Posts Tagged ‘Rachel Weisz’

2010 Olivier Awards – did they deserve it?

March 22, 2010

Reviewing the final list of winners for the 2010 Olivier awards, I had to ask myself: did they deserve it? Aside from Spring Awakening, I did manage to see pretty much every show that got a nod (well, a major nod – Hello Dolly also slipped through my fingers due to being staged outdoors). So, first, a look at the shows that won minor awards (each linked to my original review).

PRISCILLA, QUEEN OF THE DESERT – THE MUSICAL: Best Costume Design I have continued to be mystified by the popularity of this thin on the ground musical. But one thing I wouldn’t deny: it’s got great costumes. In fact, that was about the only think I really liked about the show.

The Brandstrup-Rojo project’s GOLDBERG: Best New Dance Production I disagree with this. The production was nice but the output sterile. I’m sure there was something better out there that was overlooked. Did Birmingham Royal Ballet’s E=MC2 just not count? They did it in London, too …

Royal Court for COCK at the Jerwood Theatre Upstairs: Outstanding Achievement in an Affiliate Theatre Well, this show was my pick for best of the year, so I’d say: yeah, damned right it was an outstanding achievement. Or perhaps “upstanding” would be more appropriate.

So – this leaves the shows that were up for the major awards. Only one thing surprised me: CAT ON A HOT TIN ROOF: Best Revival I thought this cat was a dog. Did the performances improve tremendously after the time I saw it? I sure hope so.

Meanwhile, there’s no doubt that JERUSALEM deserved its best actor award for Mark Rylance (though I don’t think it really hit Best Set Design – was the competition slim, or did the live chicken make the difference?). I, however, just never really “got” this play, much as I wasn’t able to quite buy Rachel Weisz (Best Actress, A Streetcar Named Desire at the Donmar Warehouse) as Blanche DuBois. Not that she was bad, mind you, but Ruth Wilson (Best Actress in a Supporting Role, same show) inhabited her role with seamless perfection.

So we’re left with the top new play of the year. I actively go see new plays, so this is a category that matters to me. And Enron (Best Director: Rupert Goold), well, it had good direction, but it wasn’t a story for all time. And … I hate to say it … but … Jerusalem … it may be where England is here and now, but it didn’t move me. Me? I’ve been to THE MOUNTAINTOP (Best New Play), and I saw the promised land, a land where artists lose themselves completely in their roles, where I learn more about the world, where I walk out with my skin shivering with excitement. Hats off to you, Katori Hall, for making theatrical magic happen: you really deserved it.

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Review – A Streetcar Named Desire – Donmar Warehouse

August 27, 2009

Coming out of Hamlet, I was feeling pretty chary about going to A Streetcar Named Desire. Woo woo, another celeb driven classic that should have been revived simply based on its own merits and not because some screen star felt like spending his/her time slumming on the stage. I had been really excited about getting tickets to it (mostly thanks to the West End Whingers’ review), but this had all trickled away by the time the actual day rolled around. And, well, I had a cold (which I still have, three days later), and I actually tried to return the tickets, but the Donmar wouldn’t accept them as we actually had the paper tickets in our hands and couldn’t get them in theirs without trudging into town. So we trudged, bringing lots of cough drops and hoping we didn’t irritate the other patrons too much.

In retrospect, I’m glad they wouldn’t accept my tickets over the phone, as this was really a spectacular presentation of what I’m now convinced is one of the best plays of the 20th century – a play that far surpasses its silver screen version. Sure, the movie is an hour shorter, but the stuff that’s packed into that hour, which we get to see on stage, is really amazing. Tennessee Williams convinced us that these people existed – Stella (Ruth Wilson, incredibly superior to the film’s Stella), making a life for herself with the cards she was dealt, and succeeding at it far better than her sister; Stanley (Elliot Cowan), a violent bully who’s also loving and protective; Mitch (Barnaby Kay), a man who wants love in the form of someone who appeals to his better nature; and Blanche (Rachel Weisz), who’s pretentious and a liar but still trying to get through a life that seems headed downhill in a way that won’t leave her utterly broken. After the show we wound up debating what their pasts were like and what their futures were likely to be – meaning we’d accepted them as real people. Now that is some damned fine writing.

It has to be said that the presentation of this show did much to make it feel so real. J, who’s a big burnout due to getting a theatrical MFA and having spent most of his 20s in the theater, actually gasped when he walked in and saw the Donmar had been entirely transformed into the French Quarter, complete with replacement lacy ironwork surrounding the upper floor of the theater instead of the normal workaday iron bars. (This made us feel like we were spectators for a bunch of family fights in our neighborhood, quite appropriate given how close these folks lived together.) The set captured nicely both the airiness of the French Quarter and the very much run-down nature of life there pre-gentrification – a gorgeous spiral staircase wound up almost three stories but still, it was just two crappy two roomed apartments piled on top of each other – beauty, rot and claustrophobia all right there.

While the focus of the show (and my review) could easily be on Ms. Rachel Weisz as Blanche (she was, after all, on stage for pretty much every minute of the show), I wasn’t so amazed by her performance – it was good but I don’t think defined the role in the way I was hoping for. (She was too shrill at times and just a touch too young for the role.) However, the supporting cast was so generally outstanding that I’d like to pay them tribute. My favorite was Ruth Wilson as Blanche’s sister, Stella. This role was pretty much a cipher in the movie – a pregnant woman married to an abusive husband. But in this play, it was clear she was also a woman who’d given up a glorious past and let herself go with her passionate side – yet wound up in a much better place than Blanche, because she’d turned her back on it and never looked back. Ruth (as Stella) was really convincingly in love with Stanley and made the strain she felt being pulled between her husband and her sister very visible. She also had a bit of the look of someone who used to get all dressed up and know what proper manners were supposed to be. What was amazing was how she and Elliot Cowan were really able to carry off the dynamic of two people who were both intensely sexually attracted to each other but also could fight violently – then pull through the anger and make up to each other, all the while showing how close they were to each other – this was a vision of life in America that had so much truth to it I couldn’t believe it had ever really been portrayed as well on the stage before or since. God knows Carousel didn’t manage it.

While this may not be the Streetcar of a lifetime, still, it was vibrant and alive and worth dragging myself off my sickbed to see. And, I’m pleased to say, we didn’t wind up coughing our way through it, and even though we were stuck way off on the sides we could still see it pretty darned well. If you haven’t got tickets, well, time to hope this show gets transferred – though to be honest I don’t think you’ll ever capture that famous Donmar intimacy (and the effect this has on you as an audience member) anywhere else. Recommended.

(This review is for a performance that took place on Tuesday, August 25th. It continues through October 3rd. The Donmar releases standing room tickets for every performance, and this is worth standing through. Else, please see my tips on getting tickets for sold out shows.)

Streetcar? Sold out? You CAN depend on the kindness of strangers …

July 30, 2009

The reviews for the Rachel Weisz / Donmar A Streetcar Named Desire are coming in, and generally speaking they are VERY enthusiastic. What are you to do, though, when the Donmar’s been saying for a month it’s sold out? Well, if you’re me, you keep checking (click the book tickets link and then look for dates marked “limited availability”). It appears that most of the seats that are open are far side seats (per this map, the 1s and 2s, 41s and 42s on the main floor and 2s, 3s, 44s, and 45s upstairs), but, you know, whatever, even though the view is blocked to some extent on the sides, since it’s the Donmar, the prices aren’t outrageous (£25-£15 for what’s available), so you should still be able to get good value on your money.

At any rate, these seats appear to have just opened today, so if you don’t want to just wait for standing day seats, I’d advise you to jump on them now!