Archive for Drama

Culture Vulture 2-8 March 2024

February 29, 2024 at 11:19 am · Filed under Culture Vulture, Drama, Film & DVD Reviews, TV Shows ·Tagged , , , ,

Welcome to Culture Vulture, your guide to the week’s entertainment from an alternative standpoint. Writing and selections are by Pat Harrington and music is by TIm Bragg. Highlights this week include: The Third Man (1949) – Directed by Carol Reed, this cinematic gem weaves intrigue, betrayal, and postwar shadows in the hauntingly atmospheric city of Vienna. Down The Tracks: The Music That Influenced Bob Dylan and, Our Dirty War: The British State & The IRA.

Saturday 2 March 2024

The Third Man (1949) 2.15pm BBC2

“The Third Man” (1949), directed by Carol Reed, is a cinematic gem that weaves together intrigue, betrayal, and post-war shadows in the hauntingly atmospheric city of Vienna. The story revolves around an American writer named Holly Martins (played by Joseph Cotton), who arrives in post-World War II Vienna at the invitation of his friend, the enigmatic Harry Lime. However, when Martins arrives, he discovers that Lime has been killed under mysterious circumstances. As Martins delves deeper into the murky world Lime left behind, he uncovers secrets, treachery, and a tangled web of deception.

The film’s hauntingly beautiful score, performed on a zither by Anton Karas, sets the tone perfectly. It’s jaunty yet devoid of joy, much like whistling in the dark. The music accompanies the action, which starts as an undergraduate lark but soon reveals its vicious undertones. Lime’s death becomes the central mystery that propels the plot forward.

Director Carol Reed and cinematographer Robert Krasker create a visually arresting experience. The entire film was shot on location in Vienna, where the scars of war were still fresh. The city’s rubble, bomb craters, and desperate black market economy serve as a backdrop for the characters’ moral dilemmas. The tilted camera angles, wide-angle lenses, and bizarre lighting contribute to the film’s expressionist nightmare.

Vienna in “The Third Man” is more than a mere setting; it’s a character in itself. The city’s distinctiveness permeates every frame. The action fits Vienna like a glove, capturing the post-war disillusionment and moral ambiguity of the era.

The film reflects the emerging Cold War years, where paranoia, betrayal, and the looming threat of the Bomb cast their shadows. Unlike “Casablanca,” which exudes hope, “The Third Man” embraces a darker, more pessimistic outlook.

“The Third Man” is a masterclass in filmmaking—a harmonious blend of visuals, music, and storytelling that lingers long after the credits roll.

Sunday 3 March 2024

The Quiller Memorandum (1966) 1.40pm

“The Quiller Memorandum” (1966), directed by Michael Anderson, is a captivating spy film set against the backdrop of Cold War-era Berlin. In West Berlin during the 1960s, two British agents are killed by a neo-Nazi group. British Intelligence dispatches agent Quiller (played by George Segal) to investigate. Quiller delves into a web of intrigue, betrayal, and danger as he seeks to uncover the truth behind the murders and the elusive organization.

Unlike the flashy James Bond films of the era, “The Quiller Memorandum” opts for intelligence over gadgets. Playwright Harold Pinter provides sharp, cat-and-mouse dialogue that keeps viewers engaged. Quiller’s journey involves being captured, drugged, and entangled in a romance with a mysterious German schoolteacher.

Shot on location in Berlin, the film captures the city’s eerie atmosphere. The night shots and the sense of reality—amidst the remnants of the Wall and Cold War tensions—add depth to the story. The film score, possibly by John Barry, enhances the unease.

George Segal portrays Quiller with wit, sarcasm, and vulnerability. His character feels like a blend of classic spy charm and modern sensibility.

“The Quiller Memorandum” may not reach classic status, but its methodical approach and well-written dialogue make it a compelling addition to the spy thriller genre.

Scott of the Antarctic (1948) 2.45pm BBC2

“Scott of the Antarctic” (1948), directed by Charles Frend, offers a respectable account of British explorer Robert Falcon Scott’s doomed expedition to the South Pole. The film portrays the harrowing journey of Scott and his team as they battle extreme cold, isolation, and dwindling supplies in their quest to be the first to reach the southernmost point on Earth.

John Mills delivers an excellent performance in the lead role of Commander Scott, capturing the determination and heroism of the real-life explorer. The film’s cinematography, despite the limitations of the era, skilfully captures the stark beauty of the icy landscapes. The haunting score by Vaughan Williams adds emotional depth to the narrative.

While some critics argue that the film idealizes Scott’s character and simplifies historical complexities, it remains a compelling watch. The sacrifices made by these gallant men—especially the poignant moment when Oates utters his famous line, “I’m going outside, I may be gone some time”—leave a lasting impact.

Despite its flaws, “Scott of the Antarctic” stands as a tribute to human courage and the indomitable spirit of exploration.

Down The Tracks: The Music That Influenced Bob Dylan 10pm Sky Arts

“Down The Tracks: The Music That Influenced Bob Dylan” is a captivating and insightful documentary that delves into the musical roots that shaped the legendary Bob Dylan. Throughout his illustrious career, Dylan’s songwriting prowess has stood supreme, but this film sheds light on another facet of his artistry: his deep appreciation for the music of others.

In impromptu sessions at Greenwich Village coffee houses and clubs, Dylan often performed cover songs from his early influences, showcasing his love for country music. These musical threads wove their way into his own compositions, leaving an indelible mark on his iconic sound.

Whether you’re a devoted Dylan fan or simply someone who appreciates great music, this documentary is a must-see. It provides a unique window into the life and work of one of the most influential musicians of our time.

Frankenstein: Birth of a Monster 10.30pm BBC4

“Frankenstein: Birth of a Monster” is a captivating TV documentary that explores the life of Mary Shelley, the writer behind the iconic novel Frankenstein. The film delves into Shelley’s personal struggles, creative process, and the emotional connections between her experiences and the themes in her novel. Through interviews and insights, it provides a thought-provoking glimpse into the woman behind this timeless work.

One crucial aspect that influenced Frankenstein was the scientific developments of Shelley’s time. The early 19th century was marked by significant advancements in science, particularly in the fields of anatomy, electricity, and galvanism. These developments fascinated Shelley and found their way into her novel.

Anatomy and Resurrection:
The study of human anatomy was gaining prominence, and dissections were conducted for scientific purposes. Shelley was aware of these practices and the ethical debates surrounding them.
Dr. Frankenstein’s creation of the monster by assembling body parts reflects this fascination with anatomy. The idea of reanimating life from dead tissue was both intriguing and unsettling.

Galvanism and Electricity:
Luigi Galvani’s experiments with electrical currents on frog legs intrigued Shelley. Galvani believed that electricity could animate life.
Dr. Frankenstein’s use of electricity to bring the monster to life mirrors these scientific ideas. The scene where he harnesses lightning to infuse life into his creation draws from the concept of galvanism.

The Industrial Revolution:

The Industrial Revolution was transforming society, and Shelley witnessed its impact first-hand. The mechanization of labour, urbanization, and the quest for progress shaped her worldview.
Dr. Frankenstein’s ambition to create life through scientific means reflects the era’s obsession with progress and the consequences of unchecked scientific pursuit.
In summary, Frankenstein: Birth of a Monster not only celebrates Mary Shelley’s literary genius but also highlights how her novel was intricately woven with the scientific zeitgeist of her time.

Chrissie Hynde Sings Bob Dylan 12 midnight Sky Arts

“Chrissie Hynde Sings Bob Dylan” is a remarkable tribute to the legendary troubadour. Chrissie Hynde, the iconic leader of The Pretenders, masterfully interprets nine of her favourite Bob Dylan songs in this heartfelt collection.

Monday 4 March 2024

Art of America: What Lies Beneath 8pm BBC4

“Art of America: What Lies Beneath” is a captivating documentary that delves into the pulse of contemporary American art. Presented by Andrew Graham-Dixon, the film takes viewers on a journey from New York to LA, exploring the works of influential artists.

Here are some highlights from the documentary:

Andy Warhol’s Soup Can Paintings:
Graham-Dixon examines Andy Warhol’s iconic soup can paintings. These seemingly mundane objects became powerful symbols of pop art and consumer culture.
Warhol’s ability to elevate everyday items into art challenges conventional notions of artistic value.

Interview with Pop Artist James Rosenquist:
The documentary features an insightful interview with James Rosenquist, a prominent figure in the pop art movement.
Rosenquist’s bold and colourful works often blend advertising imagery, politics, and consumerism.
Ed Ruscha’s Artistic Exploration:
Graham-Dixon explores the work of Ed Ruscha, known for his text-based paintings and prints.
Ruscha’s fascination with language, urban landscapes, and the American West informs his distinctive style.

Inside Jeff Koons’s Studio:
The documentary takes us behind the scenes into Jeff Koons’s studio. Koons, a controversial artist, creates large-scale sculptures and installations.
Koons’s exploration of kitsch, consumerism, and popular culture challenges traditional boundaries in art.

Art of America: What Lies Beneath provides an engaging glimpse into the diverse and dynamic world of American art.

The Souvenir (2019) 12.10am BBC2

“The Souvenir” (2019), directed by Joanna Hogg, is a film that defies easy categorization. It’s a slow-burn exploration of love, art, and identity, set against the backdrop of early 1980s London. Here are some key points:

The film follows Julie (played by newcomer Honor Swinton Byrne), a film student living in a posh flat in Knightsbridge. Her life takes an unexpected turn when she meets Anthony (portrayed by Tom Burke), a supercilious man who challenges her perceptions and insecurities.

“The Souvenir” doesn’t offer easy answers. Its absence of tonal readability is deliberate. Director Joanna Hogg conducts her drama in available light, creating an intimate, semi-dark atmosphere. The film is about the upper classes, but it’s not a glossy portrayal; it’s a social realist exploration of privilege.

The film creeps up on you, revealing its layers gradually. Honor Swinton Byrne’s performance is graceful and insouciant, while Tom Burke exudes understated arrogance. Their interactions are like a delicate dance, leaving lasting impressions.

“The Souvenir” presumes an intelligent and patient audience, rewarding them with a tender yet tragic story—a muted palette of emotions that lingers long after the credits roll.

Tuesday 5 March 2024

Klimt & The Kiss 8pm Sky Arts

“Klimt & The Kiss” weaves together stunning footage of the painting with insightful commentary. It invites us to question preconceptions, to peer beyond the golden surface.

Is the woman unconscious or blissful? Is the man’s embrace tender or domineering? The longer we look, the more layers we uncover.
In this shimmering journey through history, Klimt’s masterpiece ceases to be mere dorm room decor. It regains its depth, its mystery, and its power to provoke contemplation.

Mary & George 9pm Sky Atlantic

“Mary & George” is an enthralling period drama that weaves together ambition, intrigue, and treachery. Based on the remarkable true story of Mary Villiers, this eight-part series takes viewers on a captivating journey through the corridors of power in 17th-century England. Prepare for a captivating ride through courtly machinations, forbidden love, and the pursuit of power.
Whether you’re fascinated by historical intrigue or simply crave compelling storytelling, “Mary & George” delivers in spades.

Green Book (2018) 11.15pm BBC2

“Green Book” (2018), directed by Peter Farrelly, is a delightful and inspiring film that combines strong performances with a sharp screenplay. The film follows the true story of an unlikely friendship between two men: Tony Lip Vallelonga (played by Viggo Mortensen), an Italian-American bouncer, and Dr. Don Shirley (portrayed by Mahershala Ali), a talented African-American pianist. Set in the racially divided American South of 1962, their journey together reveals unexpected connections and challenges societal norms. Both Viggo Mortensen and Mahershala Ali shine in their roles. Mortensen brings humour and heart to Tony Lip, while Ali portrays Dr. Shirley with elegance and vulnerability. Their chemistry elevates the film. “Green Book” tackles race relations, friendship, and personal growth. It’s a road trip movie with substance, exploring deeper issues while maintaining an enjoyable surface. “Green Book” is a well-crafted blend of entertainment and thought-provoking storytelling—a reminder that genuine connections can bridge even the widest divides.

Wednesday 6 March 2024

Ladybird (2017) 12.25am BBC1

“Lady Bird” (2017), directed by Greta Gerwig, is a film bursting with warmth, wit, and melancholy. It manages to feel fresh and unexpected despite the overly stacked nature of the coming-of-age subgenre. The film follows 17-year-old Christine, self-proclaimed as Lady Bird (played by Saoirse Ronan), during her final year at a progressive Catholic high school. She yearns to shed the restraints of home and Sacramento, dreaming of escaping to the East Coast “where the culture is.” Her relationship with her mother, Marion (portrayed by Laurie Metcalf), is filled with push-pull dynamics, fear of the unknown, and begrudging expressions of affection. Greta Gerwig’s semi-autobiographical script infuses the film with authenticity. Lady Bird’s interactions with her crushes (played by Lucas Hedges and Timothee Chalamet) and her bubbly best friend, Julie (a true find in Beanie Feldstein), create a rich tapestry of characters. Gerwig’s solo directing debut balances indie dramedy sensibilities with mainstream appeal. The film’s polished style verges on hyperrealism, drawing viewers into Lady Bird’s world. In summary, “Lady Bird” is a wry, funny, and touchingly real coming-of-age story—a gem that resonates long after the credits roll.

Thursday 7 March 2024

Our Dirty War: The British State & The IRA 11.15pm BBC2

“Our Dirty War: The British State and the IRA” is a gripping documentary that delves into the shadowy world of covert conflict between Britain and the Irish Republican Army (IRA). This 29-minute program, part of the Spotlight series on BBC One Northern Ireland, sheds light on a chilling chapter in history.

Investigative journalist Peter Taylor leads us through the murky terrain of espionage, betrayal, and violence. At the heart of this narrative lies the enigmatic figure known as Stakeknife – a secret killer and super-spy. His actions reverberated through the Troubles, leaving victims in his wake. The documentary unearths chilling audio tapes and interviews with those who lived through the brutality of this covert war.

Smoke Sauna Sisterhood (2023) 11.15pm Film4

“Smoke Sauna Sisterhood” (2023), directed by Anna Hints, is a small miracle of a documentary. It invites us into a blissfully safe space—the tradition of the sauna in a smokehouse in the Estonian Võromaa region, certified by UNESCO as an “intangible cultural heritage of humanity.” Cinematographer Ants Tammik bathes the wooden building in a gentle, heavenly glow. The women, comfortably nude, tend to each other, whisking with branches and rubbing salt scrubs on their skin. They talk and listen, creating a sacred sharing that transcends societal pressures. The film captures quiet intimacy and profound beauty, allowing us to appreciate the human body. In this place, they are completely comfortable in their bodies, free from judgment. “Smoke Sauna Sisterhood” soothes and cleanses, leaving a lasting impact.

Friday 8 March 2024

Lily And Lolly: The Forgotten Yeats 8pm Sky Arts

Often overshadowed by their well-known literary genius brother, W.B. Yeats, and renowned painter Jack Butler Yeats, Lily and Lolly were forces to be reckoned with in their own right.
In 1902, alongside their friend Evelyn Gleeson, the sisters established the Dun Emer Guild in Dundrum, Dublin. Their mission? To create beautiful things while empowering Irish women economically and culturally.

The guild, uniquely, employed only women. Susan excelled in embroidery, Elizabeth managed the printing department (Dun Emer Press), and Evelyn oversaw tapestries and rugs.
When relations soured, Evelyn retained the Dun Emer name, but undeterred, Lily and Lolly founded Cuala Industries to continue their impactful work.

Sky Arts Director Phil Edgar-Jones aptly describes this documentary as a chance to right the wrongs of history and introduce their unique talents to new audiences. Prepare to be inspired by the indomitable spirit of Lily and Lolly – two women who shaped Irish culture against all odds.

Nomadland (2020) 9pm Film4

“Nomadland” (2020), directed by Chloé Zhao, is an utterly inspired docu-fictional hybrid. Zhao folds nonprofessionals into an imagined story built around a cheerful, resourceful, middle-aged woman played by Frances McDormand. The film explores the lives of America’s 60- and 70-something generation, forced into nomadic existence due to economic hardships. These modern nomads roam the country in camper vans, seeking seasonal work. McDormand’s quiet, self-effacing performance is one of her best. The film captures both hardship and serenity, revealing a unique American freedom. “Nomadland” is a gentle, compassionate portrait of outsider existence—a gem that resonates long after the credits roll.

Censor (2021) 11.10pm Film4

“Censor” (2021), directed by Prano Bailey-Bond, is a brilliantly adventurous horror debut. Set during the infamous “video nasties” scare of the early 80s, the film follows Enid (played by Niamh Algar), a film censor in mid-80s Britain. Enid spends her days watching, cutting, and classifying scenes of violence. However, her fascination with outre horror titles, particularly those of cult director Frederick North (Adrian Schiller), leads her down a dark and twisted path. The film masterfully blends nostalgia, trauma, and repression, all against the backdrop of illicit videotapes and media panics. With a sharp eye for period detail and irreverent nods to fan-boy culture, “Censor” is a timeless celebration of horror’s liberating nature.

And finally, at the theatre…

“An Enemy of the People” at the Duke of York’s Theatre is a radical and electrifying reimagining of Henrik Ibsen’s timeless corruption drama. Directed by Thomas Ostermeier, this production stars the superb Matt Smith as Thomas Stockmann – a doctor, new dad, and musician who becomes an idealist revolutionary. Here’s a glimpse of what to expect:

Set in the present day, the play follows Thomas Stockmann’s protest against small-town corporate corruption and the sale of contaminated spa water for public consumption.
As Stockmann delves into the rotten core of society, the audience becomes part of the drama in a Question Time-style symposium. We engage directly with the characters and their moral dilemmas.

Matt Smith delivers a slow-burn intensity, portraying Stockmann as a firebrand with a cause.Jessica Brown Findlay plays his wife, Katharina, and Paul Hilton portrays his town major brother, Peter.The milieu, with guitars, singalongs, and a sense of a 1960s commune, adds a unique flavor to the production.

“An Enemy of the People” at the Duke of York’s Theatre has been extended due to phenomenal demand! You now have the opportunity to catch this electrifying production until April 13, 2024. The runtime for the play is approximately 2 hours and 15 minutes, including 1 interval. Don’t miss out on this thought-provoking theatrical experience!

Picture Credits

The Third Man (1949)
Copyright 1949 Selznick Releasing Organization, Inc. Country of Origin U.S.A.” – Scan via Heritage Auctions. Cropped from the original image and lightly retouched to repair the torn upper-left corner., Public Domain, https://commons.wikimedia.org/w/index.php?curid=85714336
The Quiller Memoradum (1966)
By source, Fair use, https://en.wikipedia.org/w/index.php?curid=18415138
Scott of the Antartic (1948)
By Ealing Studios – http://www.allstarpics.net/pictures/0645853/scott-of-the-antarctic-pics.html, Fair use, https://en.wikipedia.org/w/index.php?curid=40433406
Bob Dylan
By Alberto Cabello from Vitoria Gasteiz – Bob Dylan, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=11811170
Frankenstein
By J. Searle Dawley; original uploader ru:Участник:БережнойСергей at ru.wikipedia.org – (1910-03-15). “Frankenstein”. The Edison Kinetogram 2 (4). Orange, N.J.: Thomas A. Edison Inc.., Public Domain, https://commons.wikimedia.org/w/index.php?curid=5554488
Chrissie Hynde
By Harmony Gerber from Los Angeles | Orange County, USA – The Pretenders / Chrissie Hynde, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=26705494
Warhol – Campbell’s Soup
Fair use, https://en.wikipedia.org/w/index.php?curid=4268566e
The Kiss
By Gustav Klimt – Google Art Project, Public Domain, https://commons.wikimedia.org/w/index.php?curid=38827275
The Souvenir (2019)
By a24films.com, Fair use, https://en.wikipedia.org/w/index.php?curid=60021088
Green Book (2018)
By CineMaterial, Fair use, https://en.wikipedia.org/w/index.php?curid=59741016
IRA
By Television Française, Fair use, https://en.wikipedia.org/w/index.php?curid=10938460
By https://twitter.com/A24/status/903245118018162689, Fair use, https://en.wikipedia.org/w/index.php?curid=55096958
Smoke Sauna Sisterhood (2023)
By https://hiiumaa.ee/event/kultuurinadalavahetus-savvusanna-sosarad-2/, Fair use, https://en.wikipedia.org/w/index.php?curid=74650682
Lily Yeats
By John Butler Yeats – http://onlinecollection.nationalgallery.ie/objects/2047, Public Domain, https://commons.wikimedia.org/w/index.php?curid=101244077
Lolly Yeats
By John Butler Yeats – Sotheby´s, Public Domain, https://commons.wikimedia.org/w/index.php?curid=63071213
Nomadland (2020)
By Searchlight Pictures, Fair use, https://en.wikipedia.org/w/index.php?curid=64969367
Censor (2021)
By Magnet Releasing – http://www.impawards.com/intl/uk/2021/posters/censor_xxlg.jpg, Fair use, https://en.wikipedia.org/w/index.php?curid=67704699

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Culture Vulture 24 February – 1 March 2024

February 24, 2024 at 8:50 am · Filed under Culture Vulture, Drama, Film & DVD Reviews ·Tagged , , , ,

Welcome to Culture Vulture, Your weekly guide to entertainment from an alternative standpoint. Let’s dive into the highlights for this week:

Animal Kingdom (2010): A gripping crime drama that delves into the dark underbelly of a Melbourne crime family. Expect tension, betrayal, and complex characters as they navigate loyalty and survival.
Dune (1984): Based on Frank Herbert’s iconic science fiction novel, this film adaptation takes you to a distant desert planet where noble families vie for control over a valuable resource called “melange” or “spice.” Intrigue, political manoeuvring, and epic battles await.
Darren McGarvey: The State We’re In: Join Scottish rapper and social commentator Darren McGarvey as he explores pressing issues affecting society. His candid and thought-provoking discussions shed light on topics ranging from poverty to mental health.

Saturday 24 February 2024

Quo Vadis, Aida? (2020) 11pm BBC4

“Quo Vadis, Aida?” is a harrowing and deeply impactful film that delves into the tragic events of the Srebrenica massacre during the Bosnian War. Through the eyes of Aida, a UN interpreter, the film exposes the failure of international peacekeeping forces and the horrific consequences of political inaction.

Director Jasmila Žbanić masterfully portrays the growing dread and chaos as Aida desperately tries to save her family while bearing witness to the unfolding catastrophe. The film’s title, a biblical allusion, evokes themes of exile and responsibility, as Aida surveys the sea of humanity seeking refuge at the UN camp.

The portrayal of General Ratko Mladić’s negotiations and the false sense of security he projects is chillingly juxtaposed with the reality of the situation. The film does not shy away from criticizing the UN and the international community for their inability to protect the innocent.

Cinematographer Christine A Maier captures the urgency and despair with a keen eye, while Jarosław Kamiński’s editing amplifies the tension. Jasna Đuričić delivers a powerful performance as Aida, whose face reflects the unimaginable horror and disbelief of the situation.

“Quo Vadis, Aida?” is a poignant reminder of the dire consequences of political failure and the enduring need for accountability and justice in the face of such atrocities.

Sunday 25 February 2024

Roman Holiday (1953) 4.35pm Film4

“Roman Holiday” is a timeless classic that captures the essence of a fairy tale romance set against the backdrop of Rome’s enchanting streets. The film, released in 1953, stars Audrey Hepburn as the sheltered Princess Ann who yearns for freedom from her royal duties and Gregory Peck as Joe Bradley, an American journalist looking for a scoop.

Hepburn’s performance is both endearing and captivating, earning her an Academy Award for Best Actress. Her chemistry with Peck is undeniable, as they embark on a series of adventures across the city. The film is a blend of comedy, romance, and drama, all beautifully shot on location in Rome.

Director William Wyler presents a story that is as much about self-discovery as it is about love. The film’s social commentary on class and duty is subtly woven through its narrative, making it a thought-provoking piece that still resonates today.

“Roman Holiday” remains a beloved film for its charm, wit, and the magical way it transports viewers to a place where anything seems possible—even a princess finding true love with an ordinary journalist. It’s a must-watch for anyone who believes in the power of love and the allure of new experiences.

Monday 26 February 2024

Sunshine Superman: The Story of Donovan 11.55pm Sky Arts

Donovan’s influence on the music scene is undeniable, with John Lennon once remarking, “Donovan is as important and influential as either Dylan or the Beatles…Listen: the man is a poet…” This documentary is a deep dive into Donovan’s artistic wonderment and a testament to his enduring legacy.

Minority Report (2002) 10.55pm Film4

“Minority Report,” directed by Steven Spielberg, is a thought-provoking science fiction thriller that delves into the complex interplay of social and political themes. Set in a near-future where a specialized police department called “Precrime” can predict and prevent crimes before they happen, the film raises profound questions about free will, determinism, and the ethics of preemptive justice.

The central narrative follows John Anderton, played by Tom Cruise, who finds himself accused of a future murder by the very system he believes in. As Anderton seeks to prove his innocence, the film explores the paradox of knowing one’s future: does it cement our destiny, or do we have the power to change it?

“Minority Report” also examines the societal implications of surveillance and privacy erosion in the digital age. The film’s depiction of personalized advertising and omnipresent monitoring eerily echoes today’s concerns about data collection and personal freedoms.

Moreover, the movie critiques the expansion of governmental powers in the name of security, a theme particularly resonant in the post-9/11 context. It questions the morality of convicting individuals for crimes they have not yet committed, highlighting the potential for abuse in such a system.

Spielberg’s film is not only an engaging mystery with futuristic thrills but also a deep meditation on the consequences of sacrificing civil liberties for the illusion of safety. It serves as a cautionary tale about the dangers of unchecked authority and the importance of upholding individual rights even in the face of fear and uncertainty.

Apostasy (2017) 11.15pm BBC2 11.55pm Sky Arts

“Apostasy” (2017) is a powerful and intimate portrayal of life within a community of Jehovah’s Witnesses. Directed by Daniel Kokotajlo, the film explores themes of faith, family, and the painful consequences of religious dogma. The story follows a mother and her two daughters as they navigate the challenges of their faith, including the practice of shunning and the prohibition of blood transfusions. Kokotajlo, who was raised as a Jehovah’s Witness, offers a nuanced and empathetic view of the community, avoiding sensationalism in favour of a more grounded and realistic depiction.

The film’s strength lies in its ability to humanize its characters, presenting their dilemmas with sensitivity and depth. The performances, particularly by Siobhan Finneran, are understated yet impactful, capturing the internal conflicts that arise when personal beliefs clash with institutional rules.

While “Apostasy” has been lauded for its authenticity and emotional resonance, some have criticized it for its potential to be seen as partisan, given its critical perspective on the practices of Jehovah’s Witnesses. Nonetheless, it remains an important film that sheds light on a typically insular world.

For those interested in a more detailed analysis, a longer review is available on the Counter Culture website. This review delves deeper into the film’s social and political themes, offering a comprehensive look at its significance and impact.

Olga (2021) 2.20am C4

“Olga” is a poignant film that intertwines the personal struggles of a young Ukrainian gymnast with the broader political upheaval of the 2014 Ukrainian revolution. Directed by Elie Grappe, the film is a compelling narrative that captures the turmoil and resilience of a nation through the lens of sports.

The protagonist, Olga, portrayed by real-life gymnast Anastasiia Budiashkina, is a rising star in the gymnastics world whose life is upended by the political crisis in Ukraine. As she trains in Switzerland, her heart remains with her homeland, torn apart by violence and political strife. The film’s use of documentary-style naturalism and archival footage from the Maidan protests adds a layer of authenticity to the storytelling, making Olga’s internal conflict more palpable.

While “Olga” has been praised for its timely and textured portrayal of a nation’s struggle for dignity and freedom, some critics have pointed out that the film could be seen as partisan. The focus on the Ukrainian perspective of the revolution and the subsequent Russian aggression might be interpreted as one-sided, especially considering the complex geopolitical landscape. However, this focus does not diminish the film’s artistic merit or its powerful depiction of a personal and national quest for identity and self-determination.

Tuesday 27 February 2024

Loving (2016) 11.15pm BBC2

“Loving” (2016) is a film directed by Jeff Nichols that chronicles the real-life story of Richard and Mildred Loving, an interracial couple who legally contested Virginia’s anti-miscegenation laws. The narrative focuses on their legal battle that culminated in the 1967 U.S. Supreme Court decision Loving v. Virginia, which invalidated state laws prohibiting interracial marriage.

Joel Edgerton and Ruth Negga star as the central couple, with Negga’s performance as Mildred Loving earning her a nomination for an Academy Award. The film adopts a subtle approach to storytelling, emphasizing the personal aspects of the Lovings’ experience rather than dramatic embellishments.

“Loving” contributes to historical discourse on race and civil rights, highlighting the personal dimensions of a landmark legal case. The film’s portrayal centres on the Loving’s’ commitment and legal challenge, offering a perspective on the societal and legal context of the 1960s.

Wednesday 28 February 2024

Animal Kingdom (2010) 1.40am Film4

“Animal Kingdom” (2010) is a gripping Australian crime drama that delves into the dark underbelly of a Melbourne crime family. Directed by David Michôd, the film is a stark portrayal of survival and power dynamics within a family entangled in criminal activities.

The story follows Joshua ‘J’ Cody, a teenager who, after the death of his mother, moves in with his estranged relatives, the Codys, a notorious crime family. As J navigates this dangerous new world, the film explores themes of loyalty, corruption, and the moral complexities of familial bonds.

The social commentary in “Animal Kingdom” is profound, presenting a family that operates with a survival-of-the-fittest mentality, mirroring animalistic behaviour in their ruthlessness and territorial disputes. Ethically, the film challenges the audience to consider the grey areas of morality in a world where the lines between right and wrong are blurred by necessity and survival.

Politically, the film touches on the corruption and collusion between criminals and corrupt police officers, highlighting the systemic issues that allow such environments to thrive. The ethical dilemmas faced by the characters reflect broader societal questions about justice and the consequences of a flawed system.

While the film has been praised for its intense performances and compelling narrative, it also invites criticism for its portrayal of violence and the potential glorification of criminal behaviour. However, these elements are integral to the film’s raw and realistic depiction of its themes.

“Animal Kingdom” is a powerful film that leaves a lasting impression, prompting reflection on the social, ethical, and political implications of crime and family loyalty.

Thursday 29 February 2024

Darren McGarvey: The State We’re In (one of three) 9pm BBC2

In the inaugural episode of “Darren McGarvey: The State We’re In”, the talented writer and rapper, Darren McGarvey, delves into the intricate web of the UK’s justice system. Through the eyes of those who inhabit and labour within it, he uncovers the system’s complexities and challenges.

Prospect (2018) 9pm Legend

“Prospect” (2018) is a unique blend of science fiction and Western genres that tells a compelling story of survival and greed on a remote alien planet. The film follows a teenage girl and her father as they embark on a dangerous mission to harvest rare gems, only to encounter treacherous fellow prospectors and the harsh realities of their extra terrestrial environment.

Socially, the film examines the lengths to which individuals will go to secure a better future in the face of economic hardship, highlighting the disparities between the haves and have-nots. Ethically, it raises questions about the exploitation of natural resources and the moral implications of colonialism, as humans invade and mine an alien world without regard for its ecosystem.

Politically, “Prospect” subtly critiques the capitalist drive that leads to such exploitation and the inevitable conflicts that arise from it. The characters’ interactions often reflect a negotiation of power, where life and death decisions hinge on the promise of wealth.

While the film has been praised for its world-building and character development, some critics have noted that the plot can sometimes lose momentum, potentially due to its ambitious scope. Despite this, “Prospect” remains a thought-provoking piece that uses its sci-fi setting to explore timeless human themes.

Friday 1 March 2024

Dune (1984) 11.15pm Film4

David Lynch’s “Dune” (1984) is a film that ambitiously attempted to bring Frank Herbert’s complex sci-fi universe to the big screen. While the film has been noted for its unique visual style and ambitious scope, it was also criticized for its convoluted narrative and lacklustre special effects. The performances, particularly by Kyle MacLachlan as Paul Atreides, were a highlight, with moments of expressionist panache1. However, the film struggled with pacing and clarity, leaving audiences and critics divided.

Denis Villeneuve’s “Dune” (2021) addressed many of these issues, offering a more accessible and visually stunning adaptation. By splitting the novel into two films, Villeneuve allowed for greater character development and a more in-depth exploration of the novel’s intricate world. The 2021 remake benefited from advanced special effects and a more focused narrative, making it a hit with both audiences and critics.

With “Dune 2” now out in cinemas, fans are eager to see the continuation of Villeneuve’s vision. The sequel is expected to build on the success of the first film, learning from past adaptations and delivering an even more immersive experience.

For those interested in the political themes of “Dune,” Counter Culture has an in-depth examination on its website, offering insights into the complex interplay of power, ecology, and destiny that are central to Herbert’s epic.

and finally, theatre, “Draining The Swamp”. “Draining the Swamp” is a provocative play that examines the life of Fascist leader Sir Oswald Mosley from the 1930s to the 1960s, linking his ideology to contemporary politics and ending with a chilling modern-day relevance. We reviewed this great production at the last Edinburgh Fringe. It’s now about to tour and we highly recommend you catch it if you can!

The tour opens at OSO Arts Centre in Barnes, West London 29 Feb – 2 March, then Beccles Public Hall and Theatre in Suffolk (near Norwich) Wed 6 March, Dorchester Arts Centre, Dorset on 7 March. Cornerstone Arts Centre, Didcot 17 April, Swindon Arts Centre 19 April, Oxford Playhouse 20 April, Brentwood theatre 24 April and The Stables, Hastings on 25 April

Subscribe to Culture Vulture on your preferred platform to stay informed about these captivating programs and discover more hidden gems!

Picture Credits

Quo Vadis, Aida?
By http://www.impawards.com/intl/misc/2021/quo_vadis_aida.html, Fair use, https://en.wikipedia.org/w/index.php?curid=65554033
Roman Holiday
By Designer unknown. “Copyright 1953 by Paramount Pictures Inc.” – Scan via Heritage Auctions. Cropped from the original image., Public Domain, https://commons.wikimedia.org/w/index.php?curid=85944431
Donovan
By CBS Television – eBayfrontback, Public Domain, https://commons.wikimedia.org/w/index.php?curid=29973436
Minority Report
The poster art can or could be obtained from IMP Awards., Fair use, https://en.wikipedia.org/w/index.php?curid=4411352
Olga
Fair use.
Apostasy
By IMDB – https://www.imdb.com/title/tt4729896/, Fair use, https://en.wikipedia.org/w/index.php?curid=59633439
Olga
Loving
The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=50235576
Prospect
By IMP Awards, Fair use, https://en.wikipedia.org/w/index.php?curid=58544327
Animal Kingdom
The cover art can or could be obtained from IMP Awards or Madman Entertainment., Fair use, https://en.wikipedia.org/w/index.php?curid=26766673
Dune (1984)
The poster art can or could be obtained from Universal Pictures., Fair use, https://en.wikipedia.org/w/index.php?curid=47673027
Draining The Swamp
Photo by Pat Harrington. Used with permission.

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Lies All The Way Down: A New Chamber Musical

August 23, 2023 at 5:20 pm · Filed under Drama, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2023, Musicals

⭐⭐⭐⭐⭐

The performance offers an intimate experience that stands apart. Its minimalist approach transforms it into a musical testimonial or a heartfelt confession set to melodies, veering away from the conventions of traditional musicals. The production exudes a blend of tenderness, candour, and a profoundly poignant beauty. Shaye Poulton Richards’ extraordinary talent shines brilliantly, infusing the narrative with both whimsy and melancholy. It’s a rarity for any musical to be so firmly rooted in reality, capturing life’s rawness alongside its small joys, a feat that Lies All The Way Down undeniably achieves.

Christy Gilbert and Emily Proudlock. Picture by Patrick Harrington

Christy Gilbert and Emily Proudlock possess mellifluous voices that effortlessly fill the space and captivate the audience. Their performances are marked by emotional depth, conveying nuances through their vocal expressions and gestures. This imbues the already exquisite songs with added layers, while also infusing their distinctive personas into their respective roles.

The live band’s orchestration and music create an evocative atmosphere. With a simple yet intricate presentation, the musicians’ exceptional and flawless execution establishes an immediate personal connection, drawing the audience in swiftly.

The music in this production serves as a constant companion, akin to a cinematic experience with an ever-present soundtrack. The narrative revolves around two colleagues whose journey delves into confronting the falsehoods they both present to themselves and others. The integration of music into the storyline is executed seamlessly, enhancing the overall experience. The music itself is undeniably beautiful, to the point where it occasionally overshadows the lyrical and narrative components. While the story remains engaging, it’s the musical elements that truly shine.

However, it’s worth noting that the lyrical aspect didn’t always match the strength of the music. The songs, though pleasant, could have benefited from more compelling hooks to achieve a greater level of catchiness. Despite this minor criticism, the production is a must-see primarily for its musical prowess. While the theatrical aspect holds its own merits, it doesn’t quite reach the same level of exceptionalism as the musical components do.

All in all, Lies All The Way Down stands as an unusual and bold experiment, pushing the boundaries of what a musical can be. This unique approach makes it worth seeing on many levels, from its intimate storytelling to its captivating melodies, showcasing a remarkable blend of vulnerability and artistic boldness.

Reviewed by Patrick Harrington

Venue 9
theSpace @ Niddry St – Upper Theatre (Thrust)
19:10
Aug 23-26
50 minutes
Suitability: 14+ (Guideline)
Country: United Kingdom – England
Group: Shaye Poulton Richards
Warnings and additional info: Contains distressing or potentially triggering themes

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Vote Macbeth!

August 22, 2023 at 12:47 pm · Filed under Drama, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2023 ·Tagged , , , ,

⭐⭐⭐⭐⭐

John Paul Liddle is a versatile man. He has written the words, music and lyrics of this exciting musical theatre reworking of Shakespeare’s Scottish play… and also starred in it as Captain Macbeth.

Hugh Moore as Fleancé and Natalie Masterton, Lou Istoriou and Molly Cowie as the reporters. .Picture by David Kerr

Set in the present day, President Duncan King (Michael O’Hare) has to decide between Banquo and Macbeth as his vice-president. Most of us are familiar with the basic story; Macbeth plots to seize power, assisted by the conniving Lady Macbeth (Lisa-Jayne Rattray), dispatching President Duncan King and Banquo (Hugh Moore) in turn, opening the way to the presidency for himself. He falls out with his spin-doctor, Macduff (Mark Ridyard), who defects to Banquo’s son Fleancé (also Hugh Moore).

The action moves fast in the style of a 24-hour rolling news channel. Scenery changes are spartan, but effective and very quick; a news desk can transform into a dinner table or a podium depending on which way it was turned. In Vote Macbeth, Shakespeare’s three witches become three cable news reporters who move the story’s scenes along. Hecate (Lisa-Jayne Rattray in a wig this time), is the 3W news network’s star reporter who can make or break presidential candidates. Unlike other musical theatrical pieces, there is no spoken dialogue; it’s all done in song. The pace is set by the rhythm of each of the 18 songs.

At the end, the audience were asked to display paddles in order to vote for either candidate; M for Macbeth or F for Fleancé. In this reviewer’s performance, the audience voted overwhelmingly for  Fleancé, but Macbeth was declared the winner to a final chorus of We Get What We Deserve. More skullduggery afoot, methinks.

Vote Macbeth was flawless in its depiction of the conflicted characters as the action moves along. The 2023 run at the Fringe has finished, but a production of this quality deserves to come back next year and go on tour around the country. Here’s hoping.

Reviewed by David Kerr


Venue53 theSpace @ Surgeons Hall – Fleming Theatre

  • 20:50
  •  1 hour 5 minutes
  • Suitability: 12+ (Guideline)
  • Group: Clydebuilt Theatre Company
  • Now ended

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Cat Sh!t Crazy

August 21, 2023 at 6:24 pm · Filed under Drama, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2023 ·Tagged ,

⭐⭐⭐⭐⭐

This year’s Edinburgh Fringe Festival has thrown up a lot of brilliant one-woman shows. Cindy D’Andrea’s Cat Sh!t Crazy is one of the finest.

Cindy D’Andrea. Picture by David Kerr.

At an expensive retreat in Costa Rica, where Cindy has gone to ‘find herself’, she looks back on her life and how she got to where she is today with the help of Tabitha, Samantha, Spencer and Tallulah – her four cats.

Cindy becomes her trainer, her friends, each of her cats with their distinct personalities in this engaging, amusing and at times heart-breaking confession.  We learn how she came to adopt each of her four adored cats, how she trapped, rescued, fostered and rehomed many more homeless cats before settling down as a four-cat household. Anyone who has lived with one or more cats will identify with this story. Many people, your reviewer included, have given forever homes to rescued cats. Cat Sh!t Crazy is definitely a must-see for the cat-lovers in your life. They’ll recognise  themselves in Cindy’s reactions to her cats. They’ll laugh.  They’ll cry. They’ll engage fully with Cindy’s Story. What actor could ask for anything more from her audience?

Reviewed by David Kerr

Part of the proceeds of this show have gone to cat rescue organisations in Edinburgh, Lothian and Fife.


Venue38theSpaceTriplex – Studio

  • 13:45
  •  50 minutes
  • Suitability: 16+ (Guideline)
  • Group: Cindy D’Andrea
  • Till 26 August 2023

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Draining the Swamp

August 20, 2023 at 11:35 am · Filed under Drama, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2023 ·Tagged , ,

⭐⭐⭐⭐⭐

Draining the Swamp is a new play by D. R. Hill that explores the life and politics of Sir Oswald Mosley, the leader of the British Union of Fascists in the 1930s, and his wife Lady Diana Mosley, a socialite and Nazi sympathiser. The play examines their motivations, actions and legacy, and draws comparisons with modern-day populist leaders. 

“Draining The Swamp” fearlessly confronts the dark underbelly of Oswald Mosley’s ideology, unflinchingly depicting the extreme anti-Semitism and propensity for violence among some of his supporters. The play doesn’t shy away from showcasing the disturbing aspects of Mosley’s movement, shedding light on the hatred that fuelled certain factions of his followers. This portrayal doesn’t sugar-coat the harsh realities of the time, emphasizing the alarming consequences of unchecked extremism.

Rowland D. Hill as Sir Oswald Mosley. Picture by Pat Harrington

Importantly, the play acknowledges the inconsistency within Mosley’s own views on anti-Semitism. While he championed unity and support for the common man, his ambivalence and contradictions regarding the Jewish population are laid bare. This duality in Mosley’s character adds depth to his portrayal, showing that even a charismatic leader can be riddled with complexities and internal conflicts.

In the midst of depicting the dark aspects of Mosley’s movement, the play manages to weave in moments of reflection that delve into the motivations behind these disturbing beliefs. This exploration challenges the audience to grapple with the origins of such hate and violence and raises pertinent questions about the responsibility of leadership in fostering or combating these sentiments.

The play delves into Mosley’s charisma and his ability to captivate audiences with his anti-war sentiments, his dreams of a united Europe, and his support for the common man. This portrayal of his appeal is complemented by his emphasis on action over the perceived ineffectiveness of establishment politicians. The play underscores the fact that Mosley was not a one-dimensional figure, and it highlights the strength of the women who were a part of his life.

The play also touches on the theme of censorship and the challenges Mosley faced with media manipulation during his time. Interestingly, the dialogue about communication without censorship raises questions about how modern technology could have impacted Mosley’s ambitions if available in his era. It’s intriguing to speculate whether he would have achieved his goals with the ability to communicate freely.

The cast, under the direction of John Smith, handles these sensitive and challenging themes with skill and sensitivity. Rowland D Hill’s portrayal of Mosley captures his charisma while not shying away from the flaws that ultimately marred his legacy. Tina Thomas’s depiction of Lady Diana Mosley resonates with the complexity of a woman who passionately supported her husband while possessing her own agency.

Georgia Winters as Cimmie Mosley. Picture by Pat Harrington

Lady Diana Mosley, portrayed by Tina Thomas, is depicted as a woman with unwavering loyalty to her husband, yet possessing her own strength and independence. Georgina Winters’ portrayal of Cimmie Mosley adds another layer of complexity to the narrative, highlighting the deep connections that influenced Mosley’s choices.

Furthermore, the ensemble cast successfully navigates the intricate relationships between characters and brings to life the emotional undercurrents that define the play’s narrative. Georgina Winters’ portrayal of Cimmie Mosley and other characters contributes to the richness of the storytelling, showcasing the multiple perspectives that shaped Mosley’s life.

Tina Thomas as Lady Diana Mosley. Picture by Pat Harrington.

While the play does offer an incisive exploration of the rise of fascism and its extremist elements, it remains a balanced narrative that encompasses the broader societal and political context. By depicting Mosley’s inconsistency and the internal conflicts within his movement, the play fosters a nuanced understanding of history that is often overlooked.

“Draining The Swamp” is a thought-provoking and challenging play that confronts the dark side of history while still capturing the complexities of the figures it portrays. The portrayal of extreme anti-Semitism, violence, and Mosley’s inconsistencies serves as a reminder of the dangers of authoritarian ideologies. Despite some narrative unevenness in its conclusion, the play remains a thought-provoking exploration of a controversial historical figure presenting a reasonably well-rounded narrative which encourages audiences to engage critically with history and its implications for contemporary society.

Reviewed by Pat Harrington


Venue21C ARTS | C venues | C aquila – temple

  • 18:30
  •  Aug 20-27
  • 1 hour 10 minutes
  • Suitability: 14+ (Guideline)
  • Country: United Kingdom – England
  • Group: The Company
  • Warnings and additional info: Contains distressing themes, Mature themes

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The Mitfords

August 18, 2023 at 10:33 am · Filed under Drama, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2023 ·Tagged ,

⭐⭐⭐⭐

Emma Wilkinson Wright brings all four of the notorious Mitford Girls to life in this gripping one-woman production. There’s softly spoken Unity, the self-confessed fascist, Jew-hater and deep admirer of Hitler. Her sister Jessica is a strident communist who went off to fight fascism in the Spanish civil war. Gushing Diana conducts a public affair with the British fascist leader, Sir Oswald Mosley, to the humiliation of his ailing wife, Cimmie. Nancy, the celebrated author, comes across as cynical and worldly wise.

These extraordinary sisters were bound together by familial love, but divided by their own personal sibling rivalries and divided political allegiances. All of them had triumphs in their lives and all of them faced tragedy and suffering. Jessica’s Canadian Air Force husband died in the war, Unity shot herself in an unsuccessful suicide attempt when war broke out between her adored Adolf Hitler’s Germany and her own country. Diana was interned under wartime defence regulations and separated from her baby.

 Switching effortlessly between characters merely by sitting, standing or changing position and tone of voice on the small stage, Ms Wright, shows how the Mitfords lived and loved… and hated in the turbulent 1930s. There are few props and no costume changes; she carries all the changes of character off by the strength of her acting alone.

Highly recommended.

Reviewed by David Kerr

Venue 53 The Space @ Surgeon’s Hall

Till August 19th 2023

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Battle: A modern mystery play

August 26, 2022 at 8:45 am · Filed under Drama, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2022, History

Venue 9; The Space till 27 August 

Few plays can boast 21 different characters played by just four actors, that’s exactly what Swanwing Productions have accomplished this difficult task using just a few items of costume and some basic props; a staff, three pairs of scissors, a longbow, and a framed picture of Princess Diana.

This thoughtful play, introduced by Old Father Time, runs through conflicts in history from the Battle of Hastings in 1066 through to the present day.

Battle has its humorous moments; who realised that our history is full of disputes between Harrys and Williams, for example? There are also deeply poignant moments. In one scene that moved this reviewer to tears, Bruce, a dying soldier shown crying for his mother, thought that a woman who had come to strip the dead and wounded for any valuables was an angel because she gave him a sip of water.

Reviewed by David Kerr

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1902

August 22, 2022 at 6:28 pm · Filed under Drama, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2022

Leith Arches which hosts 1902 is very close to my home and Leith is very close to my heart. Though I will never be a Leither I’ve always felt at home here. Leith has real character and the people are genuine and straight talking. This play, from Saltire Square, captures that authenticity. The plot follows four young men: Deeks (Nathan Scott-Dunn), Sambo (Alexander Arran Cowan), Zippy (Cameron Docker), and Frankie (Josh Brock) from Leith (not Edinburgh!) who borrow money from a gangster to buy tickets to the 2016 Scottish Cup Final where the Leith based team Hibernian faced Rangers. The title refers to the fact that 1902 was the year Hibs had last won the Scottish Cup and it took 114 years for them to win it again!

1902: physical, passionate, and moving

Co-director and star of the show Scott-Dunn told the National newspaper that it’s the play’s authenticity that cuts through to audiences of all types.

“I think the show itself has like a strong sense of identity and I’ve also written it phonetically, it’s how we talk.

“If you went to a pub, and you’re sat there then these conversations are the real conversations that you will hear. It’s the authenticity I think, I think authenticity is what sells the show a lot because you know it’s real.”

The actors are very physical and in each other’s faces and even, sometimes, the audience. Their energy and passion are contagious – whether it is when they are arguing with each other, bursting into football chants, or describing the Scottish Final. The writer has a real ear for dialogue/banter. One thing this show communicates is how working-class lads bond and communicate with each other. We see their family dilemmas (the relationship between Deeks and elder brother Tony relationship isn’t exactly harmonious!), love interests, and lack of opportunities but beyond all that, we see their loyalty to each other. The relationships between them are turbulent and shifting but at base, they know they need one another. The barmaid in the pub where the action takes place, Mags, is great.

There’s a lot of humour in 1902 so it is a real mix of light and dark. I’d have to rate this as one of the most powerful performances I’ve seen. It’s immersive and sometimes that’s funny and sometimes it borders on intimidating. One thing is certain – 1902 makes you feel and it makes you think.

One of the things that I admired most about 1902 is that it avoids sentimentality and ends on a positive note. In fact, it ends with the great Proclaimers/Hibs anthem ‘Sunshine on Leith’ which echoed around the stadium when Hibs won the cup. The motto of Leith is ‘Persevere’ and you know that the characters in the play will do just that – together.

Reviewed by Pat Harrington

Saltire Sky’s 1902 is running until August 30 at the Edinburgh Fringe and tickets can be purchased here: https://tickets.edfringe.com/whats-on/1902 Look out for the tour!

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Exodus

August 22, 2022 at 7:06 am · Filed under Drama, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2022, Politics

Exodus has been described as satire but it should more properly be viewed as part of the great tradition of the British farce. As Wikipedia defines it:

Aryana Ramkhalawon and Sophie Steer play the Home Secretary and her Spin Doctor. Photo credit Tim Morozzo.

“Farce is a comedy that seeks to entertain an audience through situations that are highly exaggerated, extravagant, ridiculous, absurd, and improbable. Farce is also characterized by heavy use of physical humor; the use of deliberate absurdity or nonsense; satire, parody, and mockery of real-life situations, people, events, and interactions; unlikely and humorous instances of miscommunication; ludicrous, improbable, and exaggerated characters; and broadly stylized performances.”

That certainly sums up Exodus to me. A Home Secretary, Asiya Rao (a caricature of Priti Patel), is at a photo shoot in Dover, standing in the water to underline her desire to prevent illegal migrants from entering the country. It’s in preparation for the launch of Operation Womb, to separate Britain from the rest of the world with the slogan “Look inward”. All starts to go wrong when a living baby is washed up between her feet, and, instead of handing the baby in to the police, she stuffs the baby into her expensive handbag. On the train back to London St. Pancras an actress paid to play her mother, and a journalist interviewing the Home Secretary create a chaotic situation full of misunderstandings and miscommunication.

The performances are great. My favourite was Sophie Steer playing the scheming amoral advisor/spin doctor Phoebe. The show is very enjoyable. If you view it as a farce and don’t consider the underlying political message too critically there are many laugh-out-loud moments. You have to either suspend disbelief and treat this as pure entertainment or look at the message behind the play analytically. If you take the second route it raises difficult questions about what our immigration rules should be, how we became a wealthy nation, and what integration means. On top of that, you would have to consider what British identity is (to me Exodus put this in an overly simplistic and negative light). Perhaps you can view it as both entertainment and consider its message too – I found that difficult.

It’s also my view that the villain should get some good lines. That didn’t happen here perhaps because it was in a farce format. Aryana Ramkhalawon playing Home Secretary Asiya Rao had few persuasive arguments in the script or even any half-way convincing points or rebuttals. It also dodges the question of how a second-generation immigrant has adopted such a hard-line stance on migration and asylum. The only answer put forward is opportunism and a lust for power but is it that simple? Real life is not so cut and dried. Sometimes the villains have good (or at least seemingly convincing or popular arguments) – that’s one of the things that makes them so dangerous.

The play ends with footage of people in Glasgow preventing the deportation of a migrant while chanting “The People united will never be defeated”. Of course, people have never been united on the subject of immigration. Perhaps Exodus will contribute to a debate where we can reach a consensus on the many thorny issues it raises. Here’s hoping!

Reviewed by Pat Harrington

Venue 15
Traverse Theatre – Traverse 1
Aug 23-28
1 hour 25 minutes
Group: National Theatre of Scotland
https://tickets.edfringe.com/

Can’t see it in Edinburgh? The check-out tour dates on the website.

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