The Man of Mode
Posted 21 February 2007 - 06:08 PM
Posted 23 February 2007 - 01:06 AM
I've seen Rory Kinnear in The Tempest (Norwich) and Hamlet (Old Vic) so far - but this part seems to have gotten him the most glowing reviews of all.
But to find a mother younger than her son is very curious,
And that's the kind of mother that is usually spurious.
Posted 06 March 2007 - 05:10 PM
Rory Kinnear is terriffic as Sir Fopling Flutter, particulary in his first appearance in the play: he explodes on the scene with hysterical panache. Bertie Carvel played his three-piece-suited Medley to a T. I liked Penny Rider as Pert, and Dorimants ladies (Mrs. Loveit, Belinda and Harriet) were fine.
I was less taken by the dance/musical interludes between scenes. The idea was good, but the dance was poorly conceived. The sets and lighting were OK, and some of the costumes were great (Tom Hardy esp. looked like stepped out of a fashion mag), although others were less so.
Posted 06 March 2007 - 09:54 PM
Posted 07 March 2007 - 12:21 PM
Posted 08 March 2007 - 03:28 PM
Thats only good if you live in London. Its a nightmare trying to fit everything in if you only have a Saturday to come to London. Eveyrother weekend im in London now until May - because ive had to plan my theatregoing carefully! I just hope Little Shop, Whipping it Up and Porgy and Bess dont close early!!
Posted 09 March 2007 - 02:39 PM
Posted 10 March 2007 - 12:01 AM
Rory Kinnear is still the star of the show. I found myself feeling sorry for Fopling even while I was laughing at Kinnear's comedic antics. I'm not a fan of Nancy Carroll but I have to admit she's got that character nailed. Hayley Atwell was one of my stars last time but she seems to have started copying Carroll and we don't need two dramatic, over the top female characters so that's a shame. There's a bit too much playing to the gallery all round which, while it gets laughs, can detract from the characterisation and needs reigning in. The overall cohesion of the production is making more sense though. I saw the dancing as integral linking pieces rather than a case of 'get out there and distract the audience while we change the set', a set which is effective and reasonably stylish given the number of settings it has to convey. (Though I still find the fact that Dorimant's bed is practically in the kitchen silly - who would do that?!).
The essential and irredeemable problem with this production is the flawed updating. Maybe Hytner will now realise that he can't just take any play, stick the actors in suits and hey presto it's modern. The Restoration was such a unique moment in British history/experience that it's as alien as taking a play set in Africa or China, changing the setting to England and hey presto it's about us. If Hytner had kept it period we would have got it. Sometimes you've got to let the audience put something in to get something back.
Posted 10 March 2007 - 07:07 AM
Posted 10 March 2007 - 10:45 AM
At his platform the other evening Nick Hytner discussed this very eloquently and persuasively. One of his key points was even if you did hours and hours of research and presented an 'authentic' production in period dress, it would still be as interpretive a production as one in modern dress.
Anyway, lets see what he does in Much Ado later in the year. Odds on he will confound his critics again and give us a full on period production! Should be interesting.
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