Roundup Newswires

Editor Brian Harrod Provides Comprehensive up-to-date news coverage, with aggregated news from sources all over the world from the Roundup Newswires Network

Madness in their method: have we fallen out of love with actorly excess?

Posted on December 10, 2021 by Admin

The Succession star Jeremy Strong has been widely scorned after a magazine profile revealed his ‘preening’ and ‘self-indulgent’ acting process. But many actors have been lauded for their method – so what has changed?

Robert De Niro is the greatest actor of his generation. So claimed the headline in a popular magazine last year, and it’s not a controversial claim. The evidence offered for this opinion was the same that’s always wheeled out when discussing De Niro’s acting: “[He] took method acting to previously uncharted levels. He got a New York cab licence for Taxi Driver, learned Italian and lived in Sicily to prepare for The Godfather Part II, put on 60lbs to play Jake LaMotta in Raging Bull, learned Latin for True Confessions and the sax for New York, New York. He was the hardest-working man in Hollywood,” wrote the journalist.

For decades, this has been the general feeling about actors: the more method, the better. After all, if they don’t eat raw bison and sleep in an animal carcass (Leonardo DiCaprio in The Revenant), stay in a wheelchair and be spoonfed by the crew (Daniel Day-Lewis in My Left Foot) or lose so much weight that they start to go blind (Matthew McConaughey in Dallas Buyers Club), they’re just playing make-believe. And why should they get all that fame, adoration and money just for that? All of the above actors were rewarded for their efforts with an Oscar, and actors talking about their method efforts has become as much a part of the run-up to the Oscars as shops playing Do They Know It’s Christmas in the run-up to the holidays.

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Steven Spielberg on making West Side Story with Stephen Sondheim: ‘I called him SS1!’

Posted on December 8, 2021 by Admin

The legendary director used to get scolded by his parents for singing its songs at the dinner table. As his version hits the big screen, he talks about his own dancefloor prowess – and the ‘obscure movie club’ he formed with Sondheim

It’s a winter afternoon and you’re about to begin a video call with Steven Spielberg. The perfect opportunity, then, to make a quick brew in your Gremlins mug (Spielberg produced that devilish 1984 horror-comedy) then brandish it in front of the webcam for the director’s benefit. “Oh, I love that, thank you,” he says, chuckling softly. Then he wags a cautionary finger: “Don’t drink it after midnight!”

The most famous and widely cherished film-maker in history is all twinkling eyes and gee-whiz charm today. He is about to turn 75 but first there is the release of his muscular new take on West Side Story, which marks his third collaboration with the playwright Tony Kushner, who also scripted Munich and Lincoln. Spielberg is at pains to point out that this not a remake of the Oscar-laden movie but a reimagining of the original stage musical. “I never would have dared go near it had it only been a film,” he says. “But, because it’s constantly being performed across the globe, I didn’t feel I was claim-jumping on my friend Robert Wise’s 1961 movie.”

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Marianela Núñez: ‘What lockdown taught me, one more time, is that dance is my true passion’

Posted on December 7, 2021 by Admin

The Royal Ballet’s phenomenal principal dancer was the fixed star at the heart of an extraordinary year for the company

See the Observer’s faces of 2021 in full

It’s been an oddly fractured year for dance. Repeated lockdowns stifled talent, thwarted new ideas. Online and outdoor offerings provided some release but when theatres reopened in May, dancers emerged as if from hibernation, full of life, anxious to get on with their notoriously short careers.

None more so than Marianela Núñez. The Royal Ballet has excelled as a company this year, but she is the fixed star gleaming at its heart, never disappointing, always moving towards her aim of perfection. Her smile irradiates the stage, but it is the purity of her classical technique, the sense that you are watching someone at the absolute peak of their abilities.

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‘We are in limbo’: banned Belarus theatre troupe forced into exile

Posted on December 6, 2021 by Admin

Members of Belarus Free Theatre say authorities ‘are more scared of artists than of political statements’

For 16 years, the Belarus Free Theatre has advocated for freedom of expression, equality and democracy through underground performances from ad hoc locations to audiences hungry for an alternative voice to the country’s repressive dictator, Alexander Lukashenko.

Now the banned company has taken the momentous decision to relocate outside Belarus, saying the risk of reprisals against its members is too great for it to continue its cultural resistance under the Lukashenko regime.

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On my radar: Adjoa Andoh’s cultural highlights

Posted on December 4, 2021 by Admin

The actor on her hopes for Brixton’s new theatre, an offbeat western and the sophistication of African art

Adjoa Andoh was born in Bristol in 1963 and grew up in Wickwar, Gloucestershire. A veteran stage actor, she starred in His Dark Materials at the National Theatre and in the title role of an all-women of colour production of Richard II at the Globe in 2019. On TV, Andoh plays Lady Danbury in Bridgerton, which returns next year, and she will appear in season two of The Witcher on Netflix from 17 December. She lives in south London with her husband, the novelist Howard Cunnell, and their three children.

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Mel Brooks on losing the loves of his life: ‘People know how good Carl Reiner was, but not how great’

Posted on December 4, 2021 by Admin

From best friend Carl Reiner to wife Anne Bancroft, the great comic has had to face great loss. But even in the middle of a pandemic, the 95-year-old is still finding ways to laugh

In February 2020, I joined Mel Brooks at the Beverly Hills home of his best friend, the director and writer Carl Reiner, for their nightly tradition of eating dinner together and watching the gameshow Jeopardy!. It was one of the most emotional nights of my life. Brooks, more than anyone, shaped my idea of Jewish-American humour, emphasising its joyfulness, cleverness and in-jokiness. Compared with his stellar 60s and 70s, when he was one of the most successful movie directors in the world, with The Producers and Blazing Saddles, and later his glittering 2000s, when his musical adaptation of The Producers dominated Broadway and the West End, his 80s and 90s are considered relatively fallow years. But his 1987 Star Wars spoof, Spaceballs, was the first Brooks movie I saw, and nothing was funnier to this then nine-year-old than that nonstop gag-a-thon (forget Yoda and the Force; in Spaceballs, Mel Brooks is Yoghurt and he wields the greatest power of all, the Schwartz).

I loved listening to Brooks and Reiner – whose films included The Jerk and The Man With Two Brains – reminisce about their eight decades of friendship in which, together and separately, they created some of the greatest American comedy of the 20th century. The deep love between them was palpable, with Brooks, then 93, gently prompting 97-year-old Reiner on some of his anecdotes. It was impossible not to be moved by their friendship, and hard not to feel anxiety about the prospect of one of them someday having to dine on his own.

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West Side Story review – Spielberg’s triumphantly hyperreal remake

Posted on December 2, 2021 by Admin

Stunning recreations of the original film’s New York retain the songs and the dancing in a re-telling that will leave you gasping

Steven Spielberg’s West Side Story 2.0 is an ecstatic act of ancestor-worship: a vividly dreamed, cunningly modified and visually staggering revival. No one but Spielberg could have brought it off, creating a movie in which Leonard Bernstein’s score and Stephen Sondheim’s lyrics blaze out with fierce new clarity. Spielberg retains María’s narcissistic I Feel Pretty, transplanted from the bridal workshop to a fancy department store where she’s working as a cleaner. This was the number whose Cowardian skittishness Sondheim himself had second thoughts about. But its confection is entirely palatable.

Spielberg has worked with screenwriter Tony Kushner to change the original book by Arthur Laurents, tilting the emphases and giving new stretches of unsubtitled Spanish dialogue and keeping much of the visual idiom of Jerome Robbins’s stylised choreography. This new West Side Story isn’t updated historically yet neither is it a shot-for-shot remake. But daringly, and maybe almost defiantly, it reproduces the original period ambience with stunning digital fabrications of late-50s New York whose authentic detail co-exists with an unashamed theatricality. On the big screen the effect is hyperreal, as if you have somehow hallucinated your way back 70 years on to both the musical stage for the Broadway opening night and also the city streets outside. I couldn’t watch without gasping those opening “prologue” sequences, in which the camera drifts over the slum-clearance wreckage of Manhattan’s postwar Upper West Side, as if in a sci-fi mystery, with strangely familiar musical phrases echoing up from below ground.

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The stars with Down’s syndrome lighting up our screens: ‘People are talking about us instead of hiding us away’

Posted on November 27, 2021 by Admin

From Line of Duty to Mare of Easttown, a new generation of performers are breaking through. Meet the actors, models and presenters leading a revolution in representation

In the middle of last winter’s lockdown, while still adjusting to the news of their newborn son’s Down’s syndrome diagnosis, Matt and Charlotte Court spotted a casting ad from BBC Drama. It called for a baby to star in a Call the Midwife episode depicting the surprising yet joyful arrival of a child with Down’s syndrome in 60s London, when institutionalisation remained horribly common. The resulting shoot would prove a deeply cathartic experience for the young family. “Before that point, I had shut off certain doors for baby Nate in my mind through a lack of knowledge,” Matt remembers. “To then have that opportunity opened my eyes. If he can act one day, which is bloody difficult, then he’s got a fighting chance. He was reborn for us on that TV programme.”

It’s a fitting metaphor for the larger shift in Down’s syndrome visibility over the past few years. While Call the Midwife has featured a number of disability-focused plotlines in its nearly decade-long run – actor Daniel Laurie, who has Down’s syndrome, is a series regular – the history of the condition’s representation on screen is one largely defined by absence.

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Stephen Sondheim: a daring and dazzling musical theatre icon

Posted on November 26, 2021 by Admin

The American composer and lyricist, who has died aged 91, shaped the musical artform with his wise, witty and extravagantly clever work

Stephen Sondheim achieved such acclaim – for deepening the content and extending the lyrical ingenuity of musical theatre – that, from the age of 50, each major birthday was celebrated with tribute concerts in London, New York or both.

Watching the composer-lyricist of Sweeney Todd and Follies at such events – taking a bow, with his wry smile – it was impossible not to reflect on our luck in coinciding with the life of someone who would clearly stand in the history of the genre alongside such geniuses as Cole Porter, Irving Berlin, George and Ira Gershwin, Leonard Bernstein, Kurt Weill, Richard Rogers and Oscar Hammerstein.

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Stephen Sondheim: master craftsman who reinvented the musical dies aged 91

Posted on November 26, 2021 by Admin

Scoring his first big hit with West Side Story at 27, the US composer and lyricist raised the art form’s status with moving and funny masterpieces including Follies and Company

‘His songs are like a fabulous steak’: an all-star toast to Sondheim

Stephen Sondheim, the master craftsman of the American musical, has died at the age of 91. His death, at his home in Roxbury, Connecticut, on Friday has prompted tributes throughout the entertainment industry and beyond. Andrew Lloyd Webber called him “the musical theatre giant of our times, an inspiration not just to two but to three generations [whose] contribution to theatre will never be equalled”. Cameron Mackintosh said: “The theatre has lost one of its greatest geniuses and the world has lost one of its greatest and most original writers. Sadly, there is now a giant in the sky. But the brilliance of Stephen Sondheim will still be here as his legendary songs and shows will be performed for evermore.”

Over the course of a celebrated career spanning more than 60 years, Sondheim co-created Broadway theatre classics such as West Side Story, Gypsy, Sweeney Todd and Into the Woods, all of which also became hit movies. His intricate and dazzlingly clever songs pushed the boundaries of the art form and he made moving and funny masterpieces from unlikely subject matters, including a murderous barber (Sweeney Todd), the Roman comedies of Plautus (A Funny Thing Happened on the Way to the Forum) and a pointillist painting by Georges Seurat (Sunday in the Park With George).

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Lin-Manuel Miranda: ‘Doing Hamilton every night saved me. It kept my head from getting off the swivel’

Posted on November 20, 2021 by Admin

When his Broadway show became a global phenomenon, the rigours of daily performance kept the actor and songwriter grounded. Then Disney and Hollywood came calling. Now, the ‘musical theatre fanboy’ has returned to his first love

About halfway through Tick, Tick ... Boom!, the new movie directed by Lin-Manuel Miranda, the patrons of a diner in 90s New York all turn to the camera and sing. The movie, Miranda’s directorial debut, is based on the autobiographical stage show of the same name by Jonathan Larson (creator of Rent) and tells the story of Larson’s late 20s as a struggling writer and waiter. Andrew Garfield is extraordinary in the lead, but it’s the people around him who make this particular scene; as the number unfolds, it becomes apparent that every extra in the diner is a legend of musical theatre, from Bernadette Peters, to Brian Stokes Mitchell (a veteran Tony award winner), to Roger Bart (original cast, Tick, Tick ... Boom!), to Jim Nicola (former artistic director of the New York Theatre Workshop) to a blink-and-you’ll-miss-it shot of Joel Grey, chasing the waiter for the bill. “I don’t know that I’m the guy you hire to make your next Marvel movie,” Miranda says, speaking via video from his office in uptown New York, “but I am the guy you hire to make this musical about a guy who wrote musicals.” It is simultaneously funny, moving and monstrously self-indulgent – or, as Miranda puts it, “about as musical theatre nerdy as it can get.”

Imagining Miranda as the steward of an alternate Marvel universe – Comic-Con, but for musical theatre geeks – restores him to what, prior to the opening of Hamilton in 2015, was his quieter role in the cultural landscape: as the champion of a much-loved, much-mocked art form that rarely troubled mainstream popular culture. Hamilton changed all that. The show not only won 11 Tonys, a Pulitzer, and more than $850m in box office receipts, it conferred on Miranda a singular status, variously crediting the 41-year-old with reanimating history, diversifying Broadway, and provoking children all over the world to memorise large chunks of lyrics about America’s revolutionary politics, some of them concerned with the restructuring of the national debt. (“Hey yo, I’m just like my country / I’m young, scrappy and hungry / And I’m not throwing away my shot” – still being hammered out at a million barmitzvahs). The most surprising thing about all this, perhaps, is that Miranda, appearing today in his customary flat cap and goatee, has the boundless enthusiasm and apparent absence of cynicism of the aspiring artist still untouched by success.

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Rob Delaney on love, loss and married life: ‘No, my wife is not having an affair with her karate teacher’

Posted on November 15, 2021 by Admin

The star of Catastrophe and Home Sweet Home Alone answers your questions on everything from family tragedy to the value of comedy

Rob Delaney – comedian, actor, writer, tweeter, activist – co-wrote and co-starred in the Channel 4 sitcom Catastrophe with Sharon Horgan. Now he has a starring role in the film Home Sweet Home Alone. He has also written and spoken movingly about the death of his two-year-old son, Henry. Here, he answers questions from readers about all of this, as well as being an American in London – and how he keeps his hair looking so great.

When you were offered the role in Home Sweet Home Alone, did you hesitate and think that maybe another remake of a successful movie would be pointless? Bernard Hautecler, Brussels, Belgium

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‘We’re taking the man out of the myth’: the musical reclaiming Rumi from Instagram

Posted on November 9, 2021 by Admin

A new stage production aims to tell the Sufi poet’s story beyond his aphorisms – and challenge assumptions about Islam and the Middle East in the process

He is everywhere and nowhere. The words of Jalal al-Din Rumi are found on sunset images pasted on Instagram and coffee mugs sold on Etsy; his poems have been featured in recordings from Madonna and Coldplay and he is reputed to be the bestselling poet in the US. Rumi’s observations and aphorisms on life may be endlessly cited – “You are not a drop in the ocean, you are the entire ocean in a drop” – but few in the west know him as anything more than a bearded Sufi mystic.

“Rumi has become a mystical, almost deified figure,” says Nadim Naaman. “The reality is that he was the opposite of an untouchable deity.” Naaman, a British Lebanese singer, actor and writer, has collaborated with the Qatari composer Dana Al Fardan to create Rumi: The Musical. “Our approach was to take the man out of the myth,” says Al Fardan, “and to present him as human being.” This is the second time Naaman and Al Fardan have brought a beloved Middle Eastern poet to the London stage. Their 2018 show Broken Wings, which is returning to London in the new year, was based on a novel by the Lebanese poet and writer Kahlil Gibran. It was the success of that production that convinced them there may be an appetite for a musical that delved into the life of Rumi.

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Katherine Ryan: ‘I thought plastic surgery was aspirational’

Posted on November 7, 2021 by Admin

The comedian will have you in stitches, but she can also leave you speechless. Katherine Ryan talks to Eva Wiseman about breast implants and potty training – and the jokes even she wouldn’t risk today

Katherine Ryan has named her autobiography The Audacity, a word (she explains) most commonly used to indicate disapproval. “Like, ‘HOW DARE she carry herself with that wicked abundance of self-belief? How AUDACIOUS!’” It is the perfect title. The absolute perfect title for a memoir by a comedian equal parts louche and lurid, famous for her uncompromising attitude, convincing invulnerability and refusal to self-deprecate. Her cover photo, shot when she was nine months pregnant, sees Ryan lucent and blonde in an ice-blue gown trimmed with marabou feathers, holding aloft in her left hand her favourite of her three tiny dogs.

It is these small dogs that greet me at her front door, and an entirely other lady. Instead of TV’s Katherine Ryan, be-lashed and dazzling, a happy cross between Christine Baranski and Taylor Swift, I’m welcomed by real-life Ryan, makeup-less in leggings, immediately offering me a plate of halloumi salad and a selection of milks for my tea. A breast pump sits on the counter beside a bag of golden hair extensions and outside, by the dainty heated swimming pool, her 12-week-old baby Fred sleeps gently in his pram. The atmosphere is one of Californian tranquillity in the London suburbs, only punctured slightly by her description of a man lowering his anus on to a bed post.

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On my radar: Damon Albarn’s cultural highlights

Posted on November 6, 2021 by Admin

The musician and composer on a magical performance by Udo Kier, a west African drumming app and where to find a taste of Palestine

Damon Albarn was born in east London in 1968. Interested in music from a young age, he studied at East 15 Acting School and then Goldsmiths, where he co-founded the band that helped kick off Britpop. As well as recording eight studio albums with Blur, Albarn also co-created Gorillaz and the Good, the Bad & the Queen, spearheaded the collaborative organisation Africa Express and has scored stage productions including Monkey: Journey to the West and Dr Dee. He lives in Notting Hill, west London, with his partner, Suzi Winstanley. On 12 November, Albarn releases his second solo album The Nearer the Fountain, More Pure the Stream Flows on Transgressive Records.

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‘The bikini line is still a no-no’: why does dance have a problem with body hair?

Posted on November 3, 2021 by Admin

Chests must be de-fuzzed, armpits shaved, legs waxed. But as dance becomes more diverse, should it stop policing what grows naturally? Top performers speak out about their body hair

The ideal dancer’s body is unrealistic in many ways: bendier than a Barbie, incredibly lean but super-strong, with very particular proportions (in ballet, small head, long legs, short torso, high insteps). And also, it’s hairless. As with swimmers, athletes, gymnasts and others who wear leotards for a living, constant depilation is part of the job.

That goes for men as well as women. “I choose to shave because it gives me a sense of readiness,” says dancer and choreographer Eliot Smith. “I believe it gives me better outlines of the body against the stage lights.” On ballet message boards, it’s not uncommon to find parents of teenage boys asking what to do about hairy legs showing under white tights (wear two pairs of tights, or paint over hairs with pancake are two suggestions, if shaving isn’t an option).

But is there an alternative? When pole dancer Leila Davis was pictured in an Adidas campaign in March showing off armpit fuzz, as well as toned abs, there were plenty of online haters, predictably, but lots of lovers, too. And there are a few – although not many – contemporary dancers who are happy to let their body hair be seen on stage.

“I want it to be normalised,” says Jessie Roberts-Smith, a performer with Scottish Dance Theatre. And independent choreographer Ellie Sikorski sees it as part of a bigger picture. “It’s not the first fight I would pick about the homogeneity of bodies on stage,” she says. “But there’s something archaic in dance – where your body is policed in certain ways. You’re taught not to have agency over your body and body hair is a tiny detail of that.”

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Mark Strong on acting, insecurity and life without a father: ‘I got angry as I got older. It took years to fix’

Posted on October 28, 2021 by Admin

After three decades on the stage and screen, the star is still worrying about where his next job will come from. Meanwhile, at home, he frets about letting down his family

Mark Strong has a good face for villainy – spare and inscrutable, with thin lips and “eyes like tunnels”, as Arthur Miller might have put it. On camera, he gives a sort of fractional disclosure, expressions altering in tiny increments, so that watching him perform is often an exercise in judging how much good can reasonably be seen in the bad. He specialises in antiheroes and authority figures, from gangsters (Kick-Ass, The Long Firm) to heads of intelligence (The Imitation Game, Body of Lies, Zero Dark Thirty). His latest incarnation – as a surgeon who operates in the criminal underground in the TV drama Temple, now in its second series – melds these roles as he crosses and recrosses the line between conscientious and cruel.

Although highly regarded for his work across stage, film and TV, Strong is not a big winner of awards (though he earned an Olivier for his outstanding portrayal of Eddie Carbone in Miller’s A View from the Bridge in 2015). He comes across as somehow outside the system. He is reputable rather than starry, plays parts rather than leads and has retained the air of a jobbing actor. Surely at 58, after 30 years of nearly constant work and more than 100 screen credits, with a voice so sonorous and distinctive it draws you to the depths, he deserves a bigger breakthrough. Is he frustrated by the lack of leading parts?

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Last Night in Soho review | Peter Bradshaw’s film of the week

Posted on October 28, 2021 by Admin

Thomasin McKenzie, Anya Taylor-Joy and Matt Smith star in a horror-thriller that takes a trip to the sleazy heart of London’s past

A trip to the dark heart of London’s unswinging 60s is what’s on offer in this entertaining, if uneven, film from screenwriter Krysty Wilson-Cairns and director Edgar Wright, serving up a gorgeous soundtrack and some marvellous re-creations of sleazy Soho and the West End. There’s a tremendous image of the marquee for the 1965 Thunderball premiere in Coventry Street, and a show-stopping crane shot of Soho Square, apparently filmed from where the 20th Century Fox sign is now no longer to be found atop that company’s former premises.

Last Night in Soho is a doppelganger horror-thriller about a wide-eyed fashion student called Eloise (Thomasin McKenzie) who has brought her mum’s old Dansette record player and Cilla Black and Petula Clark LPs up to London from Cornwall on the train. Eloise has a fetish for the lost innocent glamour of the 60s but, moping all alone in her manky bedsit, finds herself stricken with neon phantasms. Like a ghost from the future, Eloise dreams her way through a portal in time back into 60s London clubland, where she witnesses Sandie (Anya Taylor-Joy), a blonde singer – exactly the kind of retro showbiz princess Eloise moonily idolises – who is being forced by her slick-haired manager Jack (Matt Smith) into having sex for money with creepy old men. Gradually, Eloise feels her identity merging with Sandie’s. Is she having a breakdown, or is this nightmare really happening?

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