Olympus Has Fallen | Film Review

olympushasfallenAs the tattered flag of the USA is flung aside by the North Koreans during their attack of the White House, the President of the USA is taken hostage, his son goes missing and America’s prized nukes become their very own weapons of mass destruction. 

 

Olympus Has Fallen (the code word for the White House) is the scene of a merciless shoot-out between the Secret Service and North Koreans and only Mike Banning (Gerard Butler), can save the day.

 

A disgraced former presidential guard, Butler’s on a one-man mission to save the President (Aaron Eckhart), his son, and to stop the terrorists from obtaining the three passwords to detonate America’s web of nuclear subheads.  

 

Directed by Antoine Fuqua, in the 13 minutes it takes the North Koreans to take over the White House (and a whole two minutes before the Army intervenes) the unwavering attack echoes the tragic scenes of 911 as a bomber plane whistles past high-rise offices and clips the Washington Monument before it comes crashing to the ground.

 

The film’s release is also at a somewhat ironic time as the hostilities between the two nations in our current world are also surfacing.

 

Intelligent and co-ordinated, the attack is played out with militant efficiency as innocents and secret agents’ bodies pile up on the lawn of the Presidential building and inside one of the safest places in the USA.

 

The light and sound effects on the big screen will leave you feeling shocked and impressed at the same time.

 

With its twists, split-second timing and traitors, Olympus Has Fallen has all the ingredients of a Hollywood action movie and at times, picked up on the comedic lines of Bruce Willis in the Die Hard sagas.

 

When the Defence Secretary Ruth McMillan (brilliantly played by Melissa Leo) is kicked and punched to the floor – a tad uncomfortable to view– she asks the president how her hair looks and when Banning calls his nurse wife to ‘check-in’, they both skirt around the truth and say they’ve had busy days.

 

At times the plot was a little contrived and the continuity was lacking. Banning, who no longer worked by the President’s side, was still able to gain access to the White House security systems and files, just as well really.

 

And as the guns blaze and Banning’s driving to 1600 Pennsylvania Avenue, his smooth face cuts to a stubbly square-jaw line in the next scene.

 

Overall, Olympus Has Fallen is an impressive action movie despite its recurrent plot line favoured by Hollywood directors.

 

And the inclusion of Morgan Freeman, the Speaker of the House who by default becomes the unlikely Acting President, is a sure fan-pleaser.

 

Butler provides the eye-candy, the North Koreans are the baddies and America is hailed as an undefeatable nation.

 

Tartuffe | Theatre Review

Tartuffe and ElmireSinner or saint, the character of Tartuffe certainly divides opinion.

 

To Orgon, the master of the manor, he is the epitome of piousness, yet to his family, he is nothing more than a vagabond taking advantage of people’s good nature.

 

With his reputation tainted and restored at every turn in the opening scene, the audience is eager to pass their own judgement on Tartuffe but his stalled introduction to the stage acts as a clever device to build the mystery.

 

Orgon’s mind is possessed by Tartuffe and he intends his daughter Mariane to marry him (though she’s already promised to wed Valère), and he even signs over the deeds of his estate to the former beggar.

 

The cheeky glint in Tartuffe’s eyes when he makes his grand entrance further enforces his view of ‘a secret sin is no sin at all’ as he commits the ultimate betrayal by confessing his love to Orgon’s wife Elmire.

 

When the family try to expose his scheming nature, the play comes over a little ‘carry on’ as they hide behind curtains and under tables to catch him out.

 

But once his deceit is unveiled to Orgon, it’s too late as the family’s ordered out of the estate which now belongs to Tartuffe.

 

At each stage, Dorine the maid oversteps the boundaries of her role but gains the trust of the audience as she gives each member of the family honest advice with a touch of flirtatious charm. Played by Katherine Rodden, she was the unexpected the star of the show.

 

Jeremy Gagan convincingly plays Tartuffe and his command of expression in scenes of deceit against those highlighting his virtue are performed with charisma.

 

A modern adaptation by Paradigm Theatre Company of the 17th Century theatrical comedy by Molière, Tartuffe was presented in the intimate surroundings of the Canal Café Theatre in Little Venice.

 Dorine and Mariane

The audience seating area is cleverly used as an extension of the stage, with the characters often mingling among the crowd and eavesdropping on the conversations taking place just overhead.

 

With a comedic value in the form of Dorine, the betrayal of a committed friend and with a heart-warming twist at the end, Tartuffe (artistically directed by Sarah Pitard and directed by Cat Robey) ticks all the boxes. And by no means a criticism, the cast should possess a little more confidence to balance their abilities.

 

Tartuffe runs till Sat 27 Apr 2013, with tickets for the 7pm show Tue-Sat costing £12 and for the 3pm Sat performance, it’s £10. To book tickets, visit www.canalcafetheatre.com and for more information, visit www.paradigmtheatrecompany.co.uk.

Photo credit: Jon Bradshaw


Knock Yourself Out Theatre Review

 

KYO posterTom Holloway’s Knock Yourself Out gives the audience a glimpse of modern university life, portraying the highs and the lows of two post-grads and a heroine junky enrolled on an MA course.

 

Throughout the semesters, we see the three amigos leading young and carefree days but the play edges the characters toward responsibility and their ultimate journey into the real world.

 

With the days and nights of partying set against life’s challenges, this kidult production depicts the struggle between reality and expectation.

 

Roger, played by the production-writer himself, expresses his desires and feelings through poetry.

 

At first, Roger appears to be an old soul trapped in modern life; a romantic seeking his happy ever after.

 

Yet, when a chance encounter leads to potential romance, he’s completely ignorant of Nicola’s affection and the gentleman we see in the opening scene is arrogant and brash toward her.

 

Likeable, naïve Jono, is dating Carrie and he confesses to the boys how in love he is and how much he misses her when they’re apart.

 

But his infatuation and hope of being together forever is misjudged when Carrie tells him she wants to see and sleep with other people.

 

And gay Scottish Billy, the only one of the trio who is actually studying, displays the persona of a lethario but secretly wants to commit to one man, Sam.

 

However, his only gratifying relationship is with heroine as he shoots up to experience euphoria.

 

For the boys, the final year in student accommodation is a time to explore

drugs, sex and the boundaries of their friendship.

 

Roger kisses Jono’s girl and a fight breaks out between the two, adding to the dark undercurrent within the play.

 

Tom Holloway’s show is based on real experience and it’s a moving insight into the opportunities perceived while at University verses the actual financial hardship, unemployment and management of friendships.

 

While the stage is set to the front-room of the house only, there was clever directing with scenes played out as if the fast-forward button had been pressed.

knock yourself out-2 

Knock Yourself Out boasts an impressive cast from the likes of Danielle Watson (Ginny) who’s starred in Wire In The Blood & This Is England ’86 to Jenni Herzberg (Carrie) who’s featured in Spooks and Doctors.

 

And for the launch night on Thursday 7 March 2013, there was an equally impressive audience with the likes of Olly from Made In Chelsea, Holby City actress Jing Luis and Eastenders actress Bunmi Mojekwu.

 

Knock Yourself Out runs at The Courtyard Theatre until 24 March, excluding Mondays www.thecourtyard.org.uk/whatson/295/knock-yourself-out

There are 2 for 1 tickets all weekend using codes:  ‘Mouse Trap’ or £5 tickets on 12th March with code: ‘iambic’ for £8 Tickets until the 14th March.

Photo credit: Kit Oates.

Calendar Girls | Theatre Review

Tim Firth’s phenomenally successful Calendar Girls has been performed on stage and movie screens across the globe but its run at the local Ealing theatre hut, Questors, is where the drama really comes to life.

Even without Helen Mirren or an expendable budget, the Questors simple props and am-dram cast came together to offer a moving, personable, and simply fantastic adaptation.

After all, simple props such as baked buns and flower-pots were the only items used to protect the women’s modesty for the calendar photo shoot.

From the opening scene of the Women’s Institute partaking in tai chi to the moment they decide to strip for the famous Yorkshire charity calendar, the bonds of friendship are evident both on and off the stage.

Despite the different personalities, from loud Cora, to life-experienced Jessie and the snobbish Celia, once Annie’s husband dies from Leukaemia, they harmonise to raise money for a communal sofa for the hospital which looked after John Clark.

And as the group debate the morality of an artistically ‘nude’ calendar (as opposed to the more common ‘naked’), we shared their every musing from lack of confidence, embarrassment to final empowerment and financial success.

Hannah Whiteoak who plays Ruth was a particular treat to witness.

Her slightly timid, introverted character was played out to comedic effect which balanced the heavier plot of illness and death.

And just when you’re not sure whether she’ll take part in the photo-shoot, she outshines all the ladies as she confidently stretches out her body on the table as fruit envelopes her humility.

Directed by Rachel Knightley (her first production), there were two scenes which really impressed.

In a sombre moment when John’s dying, the women all group together and stand around his wheelchair.

As his lines fade and the lights are dimmed, Annie’s lines overlap John’s as he slowly walks away into the shadows of the stage. It was very touching.

Another clever use of the set was when the WI received all the fan mail after sales of the calendar rocketed both in Yorkshire and abroad.

Letters were dropped to the floor from stage scaffolding above which was very novel.

Despite its amateur status, this is a fine production from Questors and a promising start for new director Rachel Knightley. It had me laughing and caught me crying at all the right moments.

Calendar Girls is running at Questors till Sat 10 Nov. To book tickets, visit: http://www.questors.org.uk/event.aspx?id=364

All photos are by Richard Mead.

The Man on Her Mind

The Man on Her Mind is a subtle comedy exploring the reality of relationships against the imagination of the soul.

 

Set in the heart of Manhattan, Eleanor anxiously waits for her lover in her 32nd floor studio flat as she disgustedly deletes the countless voice messages of another suitor, Leonard.

 

Never knowing when boyfriend Jack will arrive, once the confident banker breezes into the room, the chemistry between the pair’s evident as they flirt over a glass of wine and he affectionately calls her ‘Nellie’.

 

Jack’s forced to hide in the bathroom as Janet, Eleanor’s older sister, pops by to get the gossip on her love life and quizzes her on why she’s not returned her neighbour’s calls.  

 

Sibling rivalry is evident in the interaction; Janet wants to make Eleanor jealous of her ‘perfect’ suburban family life, mocking her sister’s tiny flat and sporadic lifestyle.

 

The scene then cuts to Leonard’s house.

 

A slightly nervous character, the audience sees the cluttered state of his mind with dozens of large boxes still waiting to be unpacked despite him moving in several months ago.

 

Janet and her husband Frank invite themselves in (he tends to leave it wide open) and do their best to find out more about their neighbour who they’ve already marked as Eleanor’s perfect match.

 

However, once the couple leave, Leonard’s girlfriend confidently strolls down the stairs.

 

And surprisingly, it’s Nellie, the imaginary concept of Eleanor.

 

Similarly, Leonard is the physical embodiment of the subconscious Jack.

 

Ironically, the real Eleanor hates the real Leonard, but somehow he’s manifested himself into her imagination as the perfect man Jack.

 

And Nellie has been formed from Eleanor, the girl Leonard desperately tried to call and hoped to date. 

 

Once the imaginary Nellie and Jack meet, they play the part of guardian angels, willing their real selves to start a relationship.

 

And it’s only a matter of time before Eleanor drops her defences and gives Leonard a chance where they both discover they’re truly soul mates.

 

Written by Alan Hruska and directed by Bruce Guthrie, the pair have composed an original and enigmatic stage production at Charing Cross Theatre for the autumn.

 

Amy McAllister, who played both Nellie and Eleanor, was the standout actress, delivering a charismatic performance, adapting her persona to fit both the real and imaginary characters.

 

The themes of love and rivalry were wonderfully played out and the serious idea of what’s real and what’s imaginary was handled with a refreshing comedic twist.

 

The Man on Her Mind is showing at Charing Cross Theatre till 27 Oct 2012.

www.charingcrosstheatre.com.

 


The Inappropriateness of Love By Paloma Kubiak | Theatre Review

Intimately showcased in the upper decks of an Islington theatre bar, The Inappropriateness of Love delves into the complexities of the emotion, capturing each character’s hope and struggle to love and be loved. 


Performed by Paradigm, a new London fringe repertory company, and written/directed by Sarah Pitard, the dark comedy explores the entangled relationships between six characters, linked together by the affable yet somewhat nerdy, Scooter.  

 

The plot is driven by Scooter’s compulsion to attend his old university friend’s wedding with a ‘plus one’, rather than face the embarrassment and reality of his impending loneliness.

 

As the story unfolds, the audience is invited to share Scooter’s experience of risk-taking and rejection when it comes to his therapist Jessica, the stilted relationship with his elderly mother and his ignorance of best friend Zoey’s feelings towards him.

 

In other serious scenes dealing with divorce, cheating and break-ups, the play is given a slight comedic uplift through outspoken, tarty receptionist Stephanie who’s dating senior manager, Darren (therapist Jessica’s ex-husband).

 

The audience warms to her character, perhaps because of her evident vulnerability and the one-night stand scene with Scooter also provides an awkward, yet funny combination.

 

In the same way Pitard wrote ‘there’s a little bit of me in all the characters’, I too was reminded of those first pangs of love for a professional figure, a doomed office romance and the tumultuous period with an older, divorced lover.

 

The Inapproriateness of Love exposes the vulnerability of the heart through thoroughly convincing acting and scenes.
For it’s premier performance this week, it’s well worth seeing at the Hen and Chickens Theatre till 29th September 2012.

www.paradigmtheatrecompany.co.uk

 

Asger Juel Larson’s AW12 collection

Executed with militant efficiency, Asger Juel Larson’s AW12 collection combined raw masculinity with a nonchalant effeminate twist.

‘Lucid Disorder’ held on Wednesday 22 February 2012 reinvented the classic male suit with textured materials, two toned jacket and bottom combinations (both harem pants and thick-pleated skirts) and an attention to detail to accessories.

Almost as dark and edgy as the sumptuous surrounding of the Freemason’s Hall in Holborn, Larson’s London Fashion Week set offered predominantly statement black styles with heavy, and occasionally imperfect, fur adornment.

The emerging Danish designer’s catwalk collection suggested an experimentation of a tribal- come-trooper style – with fluffy hats, some models sporting quiver bags, double breasted jackets and others exposing their tattooed chests.

But Larsen added a modern twist with décollage detail to his jackets which were ripped to the shoulders or simply cut around the neck with no other embellishment.

In other striking designs, the models (who were styled with a frozen brow and beard) emerged wrapped in thick polo necks and Middle-Eastern head gear.

Already voted as ‘one to watch’, Larson has blurred his vision of past and future male clothing, the effect of which is vibrancy, even though his trademark style is underpinned by a gothic, lucid theme.

Ashley Isham’s AW12 collection | London Fashion Week

In keeping with his signature style of soft draping fabrics ebbing with a touch of couture, Ashley Isham’s AW12 collection contemporises both the bold monotone and bright floral prints seen from his last catwalk showcase.

With embellished detail to his floor-sweeping Grecian dresses and the shorter pleated skirts, Isham’s latest designs punctuate the feminine frame, nipping in flowing fabric around the waist, below the breast and lower back, creating an elegant silhouette.

The Singaporean designer’s contribution to London Fashion Week with his ‘My Beautiful Fashion’ set saw the revival of a metallic theme, with clouded sequined strapless dresses to rich bronze tones sweeping the stage.

The models were styled with slicked back hair curled underneath the ends and the make-up unified the metallic undertones of the evening.

Against the shimmering floor-length assymetrical designs, Isham infused a chatter of green floral and fish-scale prints, adding a fresh outset to the collection but re-enforcing his preference for pretty soft-flowing styles.

And it seemed, he was uninterested in hiding the seam within his creations, instead thick zips trailed along the models back, or seduced the eye towards the lacey top-half of his dresses.

A memorable look from the Saturday 18th February show was a full cream-coloured lace ensemble, which delicately wrapped the head yet gripped the body to the waist, before retreating away from the legs towards the floor.

Simple yet stylish, it infused Isham’s trademark Western look with an Arabesque layer, perhaps a subtle digression for future runways.

But, what I have come to respect Isham for is his high-street friendly designs, with the style and cut of his collection fit for the catwalk yet which also easily translate to the wardrobe favourites for the average fashionista.

Despite a power-cut at the start of the show which meant the music was off for a couple of minutes, Isham should be proud of his 2012 achievement, rather than humbly welcoming the applause before quickly sliding out back stage.

By Paloma Kubiak