The Holy Rosenbergs, Drama by Ryan Craig, National Theatre London, Cottesloe, 1* out of 5

The Rosenbergs are a London based Jewish family with big troubles. Mother Lesley and father David Rosenberg's kosher catering business which the family has run for generations is in terminal decline because of a food poisoning scandal. Danny Rosenberg, their son, the Israeli Aircraft pilot has just been killed over Gaza. His funeral is tomorrow (but seeing the behaviour of the family on the eve of the funeral, that aspect seems like a sort of side-plot). The younger Rosenberg-son, Johnny, who does not want to join his dad's catering business, is in trouble, too. He likes to pick bar-fights in pubs in order to get himself beaten up. On the eve of his brother's funeral he is off to set up a gambling website on the internet and to meet friends in the pub and get himself beaten up again. Life for him, the ex-art student is hard: his brother was an Israeli war-hero and he himself is just a shmuck. Admittedly, one with a lot more understanding of himself and the other family members than the rest of his family. The confluence of all this would already yield enough brain numbing implausibility for several episodes of The Bold and the Beautiful.

But it is only the start: because what the author thought was missing at this stage was a Bridget Jones without the weight problem and only a hint of a love interest or two. This character is Ruth, a lawyer and the sister of the dead pilot. And there is the White Knight from the UN Human Rights Council, the half Scottish half English International Lawyer Mr. Crossley (not D'Arcy but close) fighting the forces of evil: Israeli war crimes in Gaza.

The Jewish community of the Rosenberg's synagogue is outraged by Ruth being involved in the war crime investigation. So they send the Rabbi and the head of the Community to put pressure on her father to persuade her not be present at her brother's funeral. Otherwise there might be protests at the funeral.

Surely, Danny the fighter pilot and dead scion of the Edgware Rosenbergs, deluded kosher caterers to the Jewish multitude, will not turn out to be an Israeli war criminal? I know, you can't wait to find out!

The messages of the drama, as I could discern them are: understand the poor Jews in our midst, they do not own dogs because they think they have to quickly escape the next holocaust; and they are thinking: “if we had to leave the dog behind that would be terrible for the dog; better not have one in the first place”. That concern may seem burden enough, but there's more. Jews are represented in the world by a state that is supposed to be civilized like the United Kingdom. But this state doesn't have a concept of the need for justice and the rule of International Law (that state is Israel and it has a prison camp called Gaza, which it bombs regularly, as Mr Crossley explains). But hey, thank God there's Britain with its Crossleys and d'Arcys and the odd confused Jewish daughter of a caterer from Edgware to show Israel the light.

I imagine Ryan Craig wanted to write an outraged piece against Israeli actions in Gaza for the Guardian's “Comment is Free” website when he had the unfortunate brainwave to write a didactic play in stead: “Goldstone-Report” meets “Bridget Jones” and caters “Barmitzwah Boy”. How any theatre, let alone the National, would agree to put on the resulting inane play is another question I would rather not contemplate. I suggest the responsible parties be sent regularly to the Tricycle Theatre in Kilburn, which knows a thing or two about creating high quality productions of political plays.

The Holy Rosenbergs is the worst play I have seen in nearly forty years of visits to the National Theatre – and I have seen some pretty poor ones, although only rarely. One must feel sorry for the excellent actors for having to perform in it night after night.

http://www.nationaltheatre.org.uk/62809/productions/the-holy-rosenbergs.html

Win Win, Film Drama, Written and directed by Thomas McCarthy, 4* out of 5

Mike Flaherty is a struggling small-town lawyer trying to make a living in a small New Jersey town suffering from the after-effects of the 2008 Financial Crisis. Outside his job he is a husband and a father and occasionally engages in home repairs as he cannot afford plumbers or tree surgeons. And he volunteers as a coach to the unsuccessful high school wrestling team. As his financial situation gets tighter, he suffers from anxiety attacks and decides for a small but important financial gain to unethically obtain the guardianship of a client heading toward dementia. Things start getting complicated when the client's 16 year old grandson shows up.

In a recent article for the anniversary issue of the New Yorker, Rebecca Mead, a scholar and expert on the novels of the 19th century female author George Eliot highlights the author's “quiet celebration of the unremarkable.” To illustrate, Mead quotes the final sentence from the novel “Middlemarch” “The growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been is half owing to the number who lived faithfully a hidden life and rest in unvisited tombs”.  Had she lived in the 21^st century, George Elliot would have liked Thomas McCarthy, author and director of the film Win Win. 

Win Win is a film about the capacity of ordinary people to make a big difference for the good, when despite all their shortcomings and ethical ambiguities they strive to do the right thing. Without being gushy, it also shows the paramount importance that family can have as a  locus of enduring meaning, safety and support.

The low key acting performances in this film are all of high quality. Paul Giamatti (as Mike Flaherty) is as good as ever. Amy Ryan, as his wife, is outstanding. For the role of the 16 year old Flaherty picked a young school-wrestler without acting experience; the talented Alex Shaffer gives a very competent and credible performance.

This is an intelligent, enjoyable and entertaining film. Go and see it soon.

Archipelago, Film/Drama, written and directed by Joanna Hogg, 3.75* out of 5

This film is a subtle, tense and at times, comic portrait of an upper middle class family holiday on the Isles of Scilly. Patricia (Kate Fahy) is joined by her grown up children, Edward (Tom Hiddleston) and Cynthia (Lydia Leonard). The holiday appears to have been prompted by Edward's announcement that he is about to quit his recently embarked upon job in the City (London's Financial District) in order to teach children in Africa how to avoid infection with HIV aids.

Edward is quite uncertain about his own decision. He gives the impression to be generally unsure about everything he does, possibly hoping to solicit the care and attention of attractive women. Patricia professes half-hearted support to Edward's plan, while Cynthia who has organised her life in line with the implied demands of her parents, finds Edward is acting irresponsibly. Moreover she is none to pleased that his self-indulgent behaviour gives him more tender family care and attention than she gets for a successful career and the ability to look after herself financially.

The grand absent, is Edward's and Cynthia's dad. He phones his wife regularly to be brought up to date and promise that he will join the rest of the family soon. One suspects that he has sent his wife into battle on his behalf to persuade Edward to give up his silly idea. Edward, Cynthia and Patricia remember him from time to time through side remarks and through Edward's imitations.

The family takes painting lessons from a local artist and a young student cooks for them. Edward finds her interesting and attractive and tries to disrespect the customary class borders between the family and their staff and service providers.

Archipelago is a subtle and successful portrait of English upper middle-class family relations. Pregnant silences, avoidance of embarrassment and upset, occasional outbursts are very truthfully put together in a kind of documentary style. Strong acting performances contribute to a high quality film experience. Amy Lloyd, the cook, is actually a cook who once studied acting for a few months. So amateur and professional acting and professional cooking blend into a quiet, subtle and enjoyable English family portrait.

Lakeboat – Prairie du Chien, two plays by David Mamet, Arcola Theatre London, 4* out of 5

In a recent BBC documentary Mark Knopfler, formerly of the band Dire Straits, talks about how he wrote the lyrics to the hit song “Money for Nothing”. In an electrical goods store in New York a delivery man who was bringing in refrigerators looked at a bank of television screens showing the MTV channel, when it had just started out. Knopfler followed the fellow around and claims that he took down more or less verbatim what he said. (For those of you who have forgotten the resulting lyrics or most unlikely never heard them, they are reproduced below.)

Judging by the feel of authenticity with which the dialogues capture the voices of the boatmen, David Mamet seems to have done something similar when he wrote his short play “Lakeboat”.

Dale Katzman, an 18 year all English Literature student begins his summer job working in the galley on a lakeboat for a Chicago based steel concern. In Katzman's conversations with the members of the crew, Mamet gives us brilliant portraits of the people making their living from working on these boats. In turn funny, moving and far beyond the politically correct, Mamet artistically shows us the different boatmen-types and their relationships. One can well imagine David Mamet being the young student working on that Lakeboat and being accepted into these men's lives. It is the dialogues that make this play; but there is a “red-thread” in form of a mystery story that holds it together. The set, direction and above all the sheer energy that emanates from the excellent actors keeps the audience's attention from the beginning to end.

The second play, Prairie du Chien,  is about people who meet for a short journey on an inland passenger boat. Strangers to each other they try to while away the time by telling stories or playing poker. Again it is the snippets of conversation and the authenticity of the voices that Mamet masters brilliantly. And yes, there is some excitement, too. Again excellent acting performances.

Of the two plays, Lakeboat is the stronger one, but Prairie du Chien is not far behind.

Despite the Labour Government's profligacy, and the Conservative-Liberal Governments cuts to Art's budgets, the Arcola Theatre is alive and vibrant and in an improved new building. For sheer quality, it is a glittering diamond within the London theatre scene and never disappoints. Visit it often and join the Arcola Appeal. 

http://www.arcolatheatre.com/

LAKEBOAT and PRAIRIE DU CHIEN
12th April - 7th May 2011  Starting time: 8.00pm Lakeboat - It is ship worker Dale’s first day on board the Lakeboat. The tall tale of his predecessor’s disappearance whips through the crew, as Dale discovers their mundane lives and fantastic dreams. Prairie du Chien – In a claustrophobic railroad car rolling through the night, violent tales of obsession, jealousy and death unfold as passengers while away their long journey across Prairie du Chien. An intriguing double-bill of rarely performed plays from acclaimed American writer David Mamet, winner of a Pulitzer price and Tony Award nomination for Glengarry Glen Ross and Speed-the-Plow, and Academy Award nominations forThe Verdict and Wag the Dog. Play Productions Ltd presents LAKEBOAT and PRAIRIE DU CHIENBy David Mamet Directed by Abbey WrightDesigner Helen GoddardLighting Designer Emma ChapmanAssistant Lighting Josh CarrComposer and Musician Tristan Parkes Casting Director Vicky Richardson Cast: Nigel Cooke, Ed Hughes, Chris Jarman, William Jeffs, Rory Keenan, Mark Lewis, Roy Sampson, Steven Webb, Nigel Whitmey Mark Knopfler: Money for Nothing I want my, I want my M.T.V. Now look at them yo-yo's, that's the way you do it You play the guitar on the M.T.V. That ain't working, that's the way you do it Money for nothing and your chicks for free Now that ain't working, that's the way you do it Let me tell you them guys ain't dumb Maybe get a blister on your little finger Maybe get a blister on your thumb We got to install microwave ovens Custom kitchen deliveries We got to move these refrigerators We got to move these colour T.V.'s The little faggot with the earring and the makeup Yeah buddy, that's his own hair That little faggot got his own jet airplane That little faggot he's a millionaire We got to install microwave ovens Custom kitchen deliveries We got to move these refrigerators We got to move these colour T.V.'s We got to install microwave ovens Custom kitchen deliveries We got to move these refrigerators We got to move these colour T.V.'s Look at that, look at that I should have learned to play the guitar I should have learned to play them drums Look at that mama, she got it sticking in the camera Man we can have some And he's up there, what's that? Hawaiian noises? Banging on the bongos like a chimpanzee Oh, that ain't working, that's the way you do it Get your money for nothing get your chicks for free We got to install microwave ovens Custom kitchen deliveries We got to move these refrigerators We got to move these colour T.V.'s Listen here Now that ain't working, that's the way you do it You play the guitar on the M.T.V. That ain't working, that's the way you do it Money for nothing and your chicks for free Money for nothing and chicks for free Get your money for nothing, get your chicks for free Money for nothing, chicks for free Look at that, look at that Get your money for nothing, get your chicks for free (I want my, I want my, I want my M.T.V.) Money for nothing and chicks for free Easy, easy That ain't working

Is 3D Film Making Here to Stay this Time?

Werner Herzog made his beautiful and moving documentary film The Cave of Forgotten Dreams in 3D. A reader of my blog entry on the film left the following comment: “I'd be interested in your view of 3D. Is it a fad or is it here to stay?”

Predictions are always difficult to make, particularly when they are about the future. Nevertheless, this blog entry is my attempt at answering the question.

Cave of Forgotten Dreams would have been just as moving and powerful in 2 dimensions as it was in 3. 3D did not distract me, or enter my conscious awareness while I was watching the film, despite having to wear heavy tinted 3D viewing glasses.

Powerful digital infrastructures are rapidly becoming ubiquitous in urban agglomerations worldwide. Consumers can acquire equipment that allows them to tap into these infrastructures for a wealth of creative applications including entertainment. Therefore 3D is most likely here to stay this time around. Means of delivery and production of 3D films will probably develop rapidly. Once the need for wearing weird uncomfortable tinted glasses is overcome, 3D will gradually become the preferred method for presenting top of the line visual entertainment. This development is similar to the move from black and white to colour in the film-industry of the late 1940s, after Selznick's production of Gone With the Wind.

Is that a good thing?

While embracing this and other advances in technology with enthusiasm, I will miss the 2D film world. But then, I also still love the power of expression and emotion of black and white in film and still-photography; and even the unique dramatic effects of silent films like Fritz Lang's Metropolis , Sergej Eisenstein's Battleship Potemkin and Chaplin's masterpieces of the silent era.

Is it not exactly the struggle of great creative minds with the restrictions or conventional rules of the medium they use for expression that renders the most wonderful and lasting works of art? I believe it is, but every new technology has its new limits and restrictions and the world is full of creative people, so most probably we need not worry. Let us just hope that new technologies will stay around long enough to allow talented film-makers the time to become bored and frustrated with their limitations. That way they'll have to come up with creative artistic ways to overcome them.

Cave of Forgotten Dreams, directed by Werner Herzog, Documentary Film, 4.5* out of 5

The subject of this documentary is the Chauvet Cave in the Ardèche region of France. The cave is named after one of the speleologists who discovered it in 1995. It is closed to the public. The reason for this is to protect its contents, the remnants of animals and the artefacts of humans who lived about 35000 and 25000 years ago. Of these remnants none are more marvellous than the cave paintings.

In order to make this film, Werner Herzog and his team received unprecedented access to the caves and to the multidisciplinary team of researchers who are only too aware of their luck and privilege to be allowed to work on this unique treasure trove of art, archaeology and more. The film is presented in 3D. It shows us the cave and its setting with a plasticity that helps the viewer experience a unique insight into mankind's very distant past.

What makes this film great is its subject. The documentary-maker and the filming does not get in its way. On the contrary, he manages to present it and the professional and personal thoughts of the scientists working in the cave in a very straightforward manner. What makes this film deeply moving and gives it a long after burn effect is seeing the paintings of the animals and of the one human being depicted in the cave. Even if, like me, one has only a very rudimentary understanding of painting, sculpture and art history, seeing these cave paintings touches one deeply. Looking at the horses, bison, rhinoceroses drawn by human beings about 35000 and 25000 years ago, I had to revise my idea that humans then were primitive. The paintings reminded me of drawings I had seen by Pablo Picasso and Marc Chagall in the 20^th century. Yet, human beings living tens of thousands of years ago as hunter gatherers were capable of producing cultural artefacts with apparently the same sensitivity and degree of imagination. These people in their thinking and looking at the world were clearly much closer to us in their complexity and creativity than I had thought.

The only weakness of this film is a superfluous preaching epilogue that spoils the last 5 minutes. The strength of Herzog's film is that it unearths interesting facts, gives us context and emotion and beautiful pictures of a unique subject full of beauty and humanity. See this film – its beautiful and haunting images will stay with you.

http://www.imdb.com/title/tt1664894/

Norwegian Wood, directed by An Hung Tranh based on the novel by Haruko Murakami, film (Drama/Romance), Japan, 3.75 * out of 5

The story follows the friendships and love life of its protagonist Toru Watanabe (Kenichi Matsuyama) as a teenager and later as a student at Tokyo University. The period of his studies falls into 1968 when as in many capitals in Europe the students in Tokyo rise up against their government and figures of authority. The student revolt however is only the backdrop to the story that concentrates on Watanabe's relationship with the women in his life. In his school days his close friends are a couple are Kizuki and Naoko (Rinko Kikuchi). They are childhood sweethearts that spend every minute of their free time together. At 17 Kizuki commits suicide for no apparent reason. As Naoko tries to get over Kizuki's death Toru and Naoko become ever closer. But Naoko finds it impossible to cope and goes to a sanatorium in the forest. Toru Watanabe meets Midori (Kiko Mizuhara) at university an outgoing self confident girl, a greater contrast to the sensitive, shy Naoko can hardly be imagined.

Norwegian Wood is an interesting beautifully photographed and directed film. Toru Watanabe is quite credible as the somewhat, withdrawn good looking student who attracts interesting women and is sexually confident in his emotionally quite taxing relationships. Excellent acting performance also from the other members of the cast.

The film is based on Haruko Murakami's 1987 cult novel of the same title. The original Japanese Title “Noruwei no Mori” would translate as Norwegian Forest. This is contrast to the meaning of Wood in the Beatles Song Norwegian Wood, which refers to furniture made of wood. The song is a favourite song of Naoko's and much of the important action in the novel plays in the beautiful forests in Japan, so the double meaning of “wood” in its title is quite appropriate.

Norwegian Wood is an interesting, challenging and beautiful film.

http://www.imdb.com/title/tt1270842/

Flare Path by Terence Rattigan, directed by Trevor Nunn at the Theatre Royal Haymarket London, 3.5* out of 5

A Lincolnshire guest house near an airfield during World War II is home to the Royal Airforce aircraft crews of whom Winston Churchill will say after the war: “Never in the field of human conflict was so much owed by so many to so few.” The men live their either alone or with their wives. At the centre of the play is the recently married Patricia (played by Sienna Miller). She has fled a long lasting turbulent with famous matinee idol Peter Kyle into a whirlwind marriage with a young socially awkward fighter pilot, Teddy. But Kyle and Patricia are still in love. At the same time the young aircraft pilot cannot believe his luck, that an attractive sophisticated woman like Patricia would have married him. When Kyle, aware that his status as a Hollywood actor is coming to an end, comes to the guest house to claim Patricia back she has a difficult decision to make. The stakes will transcend personal considerations. 

The guest house also houses other couples: a dare devil pilot Polish count recently married to an English barmaid and a gunner and his wife from a no nonsense, salt of the earth working class background.

The play was written in 1943 when a talented, intelligent and sympathetic observer, such as Terence Rattigan was himself part of the ground personnel of the Royal Airforce. His play is a study of the heightened emotional state brought about by a war situation. With intelligence and humour he has written a sensitive study of human character which, of course, is also a bit of a propaganda piece. Rattigan shows us how “situations make a man and not a man a situation”. For man here also read woman.

This is a play that will appeal to an English audience more than to overseas visitors, (although I would have said something similar about the recent film The King's Speech, which has struck a chord with American and other audiences, too.) As a somewhat ironic observer of English attitudes to the World Wars, I could not help being reminded of parodies of this type of piece by British comedians and sitcoms such as 'Allo 'Allo.

Given such caveats, Flare Path is worth a visit. Trevor Nunn's direction is excellent as always. There are also very good acting performances with Sheridan Smith as Doris, Countess Skriczevinsky and James Purefoy as Peter Kyle giving the strongest performances. Sienna Miller is quite credible as the attractive, cool Patricia, a lady who would make a worn out Hollywood matinee idol and a young RAF pilot with anxiety attacks lose their heads (and hearts).

The caricature-like role of the Polish Count Skriczevinsky is not an easy one to perform seriously, but Nunn would have done better to go for a Polish actor rather than rely on an unconvincing attempt of an English actor to play a Polish count.

The theatre was full and the audience very enthusiastic. On this showing This play will have a successful West End run.




http://en.wikipedia.org/wiki/Flare_Path

Cabaret Russe by Amateur Theatre group Coup de Théâtre at the Café Lebewohlfabrik in Zurich, 3.75*out of 5

Cabaret Russe is a show by Coup de Théâtre, a French language amateur theatre group in Zurich. The show consists of a series of sketches and songs that celebrate Russian literature, poetry and song and their connection with France through a series of sketches and performances, in a cabaret setting.

A number of those associated with this production are friends and relatives of mine. Having declared this personal interest at the outset, I aim to make this review as unbiased as any other I have written.

While the performers and the creative team are amateurs they have brought into their midst some professional and semi-professional skills. The setting in the Lebewohlfabrik (not far from Lake Zurich in the Seefeld area) with tables and chairs takes the audience immediately into a cabaret setting and so does the polyglot master of ceremonies Jaroslav Kilian at home in French and Russian. The use of dance and projection of pre-filmed backgrounds works very well. The sketches and songs include familiar and less familiar pieces which span the period from the 19th century to today. This could have easily become a very disjointed programme; yet the production by Sylvia Radzyner and direction by Marie Noëlle Befferal ensures a natural flow from one subject to another from one time period to the next. This is helped by the inventive choreography (by Theresa d'Oliveira). The theatre company's enthusiasm shone through in the performances and infected the audience. The musical numbers are a highlight of the show with the semi professional bass-baritone Ted Kremer performing in English and Russian covering the genres of Musical (Fiddler on the Roof) and opera (Eugene Onegin). The piano accompaniment by Pavel Posdishev is of professional standard. The undisputed highlight of the show are the musical pieces performed and filled with life and grace by the Russian soprano Yelena Bulavko, whose singing and acting would not be out-of-place in any high quality professional theatre ensemble. Her performances of Russian chansons would by themselves already justify the price of the ticket.

An enjoyable evening. If you are in Zurich you could do worse than dropping in at the Café Lebewohlfabrik for a fun evening or afternoon There are two more performances on 12 March at 8 pm and on 13 March at 5pm at the Lebewohlfabrik, Fröhlichstrasse 23, 8008 Zurich.

Reservations +41 (0) 43 533 51 10

The Theatre of Life: Brüno and Galliano - Gaddafi and Sir Howard Davies

When Sacha Baron-Cohen created his fictional character Brüno, the flamboyantly gay fascista fashionista reporter on Austrian Youth TV, was he aware of any role-models he had met on the cat-walks of Milan, Paris, New York or London?

If so John Galliano, top fashion designer for Dior would qualify as a candidate for inspiring Brüno's political underpinnings, although he seems to totally lack Brüno's charm, intelligence and heart of gold. Witness Galliano's performance in a Paris Brasserie.

Here's a bit of Brüno:

http://www.youtube.com/watch?v=ZsTXbOtS7Oc&NR=1

And here's a bit of Galliano:

http://www.thesun.co.uk/sol/homepage/news/3436757/Film-of-John-Gallianos-racist-rant-in-bar.html

So what would a PR campaigner suggest to Galliano to rehabilitate himself? A call to the Director of the London School of Economics and ex-Bank of England Deputy Governor Sir Howard Davies might be a first step.

Sir Howard Davies featured extensively as a character in David Hare's didactic play about the origins of the 2008 Banking Crisis “The Power of Yes” at the National Theatre. The play is prophetically aptly named for Sir Howard in particular, as it turns out.

http://www.nationaltheatre.org.uk/53565/past-nt-productions/the-power-of-yes.html

Galliano could propose to Sir Howard to fund a new LSE Research Centre on Racism and Antisemitism in the Luxury Industries. After all the LSE already has named its Sheikh Zayed Theatre Lecture Hall after a highly unsavoury character, Sheikh Zayed bin Sultan al-Nahyan. The Zayed centre at Harvard university had been closed down previously after it had come out with outrageously antisemitic and holocaust-denying publications. This however was no hindrance for the distinguished LSE committee ensuring compatibility between funding of research and maintenance of academic standards.

The LSE also provided civil rights research funded by Saif-Al Islam Gaddafi, and awarded him a PhD. Sir Howard Davies himself worked as an advisor to the (Gaddafi's) Libyan Central Bank. You can hear Howard Davies' explanation on how this happened in this BBC radio interview:

http://news.bbc.co.uk/today/hi/today/newsid_9409000/9409266.stm

More recently, the LSE has put Professor Martha Mundy and Dr. John Chalcraft, two vociferous leading members of the anti-Israel Boycott Divestment Sanctions (BDS) campaign in charge of its Middle East Centre. The latter is vaunted as a “centre of excellence” for research on all countries in the Middle East and aims to build ties with universities there. Unfortunately, “due to an oversight”, the map of the Middle East in the Centre's brochures omits the country Israel. Whether this is just a rather extreme form of divestment or a lack of geographical research skills we may never know. Perhaps it is just a clumsy attempt to curry favour with the Middle East Centre's funders from the United Arab Emirates.

A recent report on the Middle East Centre by the organisation Student Rights, which fights extremism on UK university campuses can be found here

http://www.studentrights.org.uk/cms/rc1/wp-content/uploads/2011/02/LSE-Middle-East-Centre.pdf

So what does anti-Zionism have to do with Antisemitism, you may ask? Not much, perhaps; except in the mind and policies of LSE's Director where anti-Zionist funding from Arab sources can be balanced by funding from people “of Jewish origin”, such as George Soros. Here is an original quote from a recent interview the LSE Director gave the Times Newspaper:

“The biggest donor to the School in the past year is George Soros, who of course is of Jewish origin. We operate, I believe, a very balanced view.” 

The theatre of life. We may want to give it a miss but, whether we like it or not we're part of this production.

John Galliano

Water, created by Filter & David Farr, at the Tricycle Theatre, London, 4.5* out of 5

A young woman comes to Vancouver. She is a junior member of the British government and a negotiator on climate change. She is here to negotiate with her US counterparts a common stance on carbon emissions targets for the next major worldwide conference round. Privately the woman, who has been clear that her priority is her professional life is going through a crisis with her boyfriend, a record chasing deep sea diver. He is currently thousands of miles away from her. He has done all he can to make this relationship last and is disappointed at her reluctance to commit. She begins to question her priorities.

Also on his way to Vancouver is middle aged environmental officer from the UK. In his private life he is struggling with bouts of depression. He has come to Vancouver for the funeral of his estranged father, a professor of Oceanography at Vancouver University. He meets up with his half-brother and discovers the truth about his father.

Water is a drama about the tension of in life between private happiness, professional success and political realities. The play is very well constructed and holds the audience's attention from beginning to end. The cast is very good, but the stars of this show are the creative team particularly the sound. Water is vibrant, inventive entertaining and stimulating theatre at its best.

Among the “flood” of new plays on environmental issues currently on the London stage (e.g. Greenland, The Heretic), Water stands out for sheer quality and originality adding to the tricycle's highly deserved reputation for excellence.

http://www.tricycle.co.uk/current-programme-pages/theatre/theatre-programme-main/water/

The Heretic, Play/Comedy by Richard Bean, at the Royal Court Theatre London, 3* out of5

At some stage during this play, the daughter of “the Heretic”, a female professor of Earth Sciences at a modern Redbrick University in England, exclaims: this is like being in EastEnders (for overseas visitors to London deprived of quintessential UK TV experiences EastEnders is a long running TV soap-opera on BBC TV).

Perhaps not, but the play The Heretic is more like a light television sitcom than a play worthy of the Royal Court Theatre. Environmental issues are rather incidental to the plot. The question of what can happen to an academic whose findings do not match "group-think", is the subject of this comedy. There are death threats from extreme environmentalists and a not so gentle reminder about the funding implications for the Department from the scientist's boss.

Back to "The Heretic" proper. The first hour of is filled with very funny one liners and quite entertaining. As the play wears on, a rather thin plot is solely the vehicle for gags and one-liners. The supply of gags dries up in the second half of the play. For the last one and half hours, The Heretic turns into a romantic comedy with certain twist and turns of the plot bordering on the pathetic.

The talented cast and creative team are more than this play deserves. Having said that, a packed house applauded warmly; with part of the audience clapping enthusiastically. I guess a few good laughs are especially appreciated in these austere times.

And then there is this: sometimes the plots of comedies can be trumped by real life. The Global Governance research centre. funded by Saif-al-Islam Gaddafi at the London School of Economics might want to send its staff to The Heretic. Moreover, the Middle East Centre at the same university might wish to join them. This outfit would rather remove from their website a map of the Middle East that "erroneously" omitted the a country called Israel, than correct the error by adding Israel to their map. One must assume that this is its tactic to mollify the Emirates Foundation which funds the this research centre. Something very similar is demanded by her department head, from the scientist in The Heretic; except here it's about funding from the environmental lobby. Academic life can indeed be stranger than fiction.

I should mention that most of the reviews in the press are more enthusiastic than mine. You can read them via the link to the Royal Court Theatre's website below.

http://www.royalcourttheatre.com/whats-on/the-heretic

Biutiful, Film/Drama, Mexico/Spain, directed by Alejandro González Iñárritu, 4.5* out of 5

Uxbal makes his living from helping to run illegal street selling and immigration in Barcelona (Spain). He has a heart for the African street sellers and the Chinese man and women living in squalid conditions whose labour he helps to sell to Spanish construction site managers. Uxbal also looks after his two children from his marriage to his estranged, bipolar wife.

A visit to his doctor brings bad news. For the sake of his children and he will have to bring some order into his life. Other people have come to rely on him, too. But terrible trials and tribulations still lie ahead.

Biutful is a deeply moving, sad, intelligent and indeed beautiful film. Xavier Bardem and Maricel Alvarez playing Uxbal's wife are outstanding. The other levers of the cast are excellent, too. The direction and photography reinforce the quality of this film.

Truly deserving of its Oscar Nomination for “Best Foreign Movie”, Biutiful is one of a group of “foreign” and art films - among them Of Gods and Men (Des Dieux et des Hommes) and Blue Valentine - which are of far higher quality than the actual nominees for Oscar-glory in 2011.

http://www.imdb.com/title/tt1164999/

Vernon God Little by DBC Pierre adapted by Tanya Ronder, Play, Young Vic, 4*out of 5

Vernon G. Little, aged 14, the (almost) eponymous hero of the play,based on the 2002 Booker Price winning début novel by DBC Pierre, is in trouble. His best friend just committed a massacre in his classroom and Vernon was found in the grounds of the school holding on to a bag of ammunition. He says he found this bag in the grounds of his school. The finger of the law and the media will soon resolutely point at this hapless Texas teenager, as one misfortune piles upon another.

Vernon Little is the Holden Caulfield for the 21^st century. His social context is on the intersection of Bowling for Columbine, South Park and Family Guy (see notes below). 

This play about, among other things, mass murder, suicide and serial killing is a riotously funny, serious tour de force accompanied by a cheesy live Country and Western soundtrack which the actors deliver with considerable musical skill. Young people in the audience will laugh at a cynical, crazy, all too real adult world which incorporates everything from the evil child molesting psychiatrist to the beloved but totally ineffectual mother, whose choice in men is less than fortunate. 

Meanwhile, we grumpy old adults in the audience are unable to get annoyed by how we are depicted, because we are cunningly distracted by the urge to quietly hum along to the hits of yesteryear - from Glenn Campbell's Galvistan to Johnny Cash's Rings of Fire (in Spanish for good measure).

This intelligent, irreverent and outrageous play is punchily presented in Rufus Norris' fast moving production of very high quality, inventive in many ways, for instance by conjuring up cars from sofas or shopping carts.

The ensemble of actors is outstanding. Johnnie Fiori as Pam and especially Joseph Drake in the title role deserve a special mention.

This is the play to get the age-group from 14 to 24 to love the theatre. The applause at the end of the play from an audience that included many young people was very enthusiastic - deservedly so!

Notes:

Holden Caulfield is the Teenage hero of J. D. Sallinger 1951 novel The Catcher in the Rye

http://en.wikipedia.org/wiki/The_Catcher_in_the_Rye

South Park is a North-American animated situation-comedy TV series created by Trey Parker and Matt Stone

http://en.wikipedia.org/wiki/South_Park

Family Guy is an animated situation-comedy television series created by Seth MacFarlane about a dysfunctional family. The characters tend to regularly break out in song.

http://en.wikipedia.org/wiki/Family_Guy

http://www.youngvic.org/whats-on/vernon-god-little

The Human Resources Manager, Film (Israel), directed by Eran Riklis, 3.5* out of 5

A young woman is killed in a suicide bombing in Jerusalem, but for weeks nobody seems to miss her. A large Israeli bakery finds itself in the eye of a media storm when it turns out that she was part of the cleaning crew and apparently nobody at the bakery had noticed her absence.

The owner of the bakery asks the Human Resources Manager to investigate. He finds out that the young woman is a Romanian guest worker who has left her husband and child behind in her native country. In order to repair its image the owner decides that the bakery take on the mission of facilitating a funeral in the employees native Romania and assist her family there. She confides this mission to the Human Resources Manager who has family problems of his own.

The Human Resources Manager is an Israeli road-movie. As Israel is not large enough for a road-movie - you can drive end-to-end in about 3 hours - the bulk of the action takes place in Romania, which has no such limitation. The Romanian location does little to lighten what is a rather sad story. The writer of the screenplay Noah Stollman, who adapted a novel by A.B. Yehoshua, and the director Eran Riklis have managed to infuse a gentle note of humour into this film. This mainly lies in the depiction of the characters and is competently delivered by strong acting performances.

This is Riklis 3^rd major film after the Syrian Bride and the Lemon Tree and very deliberately the first one that does not look at the relations between Israelis and Arabs. The way the Human Resources Manager reacts to the bureaucratic and other obstacles put in his way and deals with having to function as an Israeli and in a way represent Israel in another culture provides a good metaphor of the disconnect between the way Israelis are, see themselves and the way they are perceived by others. In this sense, this non-political film can be seen as a bit political, too.

This is not a film of grand powerful emotions but a sympathetic portrayal of diverse, engaging characters brought into contact with each other by a sad event. They all have to deal with the absurd situation they have been thrown into by events as best they can.

It is the portrayal of the characters and our ability to identify with them, that makes going to see this film worthwhile.

http://www.imdb.com/title/tt1311075/

Des Hommes et des Dieux (Of Gods and Men), Film, directed by Xavier Beauvois, 4* out of 5

A group of catholic monks in Algeria enjoy very cordial relations with the local, mainly Muslim community to whom they provide important medical and social services. The monks are respectful of Islam and dedicated to working the land and living their spiritual lives. As a brutal Islamist movement encroaches on the neighbourhood of the Monastery the monks have to decide whether to leave or stay. The heavy handed suppression of terrorism by the Algerian army does not make life easier.

Based on a true story, Des Hommes et des Dieux is a great piece of individual and ensemble acting. Each one of the people in the monastery is an individual with his motivations, fears, strengths and weaknesses. The group dynamics in the discussions among them are beautifully scripted and wholly believable. None of the monks is a fanatic or a hypocrite. The last thing they seek is martyrdom.

After all the scandals of the last decade, the catholic church is in dire need of some positive role models. The Atlas Mountain religious community, skilfully depicted by writer/director Xavier Beauvais goes some way towards restoring the our belief in European and Christian values of practical tolerance and compassion.

The dialogues are very well written and the film is beautifully photographed, acted and directed. Of Gods and Men fully deserves its nominee-status for best foreign film at the 2011 Oscars.

http://www.imdb.com/title/tt1588337/

Black Swan, film directed by Darren Aronofsky, 4* out of 5, high quality psychological thriller

Nina (Natalie Portman) is a perfectionist ballerina in a prestigious New York ballet company. She lives with her possessive mother, who is more than committed to her daughter's dancing career. The ballet company's artistic director Tomas Leroy (Vincent Cassel)  retires his ageing prima-ballerina Beth MacIntyre (Winona Ryder). He now has to cast a new star-ballerina to dance two rolls in Swan Lake: the virginal, pure White Swan, and the sensuous, seductive Black Swan. Nina is ideal for the White Swan role - but will she be able to dance the Black Swan? Just as Nina thinks she has safely landed the role, Lily (Mila Kunis), a sensual new dancer appears on the scene. She definitely has what it takes to play the Black Swan.

Black Swan is a taut psychological thriller. Less of a dance film than a sort of “Gaslight” with a Swan Lake – or perhaps more accurately, “Gaslight”¹ with a twist (no dancing pun intended). The excellent direction definitely holds the viewer in constant tension and suspense. There are also some fairly steamy erotic scenes of the kind we are more used to from French productions than Hollywood. Overall, script and direction give this psychological thriller a Claude Chabrol-like quality – and a high quality at that.

Meeting on the set of “Black Swan” has led to romance for Natalie Portman and the aptly surnamed Benjamin Millepied ("millepieds" is French for "centipede"), who plays the male dancer David. He also created the choreography for the film's dance scenes. Millepied, the principal dancer of the New York City Ballet and Portman are engaged to be married. Portman is also expecting their first child.

1For the uninitiated “Gaslight” a classic 1944 film directed by George Cukor, starring Charles Boyer, Joseph Cotton and Ingrid Bergman. The plot aims to show that even paranoid people can have enemies.

Black Swan

http://www.imdb.com/title/tt0947798/

Gaslight

http://www.imdb.com/title/tt0036855/