Author: Bouquets & Brickbats

Ricki and the Flash

06/09/15

Let me start with a question. Is there any role on this planet that Meryl Streep can’t actually play? I only ask this because we’ve segued straight from a trailer for Suffragette, where she portrays Emmeline Pankhurst, to this little gem, where she plays Ricki Rendazzo, an ageing rocker, struggling to keep her dreams of stardom alive as she fronts a small time band (the eponymous Flash) by night and works by day at the checkout of an LA supermarket.

And you know what? Streep absolutely nails it.

The film starts as it means to go on, with Ricki’s band blasting out a credible version of Tom Petty’s American Girl and for once, in a movie, this sounds like genuine musicians playing genuine music – as well it should, because Streep recorded her own vocals for this and she’s fronting a real band, featuring Rick Springfield as the new man in her life, Greg.

When Ricki takes a call from her ex-husband, Pete (Kevin Kline), informing her that their daughter, Julie (Streep’s real life daughter, Mamie Gummer), has just been dumped by her husband and is feeling pretty low, Ricki heads back to Indianapolis, to try and mediate with Julie and to reconnect with her two sons, who have pretty much cut Ricki out of their lives since she broke up with their father. She also has to deal with Pete’s new wife, Maureen (Audra McDonald), a woman who seems to have been invented simply to illustrate the true meaning of perfection. Can Ricki have any hope of patching up all those wounds from the past? Or has she simply been away for far too long?

This is a gorgeous film, perfectly pitched to avoid stereotyping and mawkishness. It’s cleverly scripted by Diablo Cody – the scene where Ricki sits down for dinner with her estranged family (including her son’s fiancee) is a comic masterclass – and there’s a resolution here that, in the wrong hands, could have come across as hopelessly sentimental but, guided by seasoned professional Jonathan Demme, is an absolute triumph. Cody has some history here. Her mother in law apparently fronted a rock band for years and that experience has clearly paid dividends. That odd title isn’t doing the film any favours at all, but you really should check this out. It’s a heartwarming tale about love, relationships and the redemptive power of rock n’ roll, well worth the price of admission.

4.6 stars

Philip Caveney

American Ultra

05/09/15

Mike Howell (Jesse Eisenberg) is a small-town guy, stuck in a dead end job at the local convenience store. He spends his spare time smoking dope and doodling ideas for a comic book featuring a space travelling super monkey called Apollo Ape. Luckily, he’s in a long term relationship with Phoebe (Kristen Stewart), who seems to be his perfect soulmate and who tolerates the fact that Mike has crippling anxiety attacks whenever he tries to travel. Most recently, a long-desired vacation to Hawaii is nixed, when he finds himself running to the john to vomit. As is so often the case in movies like this, all is not what it seems and circumstances conspire to reveal that Mike is in fact, a brainwashed undercover CIA operative, who has been waiting for a certain sequence of words to reactivate him.

Eisenberg is, as ever, a likeable screen presence and Kristen Stewart was always a better actress than the execrable Twilight series allowed her to demonstrate. The first third of this movie is great fun, as Mike realises that he has the potential to be a highly skilled assassin – but once those talents are acquired, the film loses some of its appeal as it becomes a series of ever more complicated Heath Robinsonesque murders. All manner of gadgets are utilised in Mike’s struggle for survival – mallets, screwdrivers, frying pans and claw hammers – you get the impression that here’s yet another film that must have been sponsored by B & Q. The action is unflinchingly bloody, but shot with enough cartoonish relish to just about excuse its most brutal excesses. Topher Grace and Connie Britton as two warring CIA honchos add depth to Max Landis’s script and there’s an appealing cameo from Bill Pullman as their ruthless boss, but the conviction remains that this could have been better if it had managed to maintain the more appealing elements on show in the first half hour.

American Ultra is eminently watchable, but could easily have been something more than that.

3.8 stars

Philip Caveney

Sneak Peek at: Dead Dog In A Suitcase (and Other Love Songs)

It’s an exciting opportunity… not to mention a real privilege, to be allowed a sneak preview of a theatre company rehearsing for their latest production. But that’s exactly what I get from Kneehigh who are currently prepping their production of Dead Dog In A Suitcase (and Other Love Songs) at Home, Manchester. The show opens there officially on the 11^th of September and then heads out on tour around the UK.

As I settle into a front row seat I’m presented with a view of the entire thirteen strong company. To my left, there’s a band, featuring guitar, bass, drums, keyboards and a whole plethora of assorted instruments. To my right stands a traditional Punch and Judy theatre and a veritable menagerie of creepy looking puppets (always a good sign) including a row of rosy faced babies in a cot, who, we’re assured, are the ‘bastard offspring of Macheath.’

Director Mike Shepherd and musical director Charles Hazlewood stand up and say a few words. The show is, of course, an adaptation of The Beggar’s Opera by John Gay, (1728) itself radically reworked by Bertholt Brecht as The Threepenny Opera in 1928. ‘This version,’ says Shepherd, ’gives the Beggar’s Opera back its teeth.’ He tells us that the story is a musical satire, prescient for our times, and that it’s a perfect reflection of an age of austerity and outrage – ‘a cathartic production in every sense of the word.’

Hazlewood adds that it’s been a wonderful privilege working with Cornwall-based Kneehigh Theatre Company, and says that their marvellous generosity of spirit has injected a sense of humanity into what is, at heart, a bleak and harrowing storyline.

‘The play begins with the contract killing of the city Mayor,’ says Shepherd. ‘Which will give you some idea of how dark the story is.’

Then without further ado, we’re treated to a ten minute selection. The band punch out a lively reggae rhythm, the cast leap into action, there is singing and dancing and movement and puppets – and I sit there mesmerised by the way the show is coming together, after only a relatively short rehearsal time.

Afterwards I ask if I might have a quick chat with MacHeath (Dominic Marsh) and Polly Peachum (Angela Hardie), so we seek out a quiet space where I can record their answers without too much background noise. I begin by pointing out that the pair are about to take on one of the most infamous duos in theatrical history. How do they feel about that challenge?

Angela: It’s very exciting to be able to take on these characters, because there are so many dimensions to them. They’re not just good or bad, weak or strong, they have the full run of humanity with all its glory and ugliness and for young actors that’s just an exceptional opportunity.

Did they have any qualms about taking on the roles?

Dominic: No, I think that one of the healthiest things about the rehearsal process is that deference is left outside the door. The Beggar’s Opera is called the longest running musical and all those juke box musicals in the West End that we’re so familiar with these days probably stem from it. But there were no qualms at all.

I point out that there are a lot of different disciplines to master in this show – acting, singing, dancing, musicianship, puppetry. It must be a tall order trying to perform so many of them to the best of their abilities. Exhausting too, I shouldn’t wonder.

Dominic: It is an incredibly tiring, but very rewarding way to work, but a lot of Kneehigh projects are like that, they’re these big, chaotic shows that create a whole world on the stage. Everything’s so visceral and powerful, there’s light and shade, dark humour, wonderful romantic moments, everything you could possibly want.

What qualities, I wonder, do the actors think they share with their onstage personas? Does Angela identify with Polly?

Angela: Oh yes, I hope so! I get to do such a great journey with this piece, I start out naïve and find out about life the hard way. I think anyone who’s ever had their heart broken… and I have… will identify with her. Mind you, I haven’t quite graduated to running a gang yet, but I suppose there’s still time…

And Dominic? MacHeath is surely nobody’s idea of a positive role model?

Dominic: He is rather dark. I’m not sure I identify with him on many levels, but we all have within us the kernel of good and evil, we’re all capable of being misunderstood and I think that MacHeath has his own valid reasons for going down the route he goes down. He’s almost like a Robin Hood figure, shining a light on the corporate conspiracies that are going on all around him, which we all know are happening all the time. When we started rehearsing this there was that stuff about MP’s expenses and… well, you just have to look at what’s happening now…

For both of them it’s their first appearance at Home, Manchester’s hub for the performing arts. What do they make of the place?

Angela: It’s lovely, it’s such an exciting place to work, it’s all brand new. We’ve been bowled over by how friendly and accommodating everyone is.

Dominic: There’s such an exciting buzz about this piece and also about the venue. I think the two of them will slot together really well.

So they’re both looking forward to opening night?

They tell me that they can’t wait.

Well, I assure them, that makes three of us.

(Our review of Dead Dog In A Suitcase will follow soon.)

Mission Impossible: Rogue Nation

02/09/15

We were far too late getting on to this – largely because an entire month of reviewing at the Edinburgh Fringe left us with too little time to actually make it to the cinema: a sorry state of affairs. Rogue Nation is the latest improbably titled instalment in Tom Cruise’s evergreen TV spy spinoff and as the series goes, it’s one of the better efforts – an adrenalin fuelled romp with an outrageously daft plot and a whole heap of inexplicable gadgetry to help the IMF team achieve their goals.

The film starts as it means to go on with the throttle wide open. Ethan Hunt attempts to board a plane… after it’s taken off. (Don’t try this at home. That’s my old stamping ground of RAF Wittering hundreds of feet below, by the way and yes, that is Cruise clinging on to the side of the plane. Nobody can say he doesn’t earn his millions.)

Hunt is on the trail of a mysterious organisation called The Syndicate, who have dedicated themselves to the eradication of the IMF and who are headed up by evil villain, Solomon Lane (a deeply creepy Sean Harris.) As Hunt hurtles around the world, evading assassins and leaping athletically from very high buildings, back at base, Brandt (Jeremy Renner) is engaged in a more pedestrian battle as grumpy CIA man, Alan Hunley (Alec Baldwin) attempts to get the Impossible Missions team shut down. It seems he finds them a bout too reckless for his liking. Soon Hunt is pretty much out there on his own, aided only by his hapless bessie mate, Benjie (Simon Pegg, who must be relieved to add a much-needed hit to his CV) and by the mysterious Ilsa Faust (Rebecca Ferguson) who keeps popping up just in time to save Hunt’s life.

It’s fairly pointless to go into the plot. Most of it is unfathomable and all of it is unlikely, but it’s presented with enough tongue-in-cheek brio to suspend your disbelief. There’s an ingenious set piece at the Vienna opera house, while an underwater sequence where Hunt has to hold his breath for three minutes wracks up the tension to an almost unbearable degree. On the downside, there’s a motorbike/car chase that seems a tad perfunctory this time around, but that’s a minor quibble. Overall, this is a superior slice of entertainment, which should keep you riveted till the final credits. And of course it still features Lalo Schifrin’s sinewy, unforgettable theme tune, which is a thriller all by itself.

What else can I say? Mission accomplished.

4.2 stars

Philip Caveney

Edfest Bouquets 2015

It’s been an amazing August for us at Bouquets & Brickbats. We’ve spent the entire month running from show to show, and have seen some truly brilliant performances. Here’s our pick of the best we’ve seen at this year’s Fringe:

Drama Bouquets

Phantom Owl Productions – Filthy Talk for Troubled Times by Neil La Bute
Phantom Owl Productions – Fault Lines by Stephen Belber
Paines Plough – Lungs by Duncan McMillan

Monologue Bouquets

Noni Stapleton – Charolais by Noni Stapleton
Thom Tuck – Scaramouche Jones by Justin Butcher
Tom Neenan – The Andromeda Paradox by Tom Neenan

Stand-up Comedy Bouquets

Stewart Lee – A Room With A Stew
Sarah Kendall – A Day In October
Garrick Millerick – A Selection of Things I’ve Said to Taxi Drivers

‘Ones to Watch Out For’ Bouquets

Alfie Brown – Isms
Morro and Jasp – Morro and Jasp Do Puberty
Master of None Productions – Foxfinder by Dawn King

Philip Caveney and Susan Singfield

Yianni: Why Did the Chicken Cross the Line?

30/08/15

The Stand 2, Edinburgh

This is a show about the nature of comedy: what makes it work and why it can sometimes seem offensive. Yianni Agisilaou is a likeable performer, who approaches the difficult subject of ‘how far is too far – and why?’ with an affability sometimes at odds with the ideas he is exploring. He’s effortlessly charming, and there is a real warmth in the room, as he establishes a clear rapport with the audience. He’s funny too: there are plenty of laughs in this hour-long consideration of what constitutes offensiveness.

If there’s a problem here, it comes from a good place. I enjoy being in this room with this cheery, intelligent comedian, but I think the work would have more impact if it were all a bit less nice. If Yianni were able to bring himself to truly offend – to make the audience gasp in real shock, perhaps – then his deconstruction of human hypocrisy and self-delusion would be far more powerful.

But still, this is a solid set from an experienced performer, who knows how to please a crowd. There are far worse ways we could have spent our last day here at 2015’s fringe.

3.6 stars

Susan Singfield

Amy Howerska: Sasspot

29/08/15

Gilded Balloon, Teviot, Edinburgh

Amy Howerska opens the gig with a warning: it’s the end of the festival and everyone’s gone a little bit stir-crazy. She’s probably right: a whole month of gigging in this hot-house of creativity and competition is bound to take its toll. But she, unlike a lot of others, at least looks like she’s maintained a healthy balance – all glowing skin and shiny eyes. She doesn’t look tired or defeated or in dire need of some clean air. She’s ebullient and fresh, and the whole thing starts off well.

The show centres on Howerska’s unusual background. She boasts a familial line of ex-military (SAS?) men, and grew up in a sky-diving drop-zone run by her father when he left the services. It’s wonderfully unusual; she doesn’t have to work too hard to pique our interest. There are tales of near-death in the Brecon Beacons, and a large cast of aunties and other relatives are vividly brought to life. She’s sparky and likeable, and the audience is on her side.

It’s a shame, then, that she seems to lose confidence part way through the set. There are only twenty or so people in the audience, and so of course our laughter is more muted than it would be in a larger crowd. Maybe we don’t respond as she expects at a key moment? It’s hard to tell. But she loses focus, leaves the stage to switch on a fan, and then starts commenting that we’re not laughing at particular lines. She seems to panic a little, derailing her momentum.

Luckily, this doesn’t last too long, and Howerska soon regains her stride, explaining with gusto why funerals are better than weddings, and why hen parties are hell on earth. She’s funny, smart and different – and definitely one to watch.

3.5 stars

Susan Singfield

Garrett Millerick: A Selection of Things I’ve Said to Taxi Drivers

29/08/15

Underbelly, Med Quad, Edinburgh

It’s the last few days of the Fringe and many acts are understandably beginning to feel a little bit jaded, but clearly, the affliction has completely bypassed Garrett Millerick. He stalks out onto the stage and launches himself headlong into a vitriolic set which is fuelled mostly by anger. Millerick is a grumpy sort. He seems to have a beef with just about everything and everyone, from the people who leave one star reviews on Amazon (for batteries!) to the supermarkets who have the cheek to charge five pence for a plastic bag. He even offers a routine about why Page Three is the least offensive thing in The Sun; you don’t necessarily agree with what he says, but you have to applaud the skill with which he puts his arguments together.

He is a confident performer, his voice ranging from a sly, conspiratorial hush to a ranting bellow and he soon has the early evening audience in the palm of his hand, eliciting plenty of well-earned laughter and let’s face it, that’s the name of the game here. He even apologises for not actually mentioning taxi drivers in the set and tells us about a guy who came up to him after a show and complained that the poster promised something that wasn’t delivered. ‘Are you a taxi driver?’ Millerick asked him. ‘No,’ replied the guy. ‘But I’m interested in taxis.’

Oh boy…

We have no complaints about this assured set, which delivers on so many levels – it’s frank, visceral and occasionally controversial – but I’m not sure whether to tweet him a link to this review. After all, another of his pet hates is people who voice their opinions. What do you think? Should I?

4.4 stars

Philip Caveney

The Wonderful World of Lieven Scheire

29/08/15

Gilded Balloon, Teviot, Edinburgh

Lieven Scheire strolls onto the stage of the Wee Room and announces that he’s about to do something that to me, seems an impossibility: he’s going to make science interesting; more specifically, the subject of special relativity. It’s to his credit that he manages to do exactly that, whilst making a room full of punters laugh out loud into the bargain.

Scheire is Belgian. He has the puppyish demeanour of everyone’s favourite primary school teacher and is able to convey quite complex information with effortless simplicity. As somebody who suffers from dyscalculia, I’m probably a challenge for him, but he softens the blow by allowing me to pilot a rocket ship. OK, it’s an imaginary rocket ship, measuring 12 meters in length, but Scheire explains how it can be momentarily parked in only 10 meters of space and I don’t end up with a brain ache. In a Fringe that seems to be dominated by nerdy young comics explaining why they don’t fit in to the generally accepted term of what constitutes a ‘lad,’ Scheire is actually a genuine nerd, who revels in being exactly what he is. This is one of the most original comedy shows we’ve seen this year, part stand up, part lecture. With just a couple of days to go before it’s all over, it may already be too late to recommend him, but he’s certainly a name to look out for in the future.

Just not one that’s easy to pronounce.

4 stars

Philip Caveney

Derby Day

28/08/15

Gilded Balloon, Teviot, Edinburgh

The Ballard brothers have just attended the funeral of their father. What better way to celebrate the old man’s life than to head to the Oaklawn Park race track and lay down a few bets? Eldest brother, Frank (Robert M. Foster) is over from Chicago and has booked a luxury box for their private use. He’s soon joined by loose-canon middle brother Ned (Malcolm Madera) and youngest sibling, Johnny (Jake Silbermann), newly released from prison and looking to pick up the pieces of his shattered life. The trio begin to gamble, they drink alcohol and as their inhibitions break down, so the realities of their troubled upbringing start to manifest themselves. It’s no great surprise to discover that Ballard Senior wasn’t a very nice man at all. Little wonder his sons still carry the scars of unresolved issues. Meanwhile, waitress Becky (Teresa Stephenson) is charged with the thankless task of dealing with the Ballards as they hurtle towards alcohol-fuelled oblivion.

Samuel Brett Williams has written a gritty melodrama about familial love and hate and the three male leads of Camisade Theatre Company throw themselves into this powerful drama with gusto, delivering strong performances with the accent on physicality. A scene where Frank throws Johnny onto (and through) a table is shocking in its impact, though ultimately maybe there’s a little too much fighting in there for comfort – these guys seem ready to punch each other at the drop of a hat. We’re even warned as we come in to avoid sitting in the front row, in case we get caught up in the affray!

I particularly liked Silbermann’s portrayal of the not-very-bright Johnny, a man who may as well walk around with the word ‘doomed’ tattooed on his forehead, but the play doesn’t always convince us that these are real characters in a real situation. Too many of the lines seem to be addressed directly to the audience and there are places where the pre-recorded race commentary overpowers the characters’ dialogue.

However, this is a credible production that’s worth catching before it’s gone. As the story gallops into the final furlong, it’s clear this is not going to end well… and all bets are off.

3.5 stars

Philip Caveney