#and beautifully performed and we are so so lucky and that set design! wish I wasn’t a literal clown

[fitzpirations]

art art art!

[acsversace-news]

As Ricky Martin talks about playing Antonio D’Amico it’s hard not to feel his emotion and how deeply telling the story of Gianni Versace’s lover affected him. The story Martin tells of playing D’Amico is an emotional, but important one.

When Versace was murdered on the steps of his Miami villa, fear spread among the gay community as news of Andrew Cunanan’s serial killing spree made headlines and Martin remembers his own fears at the time.

Another aspect that Martin could relate to was Versace’s acceptance of his own sexuality, keeping D’Amico in the shadow as his shadow as friends and family told the iconic designer coming out as gay would ruin him. Martin discusses being able to relate to that because he had been in Versace’s shoes with accepting his sexuality and for this role, he was on the other side, the hidden lover.

Martin’s performance is one that deserves all the Emmy attention for his portrayal of D’Amico. Read the interview below:

I was so excited to see you work with Ryan Murphy again, how did that conversation begin for American Crime Story: Versace?

I had the opportunity to work with him on Glee a few years ago and I was living here in LA when he called me. “Hey, Buddy! I’d love to have dinner with you.” Of course, I replied, “Let me think about it.” Just kidding. I showed up at the Sunset Tower and we had a lovely dinner. After 45 minutes he told me, “Rick, I think I have something for you. I’ve found something perfect for you.” He explained he was doing Versace and Crime Story. I was curious about who was going to be Donatella. He said, “No one knows, but it’s going to be Penelope.” I went crazy because I’ve known her for many years. I knew Edgar was going to be playing Gianni. I didn’t even have to ask about who was playing Gianni and I told him that Edgar and I are super close friends. He’s like my brother. Ryan teared up, saying how powerful it was because he said how he needed a friendship for this character

It was very beautiful. Everyone was asking when was I going back to acting, and first of all, I’ve always loved acting. I first did a TV show when I was 15. I was in Mexico City and doing theater and TV. People were always asking when I’d go back to it, but things were going so beautifully with the music. I told people that I would go back to acting if I was feeling the story and surrounded by the right cast. I would also have to work with a producer who I trusted and admired. You have to be careful with what you wish for because that’s exactly what happened. It was really interesting.

I started doing all the research. I was lucky enough to speak to Antonio himself. It was interesting and intense. It doesn’t matter how gentle you want to be, but I told him that I would be asking him deep questions. I said, “It’s been twenty years and if you allow me, I want to shed some light on what you and Gianni had.” He was just so generous. I know it had to be so difficult for him but he gave me so much information that I could bring to the set and the role.

What was it like for you when Versace was assassinated? We all know where we were when it happened and it was impossible not to be affected by that. Talk about revisiting that and learning about Antonio.

I used to live in Miami when this happened and I was also a victim. I was afraid of walking down the street. We knew there was a serial killer walking down the street and that’s the heavy side of the story. This guy was on the FBI’s Most Wanted List and he was living in Miami and not hiding. Sadly, he got to Gianni.

I remember the loss and the pain. Miami Beach was never the same and I think it took over ten years for Miami to be what it was and return to normal. I thought I knew a lot because I was in Miami, but once I started doing the research, I learned a lot.

That’s why I insist that it’s such an important story to tell. There’s so much injustice behind this story and we have to be loud about this story and we have to be agressive and tell it as it is because history tends to repeat itself.

There was a lot of homophobia and we don’t want to go there again. We lost a genius. It’s not how he died, but it’s why we allowed it to happen. It’s so emotional for me to see the series and talk about it.

The other day, Penelope told me, “Baby, we have to move on.” I’m a gay man with kids and a husband. There are people out there who are vicious that do not like what I represent and that’s one of the reasons I thought it was part of me to be in this production.

Your episode after Versace is murdered and Antonio is ostracized was heartbreaking to watch. Talk about shooting that day.

Every scene I had was intense. I never had a simple day on set. I’m telling you, I lived as Antonio for all those months. Penelope said, “Ricky, I want to hate you but I can’t.” Coming from her, that meant so much to me. I was in it, I was in touch with the sadness and the darkness and the uncertainty of being in love. I was in touch with the idea of your man not being there anymore. After fifteen years of being his shadow and then all of a sudden, you have nothing. I have nowhere to live. The person who was my friend was no more. I asked, “How can I vanish from this world?” This is what I was working with and at the end of the series, you see him trying to commit suicide because nothing was ever going to be the same for him without Gianni.

It was intense and sad. I was crying. It would take me a minute after they yelled cut for me to let go.

My kids and husband were not around. When I was in Miami, no one came to visit and that helped a lot.

How did you shed that character when you’re in there so deep? Do you shed it?

I wonder if you ever do. I wonder if you ever shut that door because it touches me and it hits close to home. When I go home, my kids and family are there. I go on the road and promote the show and talk to people who share their stories by which I’m so fascinated to hear. I don’t think I’m ever going to close it. It’s just one of those things right?

What was the most surprising thing you learned from him when talking to him and doing your research?

The love they had for each other. No one really knew about their love. There was the close circle. Antonio was always in the shadows wearing black until Gianni decides to come out and present Antonio as his lover.

It takes me back to me when it was hard for me to accept my sexuality. Me playing the other side of the coin. I was hiding my lover and my boyfriends. It was another emotional scene because I was in the shoes of my ex-lovers and I knew exactly where Gianni was. I knew where he was with the fear. That internalized homophobia. Everyone was telling him not to come out or it would end his career. He was being told no one would respect him after that.

At the same time, you have this need to just be yourself without walls. We tend to isolate ourselves as artists and creators. When you say no more, you really want the people around you to support you. Sometimes you have to say, “I’m not afraid regardless of what happens after this. This is what I need to be happy.” I’m telling you Jazz, I brought that to set.

I’d sit with the directors and tell them what scenes meant to me. It was such a beautiful dynamic between the writers, cast and director. Especially with Edgar and Penelope. I didn’t work with Darren.

But, you guys are friends because I saw you at The Greatest Showman right?

That’s the thing, we really are friends. We’d spend days off. We’d come home, have barbecues, play music and it was all about unity.

This happened twenty years ago and there was this whole homophobia that existed, but have we moved forward? Sometimes, in this day and age, I don’t think we fully have.

We’ve taken significant steps such as marriage equality and these are steps taken by the government in parts of the world. Sexuality is such a taboo regardless of where you come from. I’m a Latin man and Latin culture is about the macho man, but I can not say that someone in Omaha, Nebraska is going through exactly the same emotions I was going through and dealing with and that’s why it’s so important for stories like this to come out, and for people to say everything is going to be fine.

Walking down the street in New York, people will come up to me and tell me how the show made them understand who they were or who their parents were.

It’s the same thing that happened to me when I wrote my book and it has become a mission. Am I an activist? Of course, I am. When Ryan Murphy comes with this gem, we need to be bold and loud.

I’m ready for more characters like this and more stories.

Ryan Murphy is such a trailblazer for these stories. What was it like reading this story and Andrew’s backstory?

It was super scary, but the way we work with Ryan, he gives it to you little by little. He doesn’t give you all the episodes. When we’re working on set, he can come up with this amazing idea that can change the whole situation. Every time he comes up with this great idea, it’s an outstanding idea, so as an actor, he keeps you constantly on the edge. You’re really tip-toeing at all times. We have a lot of information and we can go into debates about how you perceive a situation, but everything he comes up with is brilliant.

We were shooting episode four and would have no idea what would happen in episode nine.

I have to ask about being reunited with Penelope on screen for this.

It was the scariest thing when she walks on set and she is Donatella.

Yes, that she is.

Her voice, her accent, and the characterizations are so powerful. You forget your relationship that you have as friends. I was Antonio and he was always on the defense because you never knew what would come out of her mouth.

I played with it and had a lot of fun with that defense that Antonio had when she was around.

What was the positive takeaway in playing Antonio?

I never had any negatives. I got to play a voice that had not been heard. I got to tell the world what their love was like. It was a very open free love. Who am I to judge how they decided to sculpt their life and the way they loved each other? You jump into acceptance because love manifests in different ways. For me, it was the most rewarding part of it all.

So, now that you’ve done another Ryan Murphy role would you like to work with him again?

Are you kidding me? I would give anything to work with him again. You know, he made it public and said he’d work with me again. He put it out there.

It’s out there and he said it.

He said it! It’s out! I’m just preparing myself as an actor and I keep finding the colors that will get me ready for whatever he has in store for me.

[chicagoindiecritics]

New from Every Movie Has a Lesson by Don Shanahan: OSCAR PREDICTIONS 2020: The visual and artistic categories

(Image: hypable.com)

PART 3: THE VISUAL AND ARTISTIC CATEGORIES

The short turnaround 92nd Academy Awards arrive host-free for the second consecutive year on Sunday, February 9th, barely a month after nominations were announced. The pace has added excitement and urgency right on down to my website’s 2020 Awards Tracker. Let’s start calling some winners. As always, that prognostication data is cited in these predictions. This column examines the visual and artistic categories of designs, editing, effects, and more. As I say every year, stick with me and I will win you your Oscar pool!

BEST CINEMATOGRAPHY

The nominees: The Irishman, Joker, The Lighthouse, 1917, Once Upon a Time… in Hollywood

Who should be here: I’ve got two picks for you where one is indie and one is mainstream. On the big end, I thought Hoyte van Hotema’s work in Ad Astra deserved recognition. On the smaller end, Claire Mathon’s dazzling natural beauty for Portrait of a Lady on Fire has won the second most cinematographer awards this season and did not get a nod.

Who should feel lucky to be there: Like much of the talent involved with The Irishman, Robert Richardson is a rightful legend in his field, but other than a few Scorsese specialty long tracks and slo-mo moves, nothing about his camera work is special in the crime epic. His inclusion feels, again like just about all of the The Irishman nominations, like a token resume inclusion.

Who should win and will win: This one is not even close and it’s going to Roger Deakins for 1917. His long takes combining monstrous crane, tracking, drone, and Steadicam work is beyond comparison and some of the insane best in history. That entire movie is a jaw-dropping “how did they do that” reel and it starts with Deakins’ open lenses.

BEST EDITING

The nominees: Ford v Ferrari, The Irishman, Jojo Rabbit, Joker, Parasite

Who should be here: Even if the single-take fakery is a gimmick for 1917, it’s a pretty damn well executed one in terms of economy and hidden smoothness from editor Lee Smith. Less is more and he should be there. More in the “more” department, the massive work it took to take thousands of hours of footage and hone the perfect documentary Apollo 11 also deserved consideration. It’s hard for documentaries to crack this category and I’ll never understand why because editing is everything in that medium.

Who should feel lucky to be there: Take all the things I said about Robert Richardson in cinematography for The Irishman and repeat it here for Thelma Schoonmaker. We get it. She’s a legend working for a legend on a big deal film, but, goodness gracious, that movie is night tight, taut, or sharp in editing. There’s a lot of fat on steak, no matter what truck it fell off of.

Who should win: Much like the sound categories, I think this is a spot where Ford v Ferrari should prevail. The work to merge the second unit shots, stunt performances, and acting inserts with practical sets and props over CGI is incredible. It deserves this outlier consideration for the win.

Who will win: I’m going to be daring here and say this one is going to Parasite. Many people love to point to Best Editing as being married to the Best Picture winner, but that only happens about 60% of the time (including last year with Green Book). A Parasite win here could rile some TV viewers up about Parasite’s Best Picture chances, and rightfully so. However, with no 1917 in here, this award goes to the next best and that’s Parasite and, luckily, the craft of the reveals of its thriller match the award itself in a fair way.

BEST PRODUCTION DESIGN

The nominees: The Irishman, Jojo Rabbit, 1917, Once Upon a Time… in Hollywood, Parasite

Who should be here: Even if 80% of the film takes place in a single location, that macabre mansion in Knives Out created by production designer David Crank and his team would have been a fun and eclectic addition to this field. For the single location vote, it looks like Parasite got that spot.

Who should feel lucky to be there: I don’t think any of these five finalists are inferior to the craft and category. Any of them would be excellent winners, even with the Knives Out wish.

Who should win: If my jaw was dropping from the camera work of Roger Deakins in 1917, the trait that dropped it even lower was the towering desolation and created destruction of the outdoor locations and sets for 1917 by Dennis Gassner. He wowed us with Blade Runner 2049 and 1917 is just as good from the guy who cut his teeth carving a baseball field in the corn for Field of Dreams. He’s got an Oscar in his living room from Bugsy but has deserved two or three more.

Who will win: Barbara Ling is a first-time nominee in this category for crafting Quentin Tarantino’s 1969 for Once Upon a Time… in Hollywood. The industry loves celebrating its golden past and this award is a perfect bouquet thrown to Tarantino’s fairy tale to go with Brad Pitt’s future win. From the cars to the ashtrays, the look of the movie was positively dreamy. This is a worthy winner.

BEST COSTUME DESIGN

The nominees: The Irishman, Jojo Rabbit, Joker, Little Women, Once Upon a Time… in Hollywood

Who should be here: There is no question Black Panther Oscar winner should be there to defend her title, so to speak, with her flamboyant work on Dolemite is My Name. Her work has won more costuming awards this season than any other film. This counts as a slight.

Who should feel lucky to be there: Here’s one more for The Irishman and its parade of resumes. Three-time Oscar winner Sandy Powell soaked up the era beautifully for Scorsese’s film, but we’ve seen this work before. Solid as it may be, it’s not a standout. That’s where a swap for Carter would have fit.

Who should win: Movies are a chance to really play with changing looks and characterization. The double volume of on-screen show-within-the-show roles and off-screen main characters in Once Upon a Time… in Hollywood was outstanding. Like the production design, not a stitch was out of place and always just garish enough to let the actors have fun. It could still win, but we know older period pieces get more love.

Who will win: .That’s why, and it’s not a bad thing, that Little Women finally wins an Oscar during this ceremony and party. Jacqueline Durran is a veteran with solid work who won back in 2012 for Anna Karenina. This is where finery gets its due.

BEST MAKEUP AND HAIR-STYLING

The nominees: Bombshell, Joker, Judy, Maleficent: Mistress of Evil, 1917

Who should be here: If I were to ask you to close your eyes and picture Elton John, the eyebrows would raise and the wild looks being remembered would be a hoot. That flashy variety in Rocketman should have earned a nomination.

Who should feel lucky to be there: Angelina Jolie and her enhanced cheekbones were enough to get Maleficent: Mistress of Evil a spot in the final five as the weakest of the bunch.

Who should win: It’s not massive, but I really want to put Joker here and not just for Joaquin Phoenix’s frightening look. I think the dinge and class warfare of the movie looked incredible for this award. Give me the daring over the attractive.

Who will win: That’s because attractive is going to win. All you need to do is show a picture of Charlize Theron as Megyn Kelly and this category is wrapped up for Bombshell. If you needed a second dose to convince you, try to find John Lithgow inside of that Roger Ailes facade. Game, blouses.

BEST VISUAL EFFECTS

The nominees: Avengers Endgame, The Irishman, 1917, The Lion King, Star Wars: The Rise of Skywalker

Who should be here: I’ve dropped this title before and here’s another. Ad Astra has won the second most visual effects awards of the year and it was omitted from the finalists.

Who should feel lucky to be there: So help me God, if The Irishman and its crappy de-aging effects actually win, I’m going to break something. When free software fit for YouTube can do a better job that a nine-figure budget, your work shouldn’t be here to win.

Who should win: Call it lifeless all you want, but when you realize that every shot but one (the opening sunrise, in fact) in The Lion King is completely created from a marriage of CGI and cinematography innovations, you have to bow to that newfangled royalty. Their work and detail is staggering.

Who will win: I’d love to see the 1917 train keep going (and it could), but I’m going to push wishful thinking that the saga-capping effects of Avengers: Endgame take the statuette. I think there’s something worth rewarding with the volume and culmination that is its big ending. I’ve been burned here before in this category when I constantly thought the Planet of the Apes reboot effects would and should win. I think with Marvel it’s different. If it wins, I need ABC to cut to Martin Scorsese for a reaction shot of his magnum opus being beaten by the non-cinema MCU “roller coaster.” Take that, you old coot.

NEXT: The writing and directing awards

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[ramblingsrantsreviews]

5 Best Academy Award Moments and More

I know what you’re thinking, “do we really need another best moments blah blah blah.” Listen, I know the internet is flooded with these recaps and best and worst moments but those are all from professional journalists! So here is a fan’s very unbiased opinion on the 5 best moments of the 89th Academy Awards, in noparticular order. 

1. Auli’i Cravalho and Lin Manuel Miranda’s Performance of “How Far I’ll Go” 

Lin Manuel Miranda opened the performance by wrapping a prologue setting the scene for Auli’i Cravalho. Auli’i, only 16 years old, looked confident and sang beautifully as dancers behind her acted as the sea. She wasn’t even phased when one of the dancers accidentally hit her with the prop, a true sign that she is a professional and ready to take on the crazy world of Hollywood. 

You can watch the performance here.

Also, Auli’i announced on the red carpet that she will be an upcoming NBC pilot so keep your eyes opened! 

2. The tour group crashing the live telecast 

In true Oscar host fashion, Jimmy Kimmel arranged one of the best Oscar skits since Ellen DeGenerous’s impromptu pizza party. An entire Star Line Tour thought they were walking into an Oscar museum only to walk into the star studded room. It was one of the funniest moments of the show. The group of tourists were brought right to the front row where they interacted with A-list stars like Denzel Washington, who un-offically married a couple, Meryl Streep, Emma Stone, and Mahershala Ali, who let some of the lucky tourists hold is Oscar for Best Supporting Actor. Oh, and Jennifer Aniston gifted the newly “married” couple her sunglasses. 

Watch the moment here.

3. The inspiration segments

This segment was so touching and unique. It was really interesting to hear where some of today’s rising actors got their inspirations from. I mean where else would you see Seth Rogen and Michael J Fox getting out of a delorean? And of course, Kimmel has his own inspiration segment where he joked with long time frenemy Matt Damon and his role in We Bought a Zoo, which isn’t a bad movie btw! 

Watch the moment here. 

4. Moonlight winning Best Picture 

Come on, you knew this was going to make my list somewhere. Though it came in a crazy misunderstanding, one that I’m sure you’ve read all about by now, Moonlight winning best picture was well deserved. The independent movie that focuses on the life of an African American boy was also the Golden Globe winner for Best Drama Picture. The film which was shot in just 25 days with a measly $1.5 million budget was surely a little engine that could and did. 

Watch the iconic moment here.

5. Viola Davis’s acceptance speech for Best Supporting Actress. 

I’m not even going to try and summarize the beauty in her speech. You can watch it here. I will say that Mrs. Davis is one Grammy Award away from joining the talented ranks of EGOT winners. 

So those are my top 5 moments but there was so many other moments that were memorable! My honorable mentions are: 

The In Memoriam Segment 

The fact that the late Carrie Fisher ended the segment by a simple, yet powerful message of “May the Force is with you.” I was in tears. Also shoutout to whoever designed that segment for including both 19 year old Princess Leia and General Organa. 

The candy drop 

Bring on the redvines and junior mints! 

Asghar Farhadi’s acceptance speech by Anousheh Ansari for Best Foreign Language Film 

The fact that Farhadi stood in solidarity with his country was something I will never forget. His absence spoke volumes about the current immigration position in the United States. 

Okay, while the show was great not everything can be perfect. So enough of my positivity here are the biggest “what the fuck” moments: 

Casey Affleck winning Best Leading Actor 

The only good thing that came out of this was the fact that a good majority of the people in the room also seemed to be annoyed at this. Can we at least save Academy Award Winner Brie Larson from this nonsense? 

Jimmy Kimmel’s constant jokes about names

Not. Cool. 

Kimmel lifting Sunny Pawar up in the air like Simba in The Lion King

I have no words. 

Needless to say the 89th Academy Awards was a roller coaster ride. I think it deserves an Emmy Award for most dramatic award show! But hey, at least we saw an end to #OscarsSoWhite that’s progress, even if it’s just a tiny baby step...which it is. Maybe next year we can go for even more diversity and maybe we can get some ladies in those technical awards. Wishful thinking I know. 

Oscar season is officially over so I guess we can all go watch these Oscar winning movies now instead of pretending we know what they’re about! 

[lookmexico]

UNIOLA Album Info & Lyrics

“Uniola” was recorded beginning sometime around August of 2012 and wrapped up in June of 2015. Tracks 1, 2, 7, and 9 were recorded at Bismeaux Studio in Austin, TX. Tracks 3, 4, 5, 6, and 10 were recorded at EAR Studios in Austin, TX. Track 8, along with additional tracking was completed at the Magic Cave 3 in Tallahassee, FL. Track 11 was recorded at V89 Studios.

Produced by Phil Martin and Look Mexico. Engineered by Phil Martin and Jesse “Buzz” Mata. Additional tracking by Matt Agrella, Ryan Slate, Derek Jones, and Will Moghanloo. Mixed by Phil Martin. Mastered by Everett Young at Modern Mastering.

All songs written and recorded by Look Mexico © 2016 Look Canada Music (ASCAP). Lyrics by Matt Agrella and Ryan Slate.

Cover art by Joshua Mikel of Sharkguts Design Baller ass extra sniz by Jerrod L-money Porter of JLP Scroobles. “Poas” Photo by Matt Agrella

Matt Agrella – Vocals, Guitar, Trombone, Trumpet Gary Battreall – Drums Ben Kirsch – Piano, Organ, Rhodes, Wurlitzer Ryan Slate – Guitar, Vocals, Auxiliary Percussion, Bass Ryan Smith – Bass, Vocals

Additional Performances by: Bill Agrella – Clarinet and Alto Saxophone on Track 11 August Hansen – Drums on Track 11

Thank you, Ryan Luther.

Tiny Engines © 2016 Tinyengines.net Lookmexico.net

1) Ride or Die, Remember?

The last time bomb, set for any moment now. You’ve known all along. Not when or why, but what’s to Come and hold the wires tightly. Red or yellow, white and lively. Grip the handle, not so shyly. We’ll either still be here or somewhere else.

A slow drip sound, the stench of burning coffee prolongs the feeling. Your beading brow, how determined you were. But now hope is Over and out, I can hear. Time is almost up for us too. I wish, oh I wish I could undo Countdown started when we first met.

But there’s fire in your eyes again. There’s light on the horizon.

Smog settling. Maybe the world didn’t end after all. Still in front of me is you. Two crossed leads, untwisted slightly. Tinned and soldered, holding tightly. Could be the last two surviving Humans, so we better try to be adults.

There’s fire in your eyes again. There’s light on the horizon. There’s light on the horizon.

I don’t want to deny you what’s yours. I belong to you.

2) Well, Kansas Ain’t What it Used to be.

We believe in all the things you don’t. We are not the problem and we won’t, We won’t take the blame. We won’t take the blame.

Lost in spin, just like my friend. Sparks start fires, but they won’t be the end Of us, but where did we begin? The tired arguments wear thin.

Bath by sink, this baby’s clean. Found the dirt, then went missing. Under the rug, somewhere between A tossed newborn and me.

We believe in all the things you don’t. We are not the problem and we won’t, We won’t take the blame. Loaded questions, doublespeak. Verbal vomit, honestly. The talking heads will tell their tales So unconvincingly.

Make my bed. Put me to sleep. Tied down feet and fading dreams Won’t keep me here. Becoming clear, We’re breaking lose, a change is near.

Left, right, left, then right again. Going nowhere, this has got to end. The money trails are lighting up. Adjust your eyes, we’ve had enough.

We believe in all the things you don’t. We are not the problem and we won’t, We won’t take the blame.

3) You’re Lucky You Didn’t Lose Your Arm

My twenties were a stressful vacation. Most expenses were deferred, costly lessons. I wish I could warn you or at least just help you plan You’re dehydrated, educated, And everyone but you gets paid.

I am hearing green, Feeling lame. That song you snuck into my ear, I wish I’d made.

I’m not insane, I am so sane. Tie me up, I’ll be ok.

I am so sane, I’m not insane. I was told I’d be ok.

It’s lonely lying in the bed you’ve made Now negotiations will fall apart. I’m not insane, I am so sane. I was told I’d be ok.

4) I Even Got This Scar to Match

Like a sore, beneath no bandage. Peel your shirt back, Where are you from?

Missed my turn, I hit a curb. Went face first, friend. It was a long walk home.

You haven’t done all you wanted to. Now you think it’s abandoned you. (It’s been a long time and you are just the same)

All my friends, they have babies. Still let someone - care for me. Six foot fences, a beautiful yard. I wake up in the evening…

You haven’t done all you wanted to. Now you think it’s abandoned you. (It’s been a long time and you are just the same)

Spinning stars, and it was a long walk home.

5) Next Time, Send a Limo

There’s a bull in the street. Stretched across, alert. Huffing heavily. Not moving. Now calm, stare is steady. I am still clenching, but what to? Just have to force my, my way through.

I don’t know what scares me more.

I get passed, clear pavement in front of me. But the sun is too bright, man. Might need to sit down. It’s like 103°. Start back in a minute. Leave me be.

I don’t know what scares me more. Excuses are the reason I never left the floor.

I knew it wouldn’t last long, it’d be sooner or later. It was all too familiar, like a thin paper airplane. You can fold as many as you want, They may never take off. You can hold as tightly to the rope, but don’t forget what you have.

6) We are Groot.

Stories unread are still being written. For now, we only have parts of it. We’ll find the twist that fits.

A barren oak tree is only resting. It struck a chord, I made a note of it. Soon she will be green.

Sometimes perseverance barely even makes a sound, underground.

7) Ice? Yeah, you could chisel some off your heart, if you could find it.

Twilight pink, we’re on the brink of fireflies. The tree line is swallowed up by night sky. We go inside. Cyclical schedules are spinning. All of us think we are winning. Blinders on, keep moving forward.

Another moment rushing by, But I’ve found plenty of sand to bury my head.

I no longer press rewind for punchlines. I’ve got the gist. It’s humorous. I know why, I’ve seen it all. Cyclical schedules are spinning. All of us think we are winning. Blinders on, keep moving forward.

Another moment rushing by, But I’ve found plenty of sand to bury my head. I am mostly occupied.

Hey, I’m not impressed. I’ve seen it all. Hey, more is less or nothing at all.

Another moment rushing by, But I’ve found plenty of sand to bury my head. I am mostly occupied Because I’ve found plenty of sand to bury my head.

8) Ok, Ok, I’ll Turn Down the Music

At the time, the risk, it did seem calculated. Armed with my ti-83, the value increased.

Through it all you knew I had the best intentions. I thought it through, I did my research, not to mention the calls.

You had heard me out, I heard what I wanted to. You know that I am ashamed. Won’t you let me be afraid for us.

My phone died, so I pulled out some pen and paper. Organized my thoughts, they didn’t add up like before.

You had heard me out, I heard what I wanted to. You know that I am ashamed. Won’t you let me be afraid for us. You forgave me once, I’ll forget it’s what I do. You know that I am ashamed. Won’t you let me be afraid for us.

9) My Superman Seat-Grab Barrel Roll? I’m Still Working on It.

What do you want from me? (I’m weathered and worn) I try. I try. I give. I’m not going to lie. (What do you want from me?)

A father’s bond is a wool sweater, trapping in the warmth. It does not judge where the heat comes from, no expectation. Without proper love and care - wet, wintered, and worn, Shrinks in to get close, but you move on.

What do you want from me? (I’m weathered and worn) I try. I try. I give. I’m not going to lie. (What do you want from me?)

10) I was raised with a different kind of loyalty, you know what I mean. I vote no. (Remember the second you go through that door, everything changes. Our old life is done.)

She slammed the door a long time ago. They’ve just been too ashamed to say it, so I will. Watch how they get all confused when the light shuts off.

I have never really believed In such a beautifully crafted order. Just stick close to me and I’ll get you inside.

That’s all right. I think I’ll take my chances.

You can wait your turn if you want. Just don’t look directly into the blue flame. They are slowly disappearing and I will not do the same.

That’s all right. I think I’ll take my chances.

Now’s our chance, Are you in or out? Got to get going, The door is closing. We’ve got to get going, right now.

No you are not the one for me. The door is closing, I won’t be going.

[larryland]

by Gail M. Burns

The minute that Sarah Corey makes her entrance as Neil Simon’s indomitable matriarch, Kate Jerome, Oldcastle Theatre Company‘s production of Brighton Beach Memoirs you know who’s in charge here. This is Corey’s second Oldcastle turn as Kate, having played an older iteration in Broadway Bound in 2017, and for those of us lucky enough to have seen both productions, it is like coming home. Even if your mother wasn’t Kate, Kate is your mother for the two and a half hours you will spend with her.

  Brighton Beach Memoirs is the first in Simon’s trilogy of plays about the Jerome Family. It is September of 1937, and Eugene (D. J. Gleason), our narrator, is 15, while his brother Stanley (Anthony Ingargiola) is 18, just out of high school and into the work force. Their father Jack (Eli Ganias) is a garment cutter for a manufacturer of ladies’ raincoats, who also takes on other odd jobs to support his family in the Great Depression. Their mother Kate is a homemaker, and for the past three years their home has also included Kate’s widowed sister, Blanche Morton (Sophia Garder), and Blanche’s two daughters, Nora (Kate Kenney), 16, and Laurie (Kristen Herink), 13.

  The family owns a three bedroom house in the Brighton Beach section of Brooklyn. They are Polish and Jewish and they worry daily about family back home as Hitler advances through Europe. Everyone scrimps and save and true poverty is always kept just at bay, but at heart the Jeromes are proud that they can manage on what they do have.

  All of that managing falls on solidly on Kate’s shoulders. In addition to corralling four teenagers, she is the emotional prop for her depressed sister and the physical shield for her over-stressed and ailing husband.

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Corey’s performance is absolutely solid and immediately appealing. She gets this woman, her considerable strengths and her failings. Simon has crafted the character with tremendous love, and Corey channels it beautifully.

  Gleason’s Eugene is bursting with the sexual and physical energy with which a boy of that age is possessed, and his antics provide most of the comic relief in what is otherwise quite a sober family drama. I often have a hard time with adults playing children, and I felt that a bit with Herink’s Laurie, but Gleason had me completely convinced that he was still in high school and torn between his love for baseball and ice cream, and his new found frenzy for the female form.

  Ingargiola brings a warmth and genuineness to the role. His Stanley is a terrific Big Brother and a loving son, even though he is also just barely an adult and subject to the failings of his age. Ganias’ Jack connects well with the rest of his family – even his sister-in-law – providing a strong father figure even as he struggles to stay healthy enough to fulfill his bread-winning role.

  Garder’s face is just a mask of tragedy as the bereaved Blanche, a woman who invested her whole self into her marriage only to be left rudderless at its sudden demise. But like her sister Kate, she is devoted to her children, even though she lacks the strength of her convictions to guide them towards adulthood. I felt Kenney was miscast as Nora. She didn’t look like she could be Garder’s daughter or Herink’s sister, and she looked to mature to pass as 16.

  At a time when we are hearing a lot of rhetoric about who is “an American” with various unflattering stereotypes being pinned to different ethnic groups, it is hard to hear Kate’s disgust and anger at the Irish family who lives across the street and their son who hopes to date her sister. Earlier in the 20th century discrimination was strong against both the Irish and the Italian, and to a lesser extent the German, immigrants to New York City. It is interesting that Kate, who understands so clearly what discrimination has done to her ancestors, cannot understand that she is perpetuating an identical violence against another ethnic group.

  Richard Howe’s manages to pack an awful lot of distinct rooms into the Oldcastle performance space, creating the cheek-by-jowl intimacy that the two families sharing one home must feel. Stith and his actors are careful to use each doorway at the appropriate time for the appropriate purpose, so you soon catch on to the condensed floorplan of the house. Ursula McCarty’s costumes are good, but they veer heavily towards purple, particularly in the second act, which is puzzling.

  Like Tennessee Williams’ A Glass Menagerie, Brighton Beach Memoirs is a memory play, a family seen through the eyes of the son. While it is generally accepted as a semi-autobiographical work, there aren’t actually many direct parallels to Neil Simon’s own family. He said himself that the Jeromes were “the family I wished I’d had instead of the family I did have.” So we can’t look at them as direct representation of the Simons, but it is clear that Simon loved the Jeromes like family. Oldcastle loves them too, and it is wonderful that they have brought them back to Bennington in this strong and proud production,

  Brighton Beach Memoirs by Neil Simon, directed by Nathan Stith, runs July 12-28, 2019, at the Oldcastle Theatre Company, 331 Main Street in Bennington, VT. Set design by Richard Howe; lighting design by David V. Groupé; sound design by Cory Wheat; and costume design by Ursula McCarty. Stage Manager Liz Raymond. CAST: Sarah Corey as Kate, D. J. Gleason as Eugene, Anthony J. Ingargiola as Stanley, Eli Ganias as Jack., Sophia Garder as Blanche, Kate Kenney as Nora, and Kristen Herink as Laurie. The show runs two and a half hours with one intermission. For tickets and more information visit http://oldcastletheatre.org/ or call 802-447-0564.

  REVIEW: “Brighton Beach Memoirs” at Oldcastle by Gail M. Burns The minute that Sarah Corey makes her entrance as Neil Simon’s indomitable matriarch, Kate Jerome, …

[asdamagicbiscuits]

Theatre Hightlights 2017

My Top 10 (13 really if we are being specific) Theatre Highlights and Moments of 2017 (in no particular order but it roughly goes in the order everything happened. I combined things together to make it easier to read and talk about without doubling back on myself)

Now let’s get started!

Les Mis and Cinderella

The start of 2017 saw me returning to London see Les Mis and Cinderella at the London Palladium with my friend Johanna.

It was lovely to kick-start my theatre-going for the year with a trip to Les Mis. I do love that show, it’s a timeless piece and one I will never get sick of. It was great to see Adam Bayjou as Jean Valjean, he did a fantastic job and delivered a top class performance. The vocals in Bring Him Home - sublime!

I was lucky enough to win a competition for two tickets to see Cinderella and wow, I was blown away by everything. The whole company worked so hard to put on a wonderful show, I throughly enjoyed it so much. Natasha Barnes was perfect as Cinderella and I had chills every time she sang, just beautiful. For me I was most excited to see Paul O’Grady in the show and he didn’t disappoint. Absolutely fabulous and I’m so glad I got to see him perform in the show.

Definitely started 2017 in the best way!

Grease at Leicester Curve

My first #BindonOnTour trip of the year had me returning to the Leicester Curve to see Grease the Musical again. Those of you who read last year’s post will remember that I saw it at the end of last year and adored it, so I was thrilled to be able to get in to see the show again before it closed. It made for a lovely early birthday treat and I adored seeing Jessica Paul as Sandy, and Luke George on stage again. Both gave incredible performances as always, and it was well worth all the travel I did that day to see them! The whole company were so on it and I stand by everything I said before about this show!

Death Takes A Holiday

This show had me returning to the Charing Cross Theatre to see another of Maury Yeston’s masterpieces. The score, like the other Yeston shows I’ve seen, spoke to my soul and I fell in love with the show. Maury has this quality of writing stunning music and all the little musical links were so fitting for the piece - I couldn’t get the music out of my head. You could say it haunted me but in a lovely way, drawing me back.

Excellent casting with Zoe Doano, Chris Peluso and then James Gant in the leads as Grazia and Death. Zoe’s soprano was showcased beautifully in this show and someone needs to cast James Gant as Phantom, as the way he sang Alive and I Thought I Could Live on the last show was spectacular. What a voice and boy can that man belt!

The rest of the company were incredible, Scarlett Courtney was a standout for me as Daisy and she broke my heart each time I saw her with her part in What Do You Do. Beautiful.

42nd Street

If I had to pick THE show of 2017 for me it’s 42nd Street hands down. It’s the most feel good show you could wish to see. I get asked what to see in London a lot by people. My singing teacher calls me his theatre guru as I see so much theatre and work all the hours god sends on top! (Hi Adam if you’re reading!)

This is the show I always say in a heartbeat. I’m so happy when I watch it. I cry at the overture - it makes me so happy and an emotional wreck as well. This is also a show I desperately want to see James McKeon conduct!!

The casting is en-point. Clare Halse is divine as Peggy, what a dream and whether you sit front row or at the back of the balcony, her performance never fails to touch and reach you. Tom Lister has Julian down to a tee, and those guys and girls in the ensemble - hats off every time to them. But really the whole company is stellar and I leave immediately thinking when can I go back?! The music is phenomenal, proper old school Hollywood movie musical vibes. I have to mention the person who drew me to go and see 42nd Street and ultimately to fall in love with this musical, Luke George. Those who read my highlights last year will remember that I saw Luke in Titanic and in Grease at the Leicester Curve, so to see him on stage again in this incredible show is so great. I love spotting him in the show and especially at the beginning when the curtain rises and you see everyone’s feet tap dancing! Look out for orange tap shoes and green socks - that’s Luke!! 😀

42nd Street can be found at the Theatre Royal Drury Lane in London’s West End so get down to meet those dancing feet and also don’t forget to buy the London Cast Recording which is available on iTunes and Spotify.

Mikado

The next stop on #BindonOnTour saw me going to Bath to see the second ever show of All Male Mikado. I also managed to see it again later on in the tour when it went to Brighton. I went to see Richard Munday play the lead in the show Nankipoo. It was fantastic to see Richard on stage again, he was absolutely brilliant and his comic timing was excellent. One moment I remember really clearly was when he plopped his head down on the table and a plate bounced up in the air and landed on his head. It was so unexpected and even now it still makes me chuckle thinking about it. I really enjoyed hearing Richard sing Gilbert and Sullivan. Two very joyous evenings spent in two lovely venues seeing a great show!

Deposit

This was the only play I saw this year but I was very lucky to be able to get to see the show three times, and seeing Natalie Dew again is always a delight!! There were only 4 people in the company, including Natalie. They were all outstanding and played off each other so well, tackling a story which is very relevant to London today. It was a really lovely piece of theatre, extremely well performed by all of them, and the Hampstead Theatre is such a gorgeous venue. Like everything I’ve seen Natalie in, there is always one moment in the show where she makes me cry. She’s a wonderful actress and the truth in the portrayal of every character she plays is so natural and organic. I hope 2018 brings me more opportunities to see this lady do her thing, as she’s damn good and such a sweetie!! ☺️

The Addams’ Family

I was very lucky to be able to see the UK Tour of The Addams’ Family twice. In Bath in June and again in Dartford in November.

In Bath I took my very good friend Holly, who adores TAF Musical, and I managed to get us front row seats. It was incredible seeing the show so close. I was genuinely blown away by the entire production, it was all so well put together. The company were outstanding. Fantastic music, beautiful vocals, stunning choreography. If this doesn’t get a London transfer I’ll cry. Everyone should see this show!! THE BEST touring production I’ve ever seen and I see a lot of theatre, especially through my work. When the gauze came in and they were doing set changes behind it and it went out revealing something different I was so surprised, I didn’t even notice that’s what they were doing behind there. The story and performances were so engaging and really drew you in, especially the ensemble. Shoutout to Kirsty Ingram and Jessica Buckley who always drew my attention whenever they were on stage. The costumes were so well designed and thought out. Especially with the ancestors.

Beg, borrow or steal a ticket if this show goes to London, you won’t regret it!!

A very long Les Mis post

Cast Change is always a hard time as you are saying goodbye to people you’ve watched perform over the past year. The hardest goodbye was to the absolute legend that is Kayleigh McKnight who was such a badass Factory Girl and one of the loveliest people I’ve ever met. She lights up the stage when she is performing and I’m hoping she’ll return one day to Dream The Dream.

Now the 19th July 2017 is one of those stagey dates which will stick in my memory for a particular reason. Now after a year of being on a third cover alert after Cast Change I was moving to a second cover alert and 19th July was the show I had waited so long to see. Antony Hansen’s debut as Jean Valjean. Wow. Just wow. He completely blew my mind during that show for he kept hitting every mark, I couldn't fault him. At the end of JVJ’s Soliloquy in the Prisoner section I knew he was joining the ranks of one my favourite JVJ’s of all time. Hands down the strongest debut I’ve ever seen by someone in a role. Cover debut or Principal! I was very fortunate to be able to see him again front row on September 4th and it was just incredible! The detail Antony put into the character and the performance he delivered. It was strong, confident and he didn’t falter once. Well worth the over a year wait to see him. I urge everyone to go see this man in action as JVJ! You won’t be disappointed. I also want to briefly mention how fantastic Antony is as Courf and how even in the ensemble he stands out and delivers a brilliant performance. Although I do now worry every time at the start of the ABC cafe when he makes his entrance after he nearly fell over on the stairs. Trust me to find something to worry about in what should be one of the safest ensemble tracks there are in the show!

Shitfaced Shakespeare including my Brighton and Ed Fringe adventures

Sitting down to write this part and I’m here thinking - where do I even begin?!

Firstly I must start with a massive apology to everyone at Magnificent Bastard Productions for actually they should have been in my highlights last year! But I’m a plonker and when I came to write 2016’s highlights I completely went blank. So I’m very sorry for that so buckle in for a bumper mention this year.

As mentioned I saw Shitfaced Shakespeare’s fantastic A Midsummer Night’s Dream in 2016. I went with two friends from work called Phil and Will (shout-out guys) which still cracks me up now BECAUSE IT RHYMES. Simple things 😂🙊 I digress though. I had the fantastic Saul Marron as Compère and the Rev Lewis Ironside as a drunk Lysander, with Stacey Norris, Beth-Louise Priestley, David Ellis and John Mitton as the rest of the company performing that night. It was, quite simply the best night EVER. So funny, I was laughing so hard I squeaked! Whilst I don’t remember much, what I do remember I still talk about it to this day and I was gutted I only saw it once! Fast forward to 2017. When I saw Shitfaced Shakespeare would be returning to the Leicester Square Theatre with Much Ado About Nothing I knew I had to go and see them. I ended up practically moving into the venue with my very good friends Rebecca and Sarah. We also went on a few roadtrips to see the fringe company in Brighton and Edinburgh perform Romeo and Juliet. Edinburgh Fringe was pure joy and I’m so excited to go back next year to see those guys in action.

If there was a show which summed up my summer it would be that one. So many laughs, so many quotes which had me laughing so hard I couldn’t breathe, my personal favourite comes from Mr David Ellis himself, ‘Go fuck thyself’ had me in stitches for about 10 minutes.

It was fantastic to see everyone I saw in Midsummer on stage again and to get to meet them all was wonderful. The whole Shitfaced family are such hugely talented, lovely and the most down to earth people you’ll ever meet. An absolute joy to watch on stage and those guys certainly made my summer, so many amazing memories. Thank you all, so excited to see you all in 2018!

Tickets for their London run next year are on sale as we speak so make sure you go and book to see Merchant Of Venice and Romeo and Juliet at the Leicester Square Theatre and go see them on fringe too. Follow @shitfacedshake for updates!

Wind In The Willows

Having seen this show on tour in 2016, I was very excited to return to the Riverbank when it transferred to the Palladium over the summer, and I was not disappointed. It was still as delightful and sweet as I remembered. Craig Maither and Simon Lipkin were such a fantastic pairing as Mole and Ratty and had me laughing and crying throughout. The songs which got me on tour got me in London. A Friend Is Still A Friend and A Place To Come Back To have to be hands down two of the best songs ever written but I mean the whole album is inspiring and complete genius.

In London I finally got to see Jenna Boyd as Mrs Otter and Georgie Westall as Mrs Hedgehog. What. A. Show. I had cried already by the end of the opening song. It was a show I certainly won’t forget in a while. Jenna had such a warmth about her Mrs Otter and played really well opposite Emily, who played Portia. Georgie was fantastic as Mrs Hedgehog and stole the show, along with James Gant who played Mr Hedgehog, in the Hedgehog’s Nightmare. Pure joy and one of the best shows I’ve seen this year.

Phantom Cast Change & THAT Phantom Show

Cast Change never gets any easier and this year it was time to say goodbye to the lovely and incredibly talented Lyndsey Gardner, who I’ve seen as a swing then move into second cover Carlotta. I was really sad to see her leave as she is always such a ray of sunshine and lights up the stage so bright when performing. I’ve been very blessed to see her as Carlotta so many times and the first time I saw her (it was her second ever Carlotta show) I was front row and it was magical.

Now I was already planning to go on 7th September to see Georgia Ware as Principal Meg so when I found out that Leo Miles was on for Raoul I was so happy to see them both on together. Then I found out that Lyndsey was coming back as Carlotta and I lost my chill completely. I couldn’t believe it. I had waited a year to potentially see the three of them together, never expecting to get to see them, and it took Lyndsey to leave the company and be called in and for Georgia to be made Principal for it to happen. I remember thinking I must be dreaming, this can’t be real. But looking at the cast board and seeing all their names up there, I knew I was in for a very special and magical afternoon. Sitting in my seat I was shaking before the show even started, I couldn’t believe my luck. During the show I wish I had more eyes to watch all of them individually but I soaked up every bit I could and I throughly enjoyed it. Stunning and flawless performances all round and I was so proud of all three of them and watching them take their bows I can’t deny it I did get really emotional! One of the most unforgettable afternoons ever and even writing about it now I can still remember it so clearly!! Absolutely perfect!

Kinky Boots for Rebecca’s Birthday

My last London theatre trip of the year saw me returning to the Factory with my good friend taking a few newbies to see the show. Me, Sarah and Zoe organised this as an early Birthday treat for Rebecca who had been waiting to see this since February! It was fantastic to see the new company of Kinky Boots. Simon-Anthony Rhoden was an absolute dream as Lola and played so well opposite Jordan Fox who was on for Charlie Price that evening. Their vocals were sublime and if I didn’t know Jordan was a cover I’d have thought he was Principal. Absolutely solid performance and handled my favourite songs in the show with ease, making it look effortless. Verity Rushworth was out of this world as Lauren. So sassy and fun. Even if Lauren wasn’t the main focus in a scene I found myself watching Verity’s captivating performance. A joy to watch.

In every show I’ve seen Dale Evans in the first time I see him in a show I always see him on for his cover role. First Chris in Miss Saigon, then Frank in Showboat and now Harry in Kinky Boots. It was great to see Dale on stage again and on for Harry that night. Take What You Got is my Favourite Song in the show and Dale and Jordan did a fantastic job with it. One of many highlights in the show for me. Hopefully I’ll see them both again!

I’m most excited to be returning to the Kinky Boots Factory in 2018. January can’t come soon enough! ‘Let’s make shoes’

Panto!

My last two theatre trips of the year and also the last two stops of #BindonOnTour for 2017 saw me heading off to Panto land!!

Firstly I went to see Peter Pan at my local theatre where I live to see Abigail Matthews in Peter Pan. I was so excited to see Abigail perform again. I was gutted to miss her last year in Cinderella so made sure I got in to see her this year and I was not disappointed, she was fantastic. I had a smile on my face every time she was on stage. It was really good to see her play both Mrs Darling and Tinkerbell, her characterisation between the two was excellent and casting her as Tinkerbell was inspired!! I loved how sassy and cheeky Abigail was as Tinkerbell and comic timing was en-point. Vocals were divine and damn that girl has a belt on her, completely blown away.

Adam Woodyatt was delightful as the villainous Captain Hook and Antony Lawrence was hilarious as Smee and did great interacting with the audience.

My next trip to Panto land saw me off to Bath to see my good friend Simeon Dyer in Snow White and the Seven Dwarfs. Honestly I had such a good afternoon, absolutely fantastic show and Devon Elise Johnson was a dream as Snow White. Massive shoutout to all the guys and girl playing the Dwarfs, their characterisation was brilliant and as a group they bounced off each other really well - the highlight of the show was all the scenes in their house, loved them.

Both companies in the two pantos were outstanding and did a great job, especially keeping the energy up with the gruelling schedule. Hats off to them!

Well that's been 2017. As stagey as ever but that’s just how I like it! Had yet another fantastic year in the theatre world and I couldn’t love this industry more if I tried. Very proud to be a part of it. Who knows what will make the cut next time but I sure know it’s gonna be one hell of a ride! So make sure you come back next year and find out what my highlights for 2018 are!

Until then, cheerio!

[londontheatre]

LtoR James Dutton and George Kemp. The Wipers Times-Photographer Philip Tull

The First World War news-sheet/magazine “The Wipers Times” was a kind of “Private Eye” for the trench wallah, a prequel-Viz for the Kitchener Kids, a “Punch” for Tommy Atkins but, as is suggested in the text of this show, a “Punch” that is actually funny. The “Private Eye” analogy is apposite, of course, as the play The Wipers Times is co-written by long-time editor of that august organ, Ian Hislop, and its evergreen, award-winning cartoonist, Nick Newman.

Hislop discovered the long-forgotten “Wipers Times” whilst researching a historical documentary and there began a fifteen-year peregrination to reach, finally, journey’s end here at the Arts Theatre. Initially a film treatment, the writers had so many rejections that they decided to write it as a stage play.

Part-way through this they were suddenly contacted by the BBC who commissioned a 90-minute film as part of the Great War anniversary programming in 2014. So with audience acclaim, nominations and awards in their old kit-bag they hitched it on again and, with 100-year-old trench humour ringing in their ears, they returned to write their play. I’m glad they did.

Like the original editors of “The Wipers Times” Hislop and Newman have to tread a fine line between humour and tragedy, telling the jokes, cocking the snooks, indulging the comedy routines whilst respecting the dignity, commemorating the lives and saluting the memory of the fallen of the Great War – all 17 million of them. They achieve this and thus we have a play that is funny and sad, whimsical and true, thoughtful and uplifting. And to make all this happen we have an outstanding cast who draw us in, take us back, entertain us like the troops were entertained and provide grist for the ponder-mill whilst the events of 1916 are still very, very scary. The result is a careful melange of gas and gaiters, music hall meets muck and bullets, and Variety is, perhaps, the spice of death.

Wise-cracking, brass-needling, loveably rakish Captain Fred Roberts, editor of the paper, is played with great empathy by James Dutton. Exquisite comic timing combined with a feel for the common touch get us all on his side from the get-go. His puns and asides and his not-quite- insubordination are furnished with a deft touch by Dutton who gives the impression he’s got a wonderful secret that he wants to share with everyone – except for the brass hats. Captain Roberts is aided and abetted in his war within a war by Lieutenant Jack Pearson, deftly played by George Kemp. Kemp is one of those unselfish actors who underplays his own performance to enhance the roles of others – particularly Captain Roberts in this instance. He is a calming influence under fire – real and manufactured by the powers that be – and he is the necessary check on the more provocative ideas of his Captain. This is a subtle and refined performance by Kemp – a virtuoso foil to Dutton’s Captain Roberts – and together they make an admirable double-act.

In a male dominated play we have a scattering of nurses, an alluring Madame Fifi (Clio Davies) and Roberts’s wife Kate, acted with mesmeric charm by Emilia Williams. As well as her beautifully haunting song, Williams give us a sympathetic and welcome insight into how the home fires were kept burning, with her chicken pun showing just how her husband’s slightly dodgy humour had rubbed off on her.

How do you make the words from a hundred-year- old trench newspaper come alive on stage? You can’t just read them out for the length of the show so the rest of this excellent cast of cannon fodder make frequent visits to Vaudevillia to illustrate the songs, the poems, the letters, the cod war correspondents, the armchair commentators and the sharp satirical depictions of life at the front for the ordinary soldier. These cocksure and colourful interludes bring “The Wipers Times” to life and is a clever way of communicating its unpretentious ethos to the modern audience. This gallant troupe of troopers is expansively directed by Caroline Leslie who has a real feel for the history of the piece. She is ably assisted by James Smith’s evocative lighting design and an excellent soundscape by Steve Mayo. Dora Schweitzer’s engaging and functional set design serves the production well and Leslie’s decision to accompany the frequent but polished scene changes with songs by the cast as they go about their business is a masterstroke. I was a little worried though when clouds of dust and plaster fell from on high, that we might be re-experiencing the ceiling shenanigans that unfortunately befell the Apollo Theatre in 2013. Happily it was staged.

LtoR James Dutton, George Kemp, Kevin Brewer, Peter Losasso, Jake Morgan, Sam Ducane ,Dan Tetsell.The Wipers Times Photographer Philip Tull

Ultimately, what we have here is a well-researched and highly informative historical document that can take its richly-deserved place alongside R.C. Sherriff’s Journey’s End, arguably the greatest war play ever written, as an invaluable resource for all those who wish to find out about the Great War. It seems appropriate that Sherriff was a contributor to The Wipers Times, though his fame lived, and still lives, long after the war, unlike the paper’s leading lights. Hislop and Newman have ensured, I believe, that the forgotten editors of “The Wipers Times”, Captain Fred Roberts and Lieutenant Jack Pearson, along with all the contributors, should for ever be remembered.

Besides that The Wipers Times is a lovely play in its own right – and I count myself lucky to have been in the audience on World Theatre Day.

Review by Peter Yates

Ian Hislop and Nick Newman’s The Wipers Times – a stage adaptation of their award-winning BBC film – tells the true and extraordinary story of the satirical newspaper created in the mud and mayhem of the Somme, interspersed with comic sketches and spoofs from the vivid imagination of those on the front line.

Ian Hislop and Nick Newman said: “We thought it would all be over by Christmas – but we are delighted that following a sell-out tour, The Wipers Times continues with a run at the Arts Theatre. A hundred years after World War 1, London audiences will have a chance to see this forgotten true story about a satirical trench newspaper and discover that the black humour of The Wipers Times is still remarkably fresh, funny and poignant. We are thrilled that it ‘s not going to be all quiet on the West End Front…”

In a bombed out building during the First World War in the Belgian town of Ypres (mispronounced Wipers by British soldiers), two officers discover a printing press and create a newspaper for the troops.

Far from being a sombre journal about life in the trenches they produced a resolutely cheerful, subversive and very funny newspaper designed to lift the spirits of the men on the frontline.

Defying enemy bombardment, gas attacks and the disapproval of many of the top Brass, The Wipers Times rolled off the press for two years and was an extraordinary tribute to the resilience of the human spirit in the face of overwhelming adversity.

The production takes place one hundred years after the Battle of the Somme and publication of The Wipers Times.

The cast includes Kevin Brewer (Henderson), James Dutton (Roberts), George Kemp (Pearson), Jake Morgan (Barnes) and Dan Tetsell (General Mitford). The Wipers Times is directed by Caroline Leslie.

The Wipers Times By Ian Hislop and Nick Newman Based on a true story

Creative Team Directed by Caroline Leslie Designed by Dora Schweitzer Lighting designed by James Smith Sound designed by Steve Mayo Composer Nick Green Musical Director Paul Herbert Tuesday 21 March – Saturday 13 May 2017 http://ift.tt/14ByCrr

http://ift.tt/2fJNoOl LondonTheatre1.com