adaptation
Matthew Wright
“Something strident and stirring – play to us now, please!” demands Martin Clunes’ Sir Arthur Conan Doyle to the piano-playing vicar’s wife, on apprehending that their conversation is being eavesdropped on. Sherlock Holmes himself could hardly have responded more adeptly to frustrate the eavesdropper, and as Conan Doyle’s pursuit of the intruder leads him to a sinister, candle-lit shrine containing the vicar’s daughter’s long-lost favourite doll, it’s clear that ITV has a new thriller both strident and stirring on its hands.The story is based on historical events surrounding George Edalji, Read more ...
Jasper Rees
Wolf Hall divided viewers from the off. It mesmerised many and left a vocal minority cold, for whom apparently - mystifyingly - it has all been a bit dull. The dialogue was too elliptical, the politics tricksy and convoluted (who is this Holy Roman Emperor anyway?), there was a surfeit of men called Thomas and women stitching in bay windows and big dresses. And to cap it all director Peter Kosminsky, fetishising Mark Rylance’s inscrutable face, seemed to want every take to carry on into next week.In the end, the rewards for loyalty were rich, and never more than in the adaptation's final Read more ...
Jasper Rees
The broomsticks are back in the cupboard, wands are no longer at the ready, and no one is casting spells in cod Latin. JK Rowling’s first novel for adults has made its inevitable journey from page to screen. The first view of a picturesque Cotswolds village – a mannikin in erotic underwear provocatively on all fours in a shop window – says it succinctly: we’re not in Hogwarts any more.The setting of The Casual Vacancy is Pagford, a village in rural southern England where the haves and have-nots, the plummy toffs and the loamy yokels, co-exist cheek by jowl. That’s the way it always has been Read more ...
fisun.guner
As Shakespeare is to these native isles, so Pushkin is to Russia. And Eugene Onegin, Alexander Puskin’s enduring verse novel first published in serial form in 1825, is the most honoured and beloved of all Russian classics. Outside Russia, the story is, of course, most familiar to us through Tchaikovsky’s great opera. We also have John Cranko’s 1965 ballet, set to other music by Tchaikovsky, a production of which is currently selling out at the Royal Opera House. Now a rare spoken-word adaptation is setting the bar. Presented in two acts, and running at nearly three and a half hours, it Read more ...
Jasper Rees
Fifty Shades of Grey is upon us, more or less literally. It's a bit like the clamber-cam POV shot of Jamie Dornan materialising through Dakota Johnson’s spread legs. The teaser campaign has completed its titillating foreplay, and this weekend the fairytale fantasy franchise about fucking and slapping (but please, sir, no fisting) thrusts its entire length into the world’s cinemas. How will it be for you? The morning after, will audiences still be applying Arnica to their assaulted senses?Let’s start with what it’s not. It’s not the worst film in the world. To an extent, it has been rescued Read more ...
Jasper Rees
For weeks and weeks, the BBC has been borrowing Anne Boleyn’s tactic of seduction. Henry VIII was vouchsafed occasional access to his future bride’s breasts, but no more until she was queen. It’s felt rather like that being fed Wolf Hall trailers for the past few weeks: teasing snippets of promised treasure, but there has been no way of knowing precisely what goodies lay in wait under the skirts. Has it been worth the anticipation?In a word, yes. And for one overpowering reason: Mark Rylance, the complete actor. This is his first return to television in more than a decade. For all his Read more ...
Matt Wolf
If proof were needed that war exists in some quarters as an excuse for beautiful images, along comes this screen account of Vera Brittain's celebrated 1933 memoir Testament of Youth to offer up prettified pain in abundance alongside some fine performances that do what they can to break through the prevailing gloss. First-time feature director James Kent's film can be seen as the converse to something like, say, the awful Unbroken, which rubs our noses almost fetishistically in suffering and torture. But surely some sort of possible middle ground exists whereby this fascinating story could Read more ...
Marianka Swain
Disillusioned with our modern world? Why not journey back into an idyllic past, when trains were benign, anthropomorphic creatures rather than sources of commuter angst, red petticoats held life-saving powers, and it was perfectly all right for children to accept sweets from a stranger.That’s not to say Mike Kenny’s crisp adaptation of Edith Nesbit’s 1906 novel is devoid of contemporary resonance; the tale of a refugee writer persecuted for daring to question the ruling regime is almost uncomfortably topical. This Edwardian story also carries a timely defence of the Welfare State, with an Read more ...
edward.seckerson
It’s true that there is something wildly, garishly, theatrical about Pedro Almodóvar’s films – none more so than this rampant farce – but it’s equally true that their sensibility is far removed from what the English might deem farce, and that their speed of delivery leaves not a millisecond to draw breath, let alone sing a song. So where does that leave Women on the Verge of a Nervous Breakdown, the Musical? Lost in translation; twice over.The conceit is niftily established when our anti-heroine Pepa (Tamsin Greig) staggers sleepily onto Anthony Ward’s sleek duplex set and affects a series of Read more ...
Matt Wolf
Behind the Beautiful Forevers, David Hare's adaptation of Katherine Boo's Pulitzer Prize-winning book, works as both play and portent. Viewed on its own terms, the evening grips throughout in its embrace of the multiple contradictions of contemporary Indian life as here filtered through those existing quite literally off the scrap of that country's gathering economic power. Even more importantly is what Rufus Norris's epic staging – this director's most confident work yet at this address – may signal about the sort of National Theatre we have in store when Norris launches his Read more ...
Marianka Swain
Purists may take issue with Anya Reiss’s incursion into the classics. Having already tackled The Seagull and Three Sisters, she’s now turned her dogged 21st-century gaze on Uncle Vanya. But Reiss’s adaptation, though fresh and punchy, is notable, in fact, for its amiable fidelity. The framing is in place for a provocative revamp, yet, in appropriately Chekhovian fashion, Reiss appears to have hit some kind of a psychological barrier partway through the process. This is one of the wittier versions you’ll encounter, honouring the comedy in “tragicomedy”, but it never develops an audacious Read more ...
Hanna Weibye
New Adventures, the name of Matthew Bourne's company, has a ruddy-cheeked, Boys’ Own ring to it that has – until now – been rather belied by his oeuvre, which includes a dance version of Edward Scissorhands, as well as dark retellings of all the traditional story ballets. But the New Adventure which rolled into Sadler’s Wells last night really is an adventure – an adaptation of William Golding’s Lord of the Flies, the desert island schoolboy story heavy with allegory about the propensity of human beings to descend into barbarism.Civilization and barbarism are complex terms, and political Read more ...