Song for Marion - Premiere at the BFI London Film Festival - 19th October 2012

(Rated 3/5 film/script... 4.5/5 performances.)

I expected Song for Marion to be a comedy along the lines of Rock Choir for OAPs - resembling the level of comedy and song performances of the likes of The Full Monty. I had been entertained by the OAPZ - the choir of elderly people in the film - themselves, for about 5 hours,  as an extra on the film. They were absolutely brilliant in both comedy and musical performance. But the tone of the actual film is somewhat different. There is far more poignancy and somewhat less comedy.
The film follows grumpy pensioner Arthur (Terence Stamp) - addicted to not enjoying himself - and his relationships with his wife Marion (Venessa Redgrave), who is suffering from cancer, and their son James (Christopher Eccleston). Arthur and James are estranged - we are told Arthur was not a good father - whilst the love between Marion and her son is clear and warm. Marion enjoys singing as a member of the OAPZ, who are led by cheery conductor Elizabeth (Gemma Arterton). Arthur refuses to join in and is hostile towards Elizabeth and Marion's other choir friends, even in their support of his wife. The film goes on to explore Arthur's relationship with Elizabeth as she tries to help him 'de-grump' {my word} and find his voice and his heart.
That said Arthur, as played by Terence, clearly has a great heart - just keeps it safely closed, resembling the rock Marion describes him to be.
Vanessa Redgrave is outstanding as ever! She blows me away with her ease of emotional expression and natural ability in character inhabitation. Meanwhile Terence Stamp moved me to tears - both in what he was expressing and what he was holding back. I have never experienced a closed-off, cold character pull so much at my heart strings. I have to say he genuinely did too when I witnessed him singing for the film. My response as an extra was not forced at all! However it seems it ended up on the cutting-room floor. Christopher Eccleston is also very good indeed as a mirror to them both. He IS their son. Only slight flaw is he lost the accent now and then, but otherwise a beautifully reflective portrayal. Gemma Arterton also did very well with what she was given as a character. I did feel, though, her character was the one who most showed up the lacking in the script - it was a little basic compared to the power of the other three. 
Writer/Director Paul Andrew Williams has given us a lovely, sensitive film and I really felt it came from his heart inspired by his own grandparents. For me his writing and direction lack a little in clarity and impact - but his professional actors understood what he wanted to convey and did the job superbly. I just wish there had been a little more of the OAPZ to enjoy, but I will buy the soundtrack and DVD!

Song for Marion – Review by TheRestrictedReviewer © 2012


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‘Twelfth Night’ - Shakespeare’s Globe - Thursday 4th October 2012

Twelfth Night – the name of this play is as familiar to me as A Midsummer Night’s Dream – and yet I hadn’t seen it before, at least I don’t think so – it is one of those, in seeing which, you get kind of a deja vue feeling. Here we have another that starts with a shipwreck and uses two of Shakespeare’s favourite comedy devices of mistaken identities and twins – well hey if you have a formula that works, it well bears repeating. That said I’m not sure many writers these days would get away with quite so much repeating ;)

This is a great fun romp - the main attractions in this case are Mark Rylance playing Countess Olivia and Stephen Fry as her steward Malvolio; both of whom romp to the max. The production marks Stephen Fry’s first return to the stage after his now famous disappearance from it 17 years ago during a performance of Cell Mates. He was said to have had a bad reaction to reviews – as he later and so movingly explained in his documentary The Secret Life of the Manic Depressive, he in fact had a bipolar depression. Since that coming out, Stephen seems to have coped with life and performance even better than before – he is on our screens in something almost every single week, as presenter, actor, comedian, quiz show host… he now also has his own production company, writes profusely, travels also profusely and is an all-round absolutely wonderful example of a highly creative human being. He’s been challenged on his kindness by Pamela Stephenson Connolly in one of her Shrink Wrap programmes – but as he said he just likes to be nice – and whyever not?! In my opinion he is the nicest celebrity of whom I’ve had any experience and I am the proud owner of a personal letter from him – that said, as are many others – he gives as much as he can to as many as he can. He also has my empathy and understanding because I have experience of a loved one with bipolar disorder. For that reason I’d decided this review would honour that empathy and be as kind as possible. BUT he has no need of that degree of kindness at all. His performance as Malvolio is absolutely excellent!! No excuses required – in fact so much the opposite. If I can be so bold I think that his coming out, and being so open and sharing, has enabled his expressiveness and now he can fully excel in who and how he is. Stephen lends the very best of Stephen Fry to this role and is absolutely adorable. (Okay, yes, as Shakespeare is a repeater of plot devices, so I am of superlatives and absolutelys ;))

I felt so anxious for him. Not knowing the play I didn’t know when he would first make an entrance. I was also eagerly awaiting Mark Rylance’s entrance. And, of my goodness, what an entrance that was! Countess Mark-Olivia tiptoes in and parades the stage as though on wheels – I still haven’t worked out how it is that men in Elizabethan dresses as woman look like they are being wheeled around but it’s very funny! Dressed in black – his character in mourning for her father and brother and swearing to avoid the company of men for 7 years; which doesn’t last much more than 7 minutes! – looking elegant, perfectly feminine, poised, lady-like and very slim! Such a far cry from the puffed-up strength and burliness of Rooster in Jerusalem. In fact you wouldn’t believe it was the same person, and yet, in Mark Rylance’s case you absolutely would! There is such an ease to his manner and embodiments that it all seems as natural as breathing – a turn of phrase, manner and attitude occurs seamlessly in a heart-beat. He gives us acting perfection, so real that it really is not an act. He is just being! He can be male or female and we believe him. And yet he can still work so delightfully with the incongruence and hence comedy of the fact that he is a man playing a woman. A man in drag?! Oh no! It’s like a gender in between, which is how he seems. So soft and sensitive – how can such a person convincingly give us Richard III – well he can and did – albeit with much more sensitivity and humanity; still the bitter, deformed tyrant. And so he processes the stage and takes us; the audience along with him – so much so that it took me some time to realise others had come along in with him – amongst those others Stephen-Malvolio. Before I was aware there the dear man was advising his mistress!! Stephen and I had somehow avoided the anxiety of his entrance in the entrancement of Mark-Olivia.

And maybe the entrancement by both of these is the reason why scenes without them seem almost banal and routine. You find yourself thinking “Okay, here’s a bit of Shakespeare filling, til the best bits come.” And actually that IS a shame. Twelfth Night is the story of young Viola - here played by Samuel Barnett – who survives the aforementioned shipwreck, in which she believes her twin brother Sebastian to have drowned, and takes on the disguise of a young man, calling herself Cesario, and enters the service of Duke Orsino (Liam Brennan). The latter is attempting to woe Countess Olivia and sends Cesario to do the job for him ;) Viola falls for Orsino and Olivia is bewitched with love for Cesario… and so the usual wonderful Shakespearian romantic comedy ensues. Samuel Barnett is a very worthy and talented young male actor – whom I liked very much indeed as Queen Elizabeth in Richard III by the same company. But here he drowns and Viola along with him – NOT because he is bad, but because his goods aren’t good enough to make him as visible as he needs to be to match the likes of Mark-Olivia, Stephen-Malvolio and also Paul Chahidi as Olivia’s gentlewoman Maria. One of the wonders of this play are Shakespeare’s musings – through his characters – on men and women in love and how they deal differently with love and that state of being. Samuel is a man, playing a woman, who then takes on the role of a man, and Shakespeare made the absolute most of this in the dialogue he provided for Viola and her interactions. Sadly this doesn’t make enough impression. The subplot involving the tricks played by Maria and others – including the lovely fool Feste (Peter Hamilton Dyer) – on Malvolio seem to become the main plot…

And OMG how delicious! Malvolio is convinced that Olivia is in love with him and that she delights in him wearing yellow stockings and cross-garters… he must smile profusely at her to show her that he returns her affection. And here is where we get the highlight between Mark-Olivia and Stephen-Malvolio as the latter delivers the famous line…

            “Some are born great, some become great and some have greatness thrust upon them…”

thrusting himself onto her!!! The entire audience laughed long and hard at this.

Where Stephen’s expressions of love as Malvolio are thrusting and blatant, Mark’s towards Cesario, and then Sebastian are charmingly subtle and faltering. Where Stephen strides across the stage and later dances deliberately and clumsily like a bouncing baboon, Mark glides along until startled when he trots along like a colt before rapidly regaining that graceful mare.

I’d happily see that baboon and horse together on Strictly Come Dancing… meanwhile they were stunningly entertaining in the finale dance on that beautiful replica Globe stage. 

Twelfth Night – Review by TheRestrictedReviewer © 2012     

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Doctor Matt and The Ponds - a very mini review

Farewell Amy and Rory Pond... the Weeping Angels finally got yas...

(Rated 4/5... on a scale where I'd rate Doctor Chris and Rose at 6/5 and Doctor David and Donna as 7/5.)

This little snippetty review is really just to say something about the relationship developed between The Doctor (Matt Smith), Amy Pond (Karen Gillan) and Rory Williams (Arthur Darvill). For me, amidst all the excitement of monsters, aliens and Sci Fi, the interaction between the Doctor and his companions - how he influences them and vice versa, and each companions particular story - is the most interesting part. I have a big penchant - not nose or chin - for relationships!

I think writer Stephen Moffat has great storytelling skill - he is superb at that - and keeping you on your toes with excitement and Geronimo! ... here we go! But something lacks in emotion between characters and from them. The dialogue is genius and witty in the extreme... totally yowza! And the delivery of that dialogue from all three lacks nothing at all. Oh and have to mention Alex Kingston as River Song too and her contribution in chemistry with The Doctor - charged? yes - highly? no.

The acting is faultless. Every actor brings something different to The Good Doctor - the very best of themselves - and just as Chris Eccleston and David Tennant nailed that - so does Matt Smith. And wonderfully fantastically brilliantly they all look like they could be an alien and give us the majestic, strong yet traumatised doctor from the North, the all-round funny yet high EQ expressive doctor from North of the border and the professor, public school-boy doctor from somewhere a little bit posh ;)

BUT there is an emotional quality that Russell T. Davies and his Whovian team of actors - Billie Piper's Rose Tyler and Catherine Tate's Donna Noble in particular with their respective doctors - gave that, for me, never comes out in the Moffat-lead series. Russell's writing and their performances tore at my heart strings in ways these guys just can't somehow. I was addicted and couldn't get enough. Now I love it but can cope without.

So I do feel sad to see The Ponds go... but not as upset at the loss of Rose... or devastated at the loss of Donna.

The Eleventh Doctor and The Ponds – Review by TheRestrictedReviewer © 2012

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Dexter - a minireview - from DVDs of Series 1-6

(Rated 6/5 )

Hi RR viewers,

Sorry for my silence over the last few weeks. I have been even more restricted than usual, and in part Dexter was responsible - though he was more a help - and bizarre to say comfort - than a restriction and thankfully he didn't wrap me in cling-film! Then again I haven't taken up serial killing so he'd have no reason to.

I have adored this series ever since I finally gave it a chance at least a year after season 1 was gifted to me - more on that in a bit - but never reviewed it. I am reluctant to review in detail though as there are so many edge-of-your-seat surprises that to give any away would be to spoil it somewhat. It really is a HAVE-TO-SEE and all people I know who have, have become addicted. I now get the new season DVDs ASAP and then have a queue of pals who borrow him after Dexter and his colleagues have entertained me :)

The very basic premise - Dexter Morgan is a blood spatter analyst for the Homicide Department of Miami Metro Police. And on the side he happens to be a serial killer. So how on earth is it that anyone likes the character and/or has any empathy for him?! Why has he become such a massive hit on both sides of the Atlantic and round the world? I absolutely did not want to get involved in watching this show. In a maybe slightly daft way I felt like I might be supporting the cause of serial killers by doing so. I also feared I'd be disgusted, revolted, have nightmares or just simply find it unpleasant. In fact I couldn't understand why anyone might remotely and felt concerned about the person who had gifted it to me, even though I love her very much! ;) Several times she told me I'd find the psychology interesting. Oh yeah really?! Do I really want to know why someone becomes a serial killer?! However interested in psychology I may be?! Well even that is to put it far too simplistically. Dexter is a serial killer but his psychology is far, far more interesting than even that would imply. Yes he has a pretty major trauma to 'make him' go that way. But what is far more interesting is the arc of his character through the series. Can he turn from psychopath to human? And how can each series challenge him in new ways? Each time I think it can't possibly. And each time it does. The ante is continually upped if you like, in a way highly unusual for an ongoing series. Once you get even a little attached to him you cannot leave! You are dying to know what will happen next in his psychological and external life journey.

Michael C. Hall - of Six Feet Under fame - plays Dexter. And my goodness how impressively he does so. So believable! Sometimes voice-overs can sound lame and annoying, but personally I love Dexter voice-overs - they give us such important insight into his internal life - absolutely necessary - it's a bit hard for us to find out about him in confidences to other characters - how can he genuinely confide in real, healthy humans?! Or even highly loveable unhealthy ones?! The show is littered with supremely interesting and, to varying degrees and varieties, flawed characters. My favourite of whom is Debra Morgan - Dexter's sister - played excellently by Jennifer Carpenter - shown with Dexter below. She is tough yet vulnerable, sensitive yet needy and self-centred, totally beautiful and yet with very ugly language! And her relationship with Dexter is of great interest - even though for so much of the time it's packed with incongruence on both sides. There is a character to please everyone in the show: Lauren Velez as ambitious yet gorgeous power-house Lt. Maria LaGuerta, David Zayas as very cuddly Sgt Angel Batista and C.S. Lee as sex-obsessed yet starved Vince Masuka - I am highlighting character traits but there is so much more to each of them - these are not just 3D but 4D characters, and I am naming just a few.

The main antagonist serial killers include Trinity (John Lithgow); so named as he kills in 3s: woman in a bathtub, mother falling to her death and man bludgeoned with a hammer and The Ice-Truck Killer who bleeds his victims out before cutting them into pieces, which he leaves for the police to discover. Nice!

Let the avenging angel onto your TV screen - you won't be disappointed!

Dexter – Review by TheRestrictedReviewer © 2012

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Accused: Tina's Story - BBC - Tuesday 4th September 2012

(Rated 4.5/5 )

I'm shaking and still horrified by the power, and again harsh reality, of this week's Accused. And yes - any questions from last week's end up clarified. Then again - maybe I was the only one who needed that clarity?! Or is hindsight a great thing? I mean now I know it's glaringly obvious! But perhaps it could be obvious in one way with still doubt in another. Haha now I'm being obscure!

For this one Jimmy McGovern is joined in writing by Isabelle Grey, and they write for Anna Maxwell Martin as prison officer Tina Dakin.
We meet her as she accompanies Stephen, from last week's story, on his journey into prison. Tina is normal, real, plain Jane, precise at her job, caring and compassionate but that's all appropriately hidden from fellow officers and inmates. She would not have fit amongst the cast of screws in Prisoner Cell Block H!! Tina has a young family, and a loving husband. What on earth could she have done wrong to be the accused?! We are kept guessing until the very end, though if you watch carefully there is a hint at the beginning - or should I say, at several times during the episode. But the skill here is it's hard to work out, and you really want to know, and don't want her to be punished any more for it. Because she does get 'punished' for doing the right thing - and a very severe punishment it ends up being! And again, this is where we are shocked - this kind of thing almost certainly could happen in our prisons. It's a dog eat dog environment, in which all cover their backs if they can - officers and prisoners alike. Whilst I felt Sheridan Smith attempted to play her role ambiguously, it was clear what Anna was doing - holding a whole lot in - to her cost - until she could no longer do so. John Bishop reprises his role as Stephen's father - and oh my goodness - I just had tingles down my spine as I said that. He was monumentally good in this episode. In fact the interaction between him and Anna brings out the best in them both for me.
Sam Hazeldine plays a  very lovely hubby to Tina. And Ewen Bremner impresses as quite a contrasting character!

Again leaves us thinking about a lot of issues. Great Job!

Accused: Tina's Story – Review by TheRestrictedReviewer © 2012

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Accused: Stephen's Story - BBC1 - Tuesday 28th August 2012

(Rated 3/5 )

Disappointing, strange... confusing...
This episode by Danny Brocklehurst and Jimmy McGovern didn't quite hit the mark for me. Stephen (Robert Sheehan) is losing his mother to a terminal illness. A nurse, Charlotte (Sheridan Smith) is brought in by Stephen's father Peter (John Bishop) to help relieve his wife's suffering - Stephen thinks she has relieved it too far and killed his mother to have his father for herself. And then...?!

I won't say what, as again that might give the game away, but this time sadly it's kind of boring and un-engaging and sort of obvious in plot, whilst leaving the real motivations and solution to the viewer to decide for themselves. I didn't really care. I felt it was difficult for the actors to get involved in their portrayals because each of them had to leave it unclear as to whether they were 'good' or bad'. Stephen was supposed to be sensitive with possible anxiety hints at other mental health conditions, but seemed more fascinated by Charlotte's tits than anything else, and I didn't feel connected to the other characters either. Sheridan is usually very good but flat in this. And motives behind the crimes, if they were crimes? Hm, well they didn't make any sense.

I would love to be told otherwise if others experienced this differently? Please let me know :)

Accused: Stephen's Story – Review by TheRestrictedReviewer © 2012

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‘The Curious Incident of the Dog in the Night-Time’ - National Cottesloe Theatre - Saturday 25th August 2012

(Rated 7/5 )

Absolutely thrilled and delighted to give the National Theatre’s production of The Curious Incident of the Dog in the Night-Time my top mark! I am sure Christopher, the hero of the piece, would query giving a better than perfect score, but I would then tell him it’s like an A*, but with an extra-special additional star added to that! 5=A, 6=A* and 7=A** J.

I read Mark Haddon’s book many years ago and absolutely loved it. Definitely one of my all time favourite novels. According to popular marketing of the novel, Christopher John Francis Boone has Asperger’s syndrome. I would say this is probably the closest it’s possible to get to ‘easily’ labelling him so that people can have some idea as to what to expect of him. However, I completely agree with Mark Haddon in his article in the theatre programme for this production – labelling people and putting them into boxes comes no way near to describing who and how they are and, in many cases, is completely unhelpful. Within all our peculiarities and syndromes, we are all individual, and on a kind of continuous scale of ‘abnormality’ – which of us is in fact normal?! It simply does not exist!

Christopher has difficulty reading and understanding other people’s emotions – his empathy is highly limited. He also struggles to allow people close to him physically – hugs are a nightmare and should be avoided – his way of coming close to someone, as shown in the play, is to slowly bring hands together, but at the point of touching, Christopher will withdraw. He loves and becomes absorbed my mathematical problems. He is very good indeed at proofs of theorems – there is a safety and security for him in the world of maths, in which you can prove things 100%. The outside world, or even the world in his own home, does not provide that safety, because nothing can be proved – it’s all a great, big confusion of people and their odd behaviours.

This becomes even more of a problem when he faced with a murder mystery to solve. Who killed Mrs. Shears’ dog, Wellington, with a garden fork? In the process of solving this mystery, Christopher goes detecting and also solves a much greater mystery of his own family and faces many of his demons along the way…

Luke Treadaway, who played the lead in the NT’s Warhorse also, continues to show his exceptional talent in performance as Christopher. This is a virtuoso study of a character, in which he uses voice as well as body language to take us along with him in understanding Christopher. We adore him! The poetry and movement of his internal world are delightful and so moving. We both fully get how hard it is for Christopher to appreciate the feelings and roller-coaster emotions of other humans with whom he has to deal, and also understand them and ourselves better in exploring with him. The beauty of his fantasies of being an astronaut comes across in a dance of lights, images and computer graphics, in which props, as well as fellow cast members are used to lift him aloft and help him fly weightlessly. The staging is complete brilliance, the biggest supporting role in exhibiting the fascinating workings of Christopher’s mind. Very well done to designer; Bunny Christie, lighting designer; Paule Constable, video designer; Finn Ross and movement directors; Scott Graham and Steven Hoggett. And of course also sound designer; Ian Dickinson, music maestro; Adrian Sutton, voice coach; Jeanette Nelson and fight director; Kate Waters. This is definitely an ensemble piece. And an ensemble stage also, which opens up at various points to reveal all sorts of secrets, devices and treasures, and on which Christopher builds a train set – which later comes to life, and draws the faces Siobhan teaches him to interpret people’s feelings. All parts of performance and staging contribute in equal measure in showing us who and how Christopher is and how his world and our world operate and come into conflict… and maybe harmony.

Niamh Cusack plays his teacher, Siobhan. Totally and utterly wonderful! As much as we adore Luke as Christopher, we love Niamh’s Siobhan too. She is so much more than his teacher. Through her narration of some parts of Christopher’s story, as well as voicing him in parts like a counsellor would with a client, we experience the intense empathy and support she gives Christopher. It also emphasizes his own voice at times when he is maybe struggling to express himself. She is so gentle and yet so strong. There are also some highly humorous moments when she tells us and Christopher what another character has said, and then they say it themselves in their own way; playing with similarity and contrast.

Luke’s father is played by Paul Ritter and mother by Nicola Walker - both very good indeed. Father, Ed is portrayed as hesitant yet honest when he feels appropriate and we feel his dilemma in trying to do the best practically for his son, whilst holding big secrets from him in attempts to save him – these have catastrophic consequences. This is a man who silently contains his emotions or in crisis lets them out with his fists or by seeking emotional consolation and rescuing from women. He shows us how hard it can be for men in our society, who are expected to be strong and brave and practical and show the stiff upper lip. It’s a huge load! Mother Judy also shows us how difficult it can be to be a fully-functioning feeling mother to a child who cannot appreciate and understand that. This will be poignant for any mother, any parent who truly cares for their child. Her story, disappointment in life and quest for an ideal, are a catalyst for events, yet whilst we may blame her for a while, we certainly do not condemn. How can we? The writing of Mark Haddon, adaptation by Simon Stephens, production and performances make us understand all the issues involved in a way that makes us truly interested and sympathetic to all involved. This story is rich in issues! Mark Haddon is a genius and I was pleased that so much of the original text was kept in the adaptation.

Other characters, voices, props etc are played by Una Stubbs, Sophie Duval, Nick Sidi, Matthew Barker, Rhiannon Harper-Rafferty and Howard Ward. They act as witnesses to Christopher by sitting on the sides of the stage and simply observing… and then support and empathy by being the characters with who  he interacts as well as literally supporting him in his journey. Ingeniously done and all really great! I’d also like to give a shout out to Toby, the rat, who put up with being swung around during Christopher’s hectic travels.

It is Siobhan who suggests Christopher convert the book of investigations into the ‘curious incident’ into a play, and that she and others will help him. And that is exactly what happens, with the book and play constantly referred to and included in the action. Fellow actors step into characters as required, with Christopher commenting on their suitability to take on the roles at times. And when he wants to explain a mathematical proof to the audience – which may delay the action, but which were of course included in Mark Haddon’s book – Siobhan suggests he does so in an appendix after the curtain call, which he does to perfection, with the glorious help of the full technological wizardry of graphics and stage.

Christopher recites the prime numbers in order when he feels frightened or uncomfortable. In essence, they are his best friends. When we came into the auditorium to take out seats, for a moment I thought my seat wouldn’t be next to my companion’s. There was a seat covered in white and with the number “173” on it. An envelope told me I was sitting in a prime seat! We wondered if that meant I was going to be called on to take part in the show. For that reason I withheld from opening my envelope. At the interval I realised in prime seats had opened theirs and so I did. Inside was more information on the number “173” and a little exercise to see if I was special. You add up the numbers associated with the letters on your name – A=1, B=2 etc. to 26 – and if they make a prime number, you win a prize. We tried various combinations of both out names, short and long forms, with and without middle names, and it turned out that I’m not special, but my companion is! We won a badge showing one of the faces Siobhan draws Christopher to help him understand people’s expressions. It's a smiley face as with eyebrows over the eyes as so... \ and /...

Let me know if you know what it means?! J

For me the second half lost a little. For a while I couldn’t work out what it was… and then I realised… we lost Christopher’s voice and expressiveness under the external pressure of the world around him and his retreat inside himself, leaving others to tell the story. Very powerful drama to lose him and for him to then return even stronger.

I have been to The Cottesloe before, but it was unrecognisable to me in the way it was transformed. Not quite as small as The Donmar, but still retaining a great sense of intimacy and connection between performers and audience. It is accessed from outside the main NT building, a little way along from the Stage Door. It’s my favourite of the NT theatres and easier for those with walking disabilities trying to get to their seats, of which there were a fair few of us that evening!

I highly recommend this production!

The Curious Incident of the Dog in the Night-Time – Review by TheRestrictedReviewer © 2012

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