adaptation
Nick Hasted
Park Chan-wook is a Korean decadent and moralist who’d have plenty to say to Aubrey Beardsley. The lesbian pulp Victoriana of Sarah Waters’ Fingersmith proves equally amenable in this opulently lurid mash-up with a novelist he adores so much (the director once took a holiday to Tipping the Velvet’s Whitstable setting).Park himself calls The Handmaiden a “fan fiction” rewrite of Waters’ novel, but in transposing it to 1930s Korea, the Oldboy director sinks it deep into his own sensibilities. The country is a Japanese colonial outpost, where top-hatted Japanese toffs are sweatily entertained at Read more ...
Kieron Tyler
“I never saw anything like it,” declares Billy Pilgrim in wonderment. “It’s the Land of Oz.” He has just seen Dresden’s splendour from the train carriage into which he and other American prisoners of war are crammed en route to the city. They’ve been told it will be easier there than the prison camp they’ve left: they will experience less hardship at their new quarters. Dresden is not the Land of Oz, though. The new camp is named Slaughterhouse-Five and fire from above is about to slaughter the city’s residents. Soon, Billy and his fellow prisoners are stacking corpses.February 1945's bombing Read more ...
Tom Birchenough
The social permutations of love are beguilingly explored in the 90-minute stage traffic of Marivaux’s The Lottery of Love, with Paul Miller’s production at the Orange Tree Theatre making the most of the venue’s unencumbered in-the-round space to dance the action along at a brisk pace. The only adornment in Simon Daw’s design is an elaborate chandelier, bedecked with candles and hanging roses, but the sheer élan of the piece more than occupies the stage in itself.The theatre's Richmond location couldn’t be better either, the Georgian villas around its Green and along the Thames just the kind Read more ...
Paul Tickell
Karen Blixen (1885-1962), the prolific Danish storyteller, is perhaps most immediately recognised for the portrayal of her and her works on the big screen, above all by Meryl Streep in Out of Africa. But her own story, and her place in the literary canon, can often be overlooked. Over the past three years I’ve been working closely with Riotous Company on Out of Blixen, a production exploring the many sides to Blixen and the rich layers of her tales. It is directed by and stars Kathryn Hunter (pictured below in rehearsal, by Dan Fearon).Blixen’s life is ripe for theatrical interpretation. She Read more ...
Mark Sanderson
Like many first novels, Evelyn Waugh’s Decline and Fall has a strong whiff of autobiography. It is a revenge comedy in which Waugh – like Kingsley Amis after him in Lucky Jim – transmutes his miserable experiences of teaching in Wales into savage farce.BBC One's dramatisation begins in Oxford, 1928. Paul Pennyfeather (Jack Whitehall), a milk-and-water theology scholar, is sent down from Scone College (full of fruitcakes), for “indecent behaviour”. His crime? To run into braying members of the Bollinger Club who, having already defenestrated a pig’s head (Oink! Oink!), proceed to debag him. Read more ...
Tom Birchenough
The homecoming narrative is one of the most elemental ones we know, playing on the most primal human emotions. Stories of separation and reunion have been handed down from time immemorial, varying in their specifics but dominated by their intricate connection to feelings of origin and identity. Lion may be inextricably linked to the details of contemporary life in one sense, but its final scenes have a power that goes far beyond it. In director Garth Davis’s hands the story is told with a sensitivity that avoids the lure of sensationalism.Adapted from Saroo Brierley’s memoir A Long Way Home, Read more ...
Jenny Gilbert
Khaled Hosseini's 2003 bestseller ticks all the boxes as an A-level text. A personal story with epic sweep, it interweaves the bloody recent history of Afghanistan with a gripping family saga. Its treatment of racism and radicalism is timely. Other themes too might have been hand-picked for classroom discussion: bullying, betrayal, bad parenting, family secrets. Its first-person narrative makes it feel real.The trouble with this stage adaptation newly arrived in the West End is that only a small portion of the audience is using it for exam revision. Those merely hoping for a theatre Read more ...
Tom Birchenough
Audiences cannot fail to register the enormity of Martin Scorsese’s achievement in Silence. At 160 minutes, it hangs heavy over the film: adapted from the 1966 novel by Japanese writer Shusaku Endo, Silence has been close on three decades in the director’s preparation. It raises questions that are usually approached with Capital Letters. There are moments that are visually enthralling, landscapes of nature that dwarf the sufferings – visceral, in the literal sense, since they involve damage to the human body – inflicted on many of its characters. We’ll leave the “and yets” to later…The Read more ...
Jenny Gilbert
Anyone expecting a knockout punch from Matthew Bourne’s latest creation is in for a let-down. His hotly anticipated take on Powell and Pressburger’s 1948 film, unlike his Swan Lake, is not going to send anyone out into the night weeping into their hankie. Nor is it likely to turn unbelievers into ballet fans, and yet it is probably his best piece of work to date.The culmination of a long-held ambition, it truly is, in the luvvie phrase, a love letter to a life in the theatre, to dance in particular, and obliquely, to cinema too. A story about devotion to an artform, The Red Shoes feels like a Read more ...
Tom Birchenough
John Donnelly’s play The Pass scored a slate of five-star reviews when it ran at the Royal Court early last year – theartsdesk called it “scorching” – and plaudits for Russell Tovey’s central performance were practically stellar (“a star performance from onetime History Boys student that this actor's career to this point has in no way suggested,” we raved). For those who missed that sell-out, small-stage, seven-week run, Ben A Williams’ film adaptation delivers all the impact of that experience, in an independent British production that manages the transfer from stage to screen more than Read more ...
graham.rickson
Baz Luhrmann’s Strictly Ballroom started life as a short stage play in 1984, drawing on its creator’s own experiences in the heady world of amateur ballroom dancing. That the iconic 1992 film exists at all is something of a miracle; production funding was scarce and no distributor was willing to screen it until it was accepted for the 1992 Cannes Festival. Strictly Ballroom is still an intoxicating viewing experience: a visually arresting and upbeat modern fairy tale, smartly cast and superbly performed. The credits for this stage musical version are impressive: Luhrmann was one of the Read more ...
Hanna Weibye
Thank God for Akram Khan, English National Ballet, and Tamara Rojo. Their new Giselle, which finally arrived at Sadler's Wells this week after its Salford premiere in September, is a work of intelligence, power, beauty, and - most gratifying of all in this age of lies, damned lies and politics - stunning integrity. This is a ballet about issues that matter, made by people who know what they're doing.Giselle, thematically much the richest of the 19th-century ballets, is a strong choice for a remake, with a tight two-act structure on which to hang the exploration of all sorts of interesting Read more ...