Kinnaman have a very Ayer arc, the oft wooden Courtney is surprisingly funny, and Davis is terrific in the surprisingly central role of Waller. But the film’s construction feels a bit off, rattling by in under two hours; the allegation that a severe and needless re-cut took place certainly seems supported by the finish product where a soulful bar scene jumps up a creative level and seems like a refugee from a better more muted movie.

Despite labouring under Zack Snyder’s ‘artistic direction’ somehow all concerned come out of this tour with credit. If only Affleck and Ayer could create their own DC visions utterly unconnected to the Arch-Positivist.

3/5

*Postscript – Aug 12th: After a week of revelations about cut Joker scenes it seems the choppy quality is Ayer’s vision being traduced, and I impugned him on the musical front. This is not David O Russell’s American Hustle jukebox wishlist, but likely how people who make trailers cut a film, sequence after sequence of 2 minute rawk montages…

July 31, 2016

Dublin Theatre Festival: 10 Plays

Tickets go on sale for the 2016 Dublin Theatre Festival at 10:00am on Tuesday August 16th. Here are 10 shows to keep an eye on.

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Helen & I 27th September – October 1st Civic Theatre

The great Annabelle Comyn decamps to Druid to direct an original script by newcomer Meadhbh McHugh. Rebecca O’Mara is the ‘I’, returning home to fence with older sister Helen (Cathy Belton) as their father lies dying. It’s always great when Druid tour, and hopefully this will be a return to form for Comyn after the bafflingly praised debacle of The Wake.

 

A Midsummer Night’s Dream 28th September – October 1st Grand Canal

Sean Holmes, responsible for the recent, storming Plough & Stars in the Abbey, returns with co-director Stef O’Driscoll for a Shakespearean rampage. This looks to be very much a ‘This was not Chekhov’ production, but in the best sense, as the text is stripped down to 90 minutes, with live grunge band, nerf gun battle, and an epic food fight.

 

Don Giovanni 29th September – October 2nd Gaiety

Roddy Doyle has for some reason decided to update the libretto to Mozart’s opera about the womaniser par excellence. Eyebrows must be raised at the amount of ‘versions’ he’s doing versus original writing in recent years. Pan Pan’s Gavin Quinn will be directing, while Sinead McKenna follows up her acclaimed diabolist lighting design for The Gigli Concert’s finale with some bona fide operatics.

 

The Father 29th September – October 15th Gate

Just when Michael Colgan had lurched into self-parody by programming The Constant Wife he conjures an ace from nowhere: a piece of new writing from France that has swept all before it on Broadway and Piccadilly. Ethan McSweeney directs Owen Roe as a man suffering from Alzheimer’s, while the supporting cast includes Peter Gaynor and Charlotte McCurry, and Francis O’Connor is set designer.

 

Guerilla 30th September – October 2nd Project Arts Centre

It wouldn’t be a festival without some fellow PIIGS getting bolshy about neo-liberalism, the failure of Europe, and the age of austerity. This year it’s El Conde de Torrefiel company from Spain, presenting the confused inner universe of a group of people inhabiting the same city and collective consciousness, represented by projected text over an electronica concert, Tai Chi class, and conference.

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Death at Intervals 4th October – October 8th Smock Alley

Trailing clouds of glory from its Galway premiere comes an adaptation of Jose Saramango’s novel directed by Kellie Hughes. Olwen Fouere is the grim reaper in retirement, accompanied by her faithful musician Raymond Scannell. Death likes to dance too. A mixture of music, theatre, and dance, with Scannell also co-composing with Alma Kelliher; but he did also compose Alice in Funderland

 

Alien Documentary 4th October – October 8th Project Arts Centre

I’ve read this production’s pitch repeatedly and I’m damned if I can figure out what it is. Director Una McKevitt is apparently mixing transcriptions of real people’s conversations with invented dialogues of her own imagining, so that’s her writing credit sorted. But what exactly is this show? PJ Gallagher, James Scales, and Molly O’Mahony having unconnected deep/comic conversations for 90 minutes?

 

The Seagull 5th October – 16th October Gaiety

Writer Michael West and director Annie Ryan together fashion a modern version of Chekhov’s tale of unrequited loves starring the oft-Fassbendering Derbhle Crotty as well as Genevieve Hulme-Beaman who shone in support in the Abbey’s You Never Can Tell. But will this Corn Exchange production be as hit and miss as their version of Desire Under the Elms that severely downsized O’Neill’s ambition?

 

Donegal 6th October – 15th October Abbey

Frank McGuinness’s new musical/play with music/musical play sounds unfortunately like a pilot for the Irish version of Nashville, as a fading country music star is threatened by a new talent she must curry favour with for her own survival. Director Conall Morrison specialises in exuberance, and grand dames Deirdre Donnelly and Eleanor Methven appear beside Once’s Megan Riordan, but can McGuinness make a comeback?

 

First Love 12th October – 16th October O’Reilly Theatre

Reminding us why he was important before the age of austerity Michael Colgan directs Gate stalwart Barry McGovern in a solo Beckett outing. This time they head up the road to Belvedere College for a Beckett novella turned into a one-man show about a rather existentialist-sounding refusal of a man to fall in love with a woman who’s in love with him.

July 30, 2016

The Weir

Decadent Theatre Company revive Conor McPherson’s all-conquering 1997 play of ghost stories in an isolated Leitrim pub to chilling and cathartic effect.

DKANE 15/06/2016 REPRO FREE Gary Lydon, Frankie McCafferty and Pat Ryan performing a scene in the Decadent Theatre Company production of The Weir by Conor McPherson. The Weir opens its national tour on June 16th in the Lime Tree Theatre, Limerick. for more information see http://decadenttheatrecompany.ie/the-weir-tour-dates/ PIC DARRAGH KANE

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Jack (Gary Lydon) arrives into a small pub to find the tap for his chosen tipple isn’t working. So it goes with laidback barman Brendan (Patrick Ryan), who gives Jack a bottle instead. They are soon joined by the quiet but sharp Jim (Frankie McCafferty), and anxiously await the arrival of local tycoon Finbarr (Garrett Keogh), who is bringing Dublin blow-in Valerie (Janet Moran) to the bar. The men are concerned that Finbarr, a married man, is being unseemly in his attentions towards Valerie, and are equally concerned that he is turning them into dancing bears as a show of local colour for Valerie. But in the end the unseemliness comes from the concerned locals, as a number of local ghost stories pour forth, becoming progressively darker as the night draws in and the beers and short ones mount up.

Director Andrew Flynn’s handling of The Weir is riveting. You could hear a pin drop during the multiple monologues, and I cannot have been the only one to have a chill run down my spine while listening to the first two ghost stories told by Finbarr and Jack. An eerie atmosphere was greatly aided by the terrific whistling wind effects of Carl Kennedy’s sound design. Owen MacCarthaigh’s set design is a world away from the spectacular cut-aways he rendered for Decadent’s A Skull in Connemara, and in this simple naturalistic setting McPherson’s place in a continuum is apparent. The menace of possible drunken violence between the arrogant Finbarr and the prickly Jack is reminiscent of Tom Murphy, while everyone’s resentful mockery of Finbarr’s wealth recalls similar attitudes to the Shah in John McGahern’s That They May Face the Rising Sun.

Lydon brings Jack to cantankerous life, making his closing monologue particularly affecting, while Keogh is a world away from his put-upon turn in A Skull in Connemara with his infuriatingly patronising Finbarr (“Oh! Good girl”). This is the first time I’ve seen the play since Patrick Doyle parsed the script for me as a Mametian series of power-plays. Seen in that light the stories have suspicious similarities of theme, to say nothing of the escalation; Jack narrates a historic haunting, Finbarr narrates feeling a ghost behind him, Jim interacts directly with a paedophile’s ghost, and Valerie’s daughter returns via a ghostly phone call. The fact that Valerie unleashes her trumping story after a trip to the toilet supports the idea that she’s had enough of these strangers trying to unnerve her and has decided to beat them at their game.

Such cynicism is far removed from regarding the play as communal catharsis, but it says much for its deceptive depth that one can suspect Valerie and yet still sincerely feel Jack’s cri-de-couer.

4/5

The Weir continues its run at the Pavilion Theatre until the 30th of July.

July 25, 2016

Jamie & Spencer Need Movie Dates

“Life imitates art far more than art imitates life” said Oscar Wilde, and so to celebrate the release of Mike & Dave Need Wedding Dates on August 10th, eligible bachelors Jamie Laing and Spencer Matthews are looking for two friends to join them as their dates to a preview screening of the film in London on August 2nd.

To enter the competition, applicants must comment on Jamie Laing’s post on Twitter or Instagram, tagging 1 friend that they would like to enter the competition with, explaining why they would make the best dates for Jamie and Spencer.

Entry for the competition is open now and closes Wednesday 27th of July at 11:59pm GMT.

See here for terms and conditions. Entrants must be 18 or older.

Mike & Dave Need Wedding Dates sees hard-partying brothers Mike (Adam Devine) and Dave (Zac Efron) place an online ad to find the perfect dates for their sister’s Hawaiian wedding. They’re looking for respectable girls at the insistence of their father (Stephen Root) who doesn’t want them ruining the wedding. But the ad soon goes viral and instead of respectable girls they get a conniving and uncontrollable duo (Aubrey Plaza, Anna Kendrick) and find themselves outsmarted and out-partied.

Kendrick’s 50/50 director Jonathan Levine produces a script by Bad Neighbours creators Andrew Jay Cohen and Brendan O’Brien as SNL and Funny Or Die director Jake Szymanski makes his cinematic debut.

July 18, 2016

Re-Elect Calvin Coolidge as President

Rumours had been rife that an attempt would be made at the Republican National Convention to sideline Donald Trump in favour of an alternative Presidential nominee. Little did anyone suspect the man chosen would be the 30th President of the United States, Calvin Coolidge, writes B. Bradley Bradlee from Cleveland.

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Donald Trump’s ‘Make America Great Again’ slogan is shamelessly lifted from The Gipper, so perhaps it shouldn’t surprise that his enemies in the GOP establishment have reached even further back to the precedent of Eisenhower and Goldwater. After all, elephants can remember. What does surprise is their decision to leave drafting an alternative candidate to thwart Trump so very late. Their choice of former President Coolidge as a unity candidate is proving controversial in the media at this particular moment of national tension for two reasons: because of his hard-line actions during the Boston Police Strike, and him being dead.

Kentucky Trump delegate Tom O’Shanter was outraged, “It’s a crying shame that a man who won so many votes in primaries can be thrown over for a multicultural advocatist like Coolidge.” On being pressed O’Shanter elaborated, “Coolidge signed that Act giving Injuns the rights to practice their culture. I mean, give me a break! This is ’Murica. You adopt the culture that’s already here!!” Asked whether Coolidge’s track record on tax cuts might sway his vote O’Shanter’s opposition faltered, “Well, I’ll allow he did cut taxes in ’24, ’26, and ’28. He’s got a track record, even if he’s dead.”

Stockton Crouse, a strategist for Jeb Bush’s failed primary campaign, was as surprised as anyone, “I know we were short on choice when it came to one-term Presidents, I myself ruled out drafting George HW, but Coolidge…” Crouse was in two minds on Coolidge’s platform, “On the one hand, I like that he tried to improve our strained relations with Mexico, that’s important after Trump’s rhetoric. On the other hand, signing the Immigration Act is just too like a 1920s piece of Trump demagoguery for my taste. And that’s to say nothing of his being dead, what about the debates?”

But according to Coolidge’s communications director, Broder Mackin, Crouse’s concerns are overplayed. “Don’t listen to his sour grapes. I think we’re all familiar with that Dorothy Parker quote, B. Bradley, Calvin is going to do just fine in the debates.” Pressed on how active a President Coolidge could reasonably be Mackin was firm, “The people have had enough of executive over-reach, B. Bradley. What they want is to be left alone. And Calvin will do that. First, he has form in this; this is a man who said National Education Week did not need his imprimatur. And second, he’s dead.”

B. Bradley Bradlee is fictional editor emeritus of The New York Times. He is currently covering the Republican Convention for the German weekly Die Emmerich-Zeitung.

July 9, 2016

Tender Napalm

Good Buzz fill the Boys School of Smock Alley with clay for an energetic performance of Philip Ridley’s acclaimed two-hander.

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A red line separates the audience from the players, nestled on an artificial grassy mound rising out of real clay. A man (Stephen Tadgh) and a woman (Ashleigh Dorrell), his attempts at tenderness shook off as irritants. And then the play begins with speculations of imaginative acts of violence as poetry. Tension between the couple is obvious, her attempts at a romantic flashback to her preparations for a party are scuppered by his flights of fancy about ruling a desert island. She joins his desert island fantasy to undercut his bagatelles and claim it for herself. And then as their monologues continue it becomes clear that the party both are preparing for in their flashbacks is where they first met, and began down the slippery slope of love that has led them to their current impasse of resentment and boredom.

Tender Napalm is a hard old slog. Director Sarah Finlay stages the material well with nice use of lighting to pinpoint emotion within these conjured mindscapes, and Tadgh is boundlessly energetic and winning in his portrayal of the optimistic romantic man, but Philip Ridley’s script is a 45 minute lunchtime show unfeasibly elongated to 85 minutes. The revelatory end is obvious from a mile, there is even a hint of (500) Days of Summer about how it informs the desert island, and the originality of the game of loving descriptions of violence disappears once you realise it was contemporaneously used in Sarah Polley’s film Take This Waltz. Exactly how Ridley’s script came to be held up as a masterpiece of new British writing about passionate love is a puzzle given its clumsy handling of a couple grieving their young daughter.

Boys School in Smock Alley is an infuriating theatrical space, permitting no entrances or exits with any subtlety unless one builds a staircase as part of the set. Such claustrophobia focuses attention on the script to an unhealthy degree. And it became noticeable, as an overwhelmingly female crowd whooped up everything the woman said, that Ridley attempts to create a ‘female voice’ in his play by indulging in unapologetic misandry. The man’s descriptions of imaginary violence all end in ecstatic death, whereas the woman explicitly talks of horrifically maiming him, and leaving him alive, blinded and castrated. The man is bombastic and friendly, the woman is, at their first meeting, bossy, and in the present accusatory and petulant. That a female audience lapped this up without thinking it at all problematic was more interesting and revealing than anything Ridley wrote.

Tender Napalm features good performances and assured sound and lighting design, but its script is flabby, lacking in real insight, and, ultimately, disturbingly sexist.

2.5/5

Tender Napalm continues its run at Smock Alley Theatre until the 9th of July.

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