20 Feet from Stardom

A documentary!  Not my usually favoured medium.  But soul and pop music are among my favoured subject matters.  There is plenty of music to enjoy in 20 Feet.  There are also big characters and surprising stories and very stylish artwork, making the whole an unmissable film and a major contender in the upcoming awards season.

The stories are often an indictment on practices common in the music industry, but are also personal tales of struggle and acceptance.  Some of the film's subjects have suffered great injustice, but they tell their stories with fondness and a cheerful spirit.  It inspires a great deal of hope.

Certainly, if one had less interest in pop music one might enjoy this film a little less.  However, I expect the characters at the heart of the stories would appeal to even the least musical viewer.

See this film for a bundle of touching stories and a masterclass in documentary making.

The Butler film review

The Butler has an all-star cast that includes Oprah Winfrey, Forest Whitaker and Terence Howard, with notable appearances from such Hollywood royalty as Vanessa Redgrave and Robin Williams.  It is something of a Forrest Gump-style film, telling the story of Cecil Gaines from childhood to retirement, using notable moments in Black American history as its backdrop.  It is a mammoth story.  Perhaps it is too big for 132 minutes.

Certainly, it does not feel like a long film.  That is testament to the pace it maintains and the level to which the viewer invests in the central characters.  However, the choice to tell such an all-encompassing story, and to personalise events of great social significance is at the expense of the development of some characters and inter-personal relationships.  This is Gaines' story, but the most interesting parts of the film relate to his relationship with his eldest son.  Father and son represent different approaches to the fight to end racism and - like most fathers and sons - their relationship is complicated.  Sadly, though, there are few memorable moments the two men share.  The strain between them is demonstrated mostly through how it impacts Gloria Gaines (Winfrey) - the wife/mother caught in the middle.  This provides Winfrey with some rich material and she shines in this role.  Understandably, these events also place a strain on the relationship between Gloria and Cecil.  But what of this?  It is tough to know what to make of their turbulent relationship as it seems to have been that way from early on.  Did they marry for love?  Did they learn to love each other only after marriage?  It's not very clear.

There are so many interesting stories within The Butler that I can't help but feel they would have been better served in long-form.  It could have made a riveting television mini-series, but as a film it lacks the depth to truly hook its audience.  Furthermore, the most memorable scenes do not include the central character.  There are times he feels like a bit-part in his own film.

See this film for a heart-rending tale of injustice and the struggle to fight it.  Unfortunately the tale is not quite provided the depth it deserves.

Kill Your Darlings film review

This film is the ultimate tease.  The events I would expect to take centre-stage, instead serve as the climax, culminating from a series of nods in that direction.  This sense of foreplay is also reflected in the visual style.  There is a definite homo-eroticism in the long, languid shots of our central characters - but it is not till much later on that we are shown anything explicit.

We are told Allen Ginsberg's story, and his role in the events that unfold.  Ginsberg, though, is often on the sidelines of the major developments.  It is not an obvious choice, then, to tell the story from his point of view.  It is a wise choice, though.  He is a very relatable character and undergoes a palpable change from sheltered, literary talent to independent, audacious poet.  Ginsberg finds his voice, and that is a satisfying story.  So, for the story to also include a mysterious and dramatic criminal case becomes icing on the cake.

It is a smart film, and I took the bait it casually litters along the way.  I can see this style could be too understated to reach a wide audience.  

See this film for some fine performances and a new take on what suspense can be.

Thanks for Sharing film review

Thanks for Sharing is a study of addiction and what living with it can look like.  That is a big topic.  And it shows several types of addiction, and several ways of dealing with it.  Thankfully though, despite its earnestness, it remains a film about interesting characters with unique stories, so I enjoyed it.  

Thanks for Sharing is also a romantic comedy.  Or maybe there is not enough comedy to call it that.  But there is enough romance.

Thanks for Sharing is a drama about the intersecting lives of New Yorkers.  Life isn't easy in the big city, but as they pool together they find there is hope.

Thanks for Sharing is so many things it is difficult to categorise, but one thing that is clear is that it boasts a magnificent cast.  Mark Ruffalo and Tim Robbins turn in terrific performances as long-time sex addicts with no shortage of baggage.  Gwyneth Paltrow, Joely Richardson, Alecia Moore, Patrick Fugit and Josh Gad round out the core cast, each of whom has a moment in the spotlight.  Perhaps Thanks for Sharing is an ensemble drama...?

Ultimately, I enjoyed the film for its strong performances and thought-provoking themes.  It certainly could have benefited, though,  from a more assured script and a more assured tone.

See this film and be surprised.  There is food for thought and light entertainment, and though they may be clumsily matched I was won over by the charms of the cast.  I was reminded of 28 Days.  If you liked that, you'll like this.

The Last 5 Years theatre review

The Last 5 Years is one of the most popular musicals amongst fans of the genre to emerge this century.  It tells the sweet and sad story of a couple who come together at the start of their careers, whose relationship falls apart as their respective careers take very different turns.  The gimmick with this show is that Cathy's story is told in reverse chronological order, while Jamie's is told from start to finish.  Their scenes alternate, and the only time the two appear together in the same time zone is at the midpoint, when he proposes marriage.  With such a bold device to accommodate, the staging of the action is an interesting challenge.  Auckland Music Theatre's new production misses the mark where staging is concerned, failing to serve skilled singers Heather Wilcock and Andrew Allen.

This show is a two-hander.  That is what it is.  That is how it is written and a large part of what makes it interesting theatrically.  Director Andrew Potvin would disagree with me.  His vision includes a chorus of six nubile young women.  Their first appearance was surprising and somewhat cryptic, but I was open to the possibility that they might add to the experience.  Having more to watch could mean more to like.  But in this case it doesn't.  The chorus are choreographed in a way that they often illustrate lyrics on a very literal level.  And it made me cringe.  One would expect that supporting actors would provide ears for the singers to bend.  Well, no, our leads still sing to themselves or to an imagined partner.  So...

Presuming one can ignore the pointless chorus, there are some great beautiful moments to enjoy.  The highlights for me, though, are vocal ones.  Wilcock's voice is pure and strident and sounds somehow effortless and powerful.  For the most part, she sings the songs very straight.  It is hard to fault, but I feel that the part lends itself to greater personalisation.  Allen's voice is less evenly matched to the demands of these songs, however he proves his musicality with some stylish licks and unique runs.  Certainly, both singers prove themselves worthy of their place on stage.

When it comes to acting, though, the characterisation of both parts is slight.  Most songs were given a rather basic emotional wash, rather than the dynamic mile-a-minute thought processes that would best serve the writing.  Both actors, though, are rather young.  It could well be that they will understand Cathy and Jamie far better five years from now.

See this show if you are unfamiliar with the material; the material is so strong it nearly stands on its own.  The vocal performances are admirable, but the rest struggles to reach adequacy.

Chicago theatre review

Chicago is perhaps the most popular of Kander and Ebb's impressive catalogue of musicals.  It is currently the third longest-running show in Broadway history and 2002's film adaptation kick-started a slew of film musicals.  It has surpassed cult status to become one of the most familiar and recognisable shows of our time.  So for ATC to programme it as the end of year musical feels safer than safe (by which I mean more boring than boring).  Thankfully, director Michael Hurst had other ideas.

Hurst sets the story in the present day, and shows us how today's generation might grapple with the situations at hand.  This new interpretation of a classic flips many standard features on their head, and brand new musical arrangements present the songs in such a way that it is like hearing them for the first time.  The musical arrangements are mostly very successful, which is testament to the strength each song has to stand on its own.

Where the original Chicago has a script chock-filled with innuendo and laced with cynicism, Hurst's direction eschews subtlety, wearing its tits on it sleeve as it were.  This makes for some awkward moments where the understated script and the outspoken presentation are at odds.  In regard to such occasions, though, I would rather see the script altered to accommodate the style of this production rather than the reverse.

Amanda Billing is the stand-out star as Roxy.  Shane Cortese also delivers a delightfully sleazy Billy Flynn.  Lucy Lawless, though, gave rather a patchy performance.  Her take on Velma started off assured, but as Velma's confidence takes knocks, so too did Lawless' grasp on the character.  She felt like a different person each time she appeared.  And her vocals sounded best in the more standard musical treatments.  

See this show for a bold new take on a strong musical.  This is Chicago for the porn-watching, smart-phone dependent generation.

South Pacific theatre review

The opening scene of South Pacific includes three of its best songs: Cockeyed Optimist, Twin Soliloquies and Some Enchanted Evening.  It sets a high standard.  As the first scene drew to a close I wondered how the remainder of this production would match such perfection.  Yet, throughout Act I, my wonder only increased.  Song upon song is brought to life with style and conviction, and I was reminded how expertly crafted the show is.  And, while it is now very much a period piece, the majority of the script rings true today and feels current.  Could it really be 64 years old?  It is a long way from retirement.

Act II provides a few obstacles - it is rather unevenly paced and many key turning points take place offstage.  Story development stalls for a good 20 minutes or so to make room for a fun, but frivolous, Thanksgiving pageant.  I give thanks to the production team and credit some very clever staging with keeping the audience engaged.  So I cannot fault the direction, lighting, sound, set design or costumes.  What of the performances?

This cast is nigh on perfect.  Mitchell Butel shines as Luther Billis, which is something of a dream role for a character actor.  He appears equally at home with his more tender moments as with those that are purely comic.  Christine Anu, as Bloody Mary, also stands out.  Anu delivers a measured performance, displaying a wide repertoire of vocal tricks and often opting for the understated choice.  This tightly restrained interpretation of a potentially wild character imbues Mary with a high status that makes sense of her presence and her influence.  

But the show belongs to Nellie and Emile.  In these roles Lisa McCune and Teddy Tahu Rhodes are nothing short of exquisite, not to mention perfectly matched.  Rhodes' voice alone could rob a handmaiden of her virtue, while McCune is a true triple threat.  The audience warmed to each of them immediately and their ongoing chemistry proved to be quite the tease, which is essential in selling the final chapter of the play.

See this show to hear two of the purest voices in show business, and to witness an exquisite rendition of one of the most significant theatrical works of the twentieth century.