Yep, I’ve been reviewing again. Brilliant way to sharpen the writerly craft (I hope). Sorry to say this isn’t all it could be – running til 1 Sep in Bath, with Downton Abbey’s Phyllis Logan playing Patricia Highsmith, author of The Talented Mr Ripley (and much more):
“….Think of a bar-bore in their own cave and that’s the role Phyllis Logan has taken on. It’s a very tough gig and she too is constantly watchable. But Murray-Smith has not gifted her the same character nuances as her counterpart […] With this uneven script, the audience is left with a sense of dangling threads, of creative promise unfulfilled, and a great writer being under-served for the benefit of a lesser one.”
I was lucky enough to see and review this incredible piece of theatre back in May. Apologies for missing the boat on re-posting my review for Bristol 24/7, but here it is:
As an adult, it is genuinely rare to sit in a theatre and utterly believe. But Shuler Hensley’s performance in The Whale is perhaps the most visceral, convincing, immersive depiction I have ever seen, on any stage. This is one powerful piece of theatre, with award-winning performances from a cast giving their all, in a completely engaging world.
Charlie (Hensley) is not just obese, but morbidly so. The kind of “What’s Eating Gilbert Grape“ “big” that involves hoists, or windows being taken out. But Samuel D. Hunter’s The Whale is not a play about a man being fat. It’s a play about despair, grief and regret; about self-loathing and a suicidal lack of self-worth. It is one of the saddest and most eloquent plays I have ever come across. It’s a play about love….
I’ve just showed this vid to an industry pro, and realised that it might never have made it here – apologies! It’s the 90-sec promo for Glitter Knickers, designed to help it out of its R&D box and onto the next stages. Weirdly, both the actor Lucinda Holloway and I have been asked about the play’s next steps a few times in the last few weeks. So, here’s to some Friday smiling – I hope you enjoy it:
Very happy to have reviewed the opening night of posting Letters to the Moon last night as it starts a tour that takes in Wimbourne, Guildford, Chipping Norton, Malvern and Devizes.
Oh, what a lovely, love-filled, heartwarming evening you will have with Posting Letters To The Moon. Opening night at Bath’s Ustinov Studio (Theatre Royal) looked like a full house for this charming legacy of a show.
But where to start? You could come into this piece through so many different doors. A Brief Encounter fan? An Archers addict? Maybe you’re a soul who loves the “letters from” format, or even “an audience with-“? Perhaps you’re an incurable ’39-’45 nostalgiac?
Whichever door works for you, this space is as welcoming and nourishing as you could possibly want. Huge congrats to Lucy Fleming and Simon Williams – and their family – for sharing these letters in such a generous way. More …
Wonderful week last week, with lots of goodies coming at once.
On Tuesday, I reviewed Michael Boyd (former RSC Artistic Director)’s new show, The Open House, for Bristol 24/7. You can read the review here.
Then I popped on a train, feeling all intercontinentally high-flyin’, wrote my review on the tracks & when I woke up (some sleep happened somewhere), I was in King’s Cross on my way to the C21/Script Angel WritersRoom, which ran as part of the International Drama Summit at Content London 2017.
Very merrily, my latest TV pilot spec script – written in a 10-day deadline frenzy in September – was highly placed in the C21/Script Angel Drama Series Script Competition. And this is how I won a place on this full and excellent day. In three groups, we developed a new show from concept to pitch. Each worked closely with an experienced show-runner: Versailles’ David Wolstencraft; Follow The Money’s Jeppe Gjervig Gram; False Flag’s Maria Feldman and Shades of Blue’s Adi Hasak.
The 9-6 day seemed like it was eaten whole in one big bite: Have we finished? Where did it all go?!
That’s in no small measure due to a cracking task-led structure, but also a bally marvellous working group. So often, writers work in holy isolation but here we had to listen, respond, respect and hit a deadline with a goodie. (What do you mean, “did we?” Of course we did!).
Anyway, it was yet another of those weeks where I stand, grin and kalloo-kallay my lucky stars to be able to do the stuff I do. I saw and reviewed great & thought-provoking theatre (heading to London in the new year, I believe) and worked with a great international group of merry writers and producers. And we all learnt from our group’s ace showrunners, Jeppe Gjervig Gram & Adi Hasak, with the sharp and steady Hayley MacKenzie of Script Angel’s hand on the tiller.