Thursday, 13 March 2025

Stage: Crowd-pleasing precision

Drum Tao: The Dream
director Ikuo Fujitaka
performers Taro Harasaki, Junnosuke Kodani, Haruki Kawazu, Kyota Sonoda, Koki Sato, Haruto Mizuno, Takumi Azami, Ryusei Ishida, Daiki Sakai, Shima Sasaki, Ai Anekawa
lighting Ryo Harada • sound Kenichi Horiuchi
Peacock Theatre, London • 11-15.Mar.25
★★★★

Drum Tao has been touring the world for more than 30 years, only just now finally arriving in London. And it's worth the wait. Their show is a hugely entertaining mix of taiko drumming, dancing and music, performed with a blast of personality as these 11 young performers infuse their athleticism and precision with cheeky wit. Since they're having so much fun, so are we. And they definitely know how to play to the audience, which makes it feel like they bring us up onto the stage with them.

The staging is relatively simple, making the most of spinning shiny backdrops, Matrix-like outfits and clever lighting. There is also of course a dizzying array of drums, accompanied by various flutes, stringed instruments and cymbals. Performers continually switch between the instruments, taking the stage for solo pieces, duets, duels and outrageously lavish numbers in which everyone joins together to create ripples of textures, rhythms, sounds and visual shapes. The patterns are complex, and the thrilling musical synchronicity is both exacting and carefully nuanced.

Movement is demanding and constant, with high-energy choreography that involves acrobatic gymnastics and displays of strength. So it's no wonder that they're all so lean and muscled, and they never break a sweat even though they're constantly in motion. The two women in the troupe get frequent costume changes, which provide some lovely colourful touches, one of the men has a beefy shirtless number, and a group of guys perform an ab-crushing piece that involves remaining in a half sit-up while gripping drums with their toes and pounding on them with huge sticks. These kinds of variations make sure that the show never feels repetitive over two hours.

They also happily play up their personalities, smiling and grandstanding to create impact as individuals within the group. And watching them live allows us to hear some of the more subtle tones in isolation, as they use a full range of methods to create seemingly endless sounds with one stick on one drum. All of this results in a show that's almost overpoweringly upbeat, both because of the nature of the music and the way the sparky performers maintain a connection with the audience. These are astonishingly skilled musicians and dancers. And at a time when we need as much happiness as we can get, their joy is infectious.
photos by Drum Tao • 11.Mar.25

Sunday, 9 March 2025

Stage: A precarious friendship

Dear Martin
by Madeleine Brettingham
director Wiebke Green
with Alex Mugnaioni, Ben Simpson, Amelia Donkor, Edward Judge
set/costumes Kit Hinchliffe
sound Julian Starr • lighting Lucía Sánchez Roldán
Arcola Theatre, Dalston • 5-29.Mar.25
★★★

A gleefully black comedy, this play by veteran TV writer Madeleine Brettingham centres around an unusual connection between two men who are caught in their own precarious situations. It's very funny, eliciting gut-level laughter largely at the offbeat disparity between these characters. And while the tone is arch, with broad performances and eye-catching staging, there are terrific themes running through the interaction. So even if the play never pushes the themes too far, the audience is provoked to consider friendship from an offbeat perspective.

On a white-on-white studio stage augmented by coloured lights, Dave (Ben Simpson) recites a letter he has written to Martin (Alex Mugnaioni), furious that Martin has been engaging in sexually charged correspondence with his wife, who has a history of adultery. Martin's reply oozes with charm and understanding, so Dave goes to visit him in a high-security mental hospital. And there is a clear spark between them. Over the following months, Martin makes a deal to help Martin fix his marriage if Dave convinces prison officials that Martin has an actual friend. But Martin never reveals why he's locked up.

Inventively staged with scenes that dissolve into each other, allowing characters to interact with each other on a range of witty levels, the story moves with propulsive energy, drawing the audience in deeply. These are hugely engaging characters, each with textures that are endearing, infuriating and hilarious. And they're played with out-sized charisma. Mignaioni makes Martin so magnetic that it's impossible to dislike him, even when we begin to understand his psychopathic tendencies. And Simpson gives Dave a relentless open-faced honesty, like a puppy dog whose only desire is to please. Their chemistry is fascinating, even when it drifts over the top.

Side roles provide context and interest, most notably the variety of characters Amelia Donkor disappears into, from Martin's acerbically sceptical doctor to a prostitute Dave attempts to hire on Martin's advice. And Edward Judge makes an impact as Martin's too-cheerful fellow inmate Ben and also as a journalist who attempts to get to the root of Martin's story. Here's where the writing, directing and acting are at their very best: even as we discover Martin's horrific true nature, he becomes increasingly sympathetic, because we are seeing him through Dave's optimistic eyes.

This is a fascinating exploration of what motivates us to make connections with other people, especially those moments when friendships emerge where we least expect them. These ideas add an involving emotional undercurrent to the production, which bristles with visual and verbal energy, including wry moments that involve the audience. And the story is punctuated by inventively edgy moments of drama, humour and intrigue. The overall tone feels rather smug, pleased with each clever turn of phrase or snappy visual beat. But it's also thoroughly entertaining.


photos by Charlie Flint • 7.Mar.25

Thursday, 6 March 2025

Critical Week: The winner takes it all

Staying up all night in London to watch the Oscars is a tradition for film fans, who are recognisable the next day by their dazed expressions. The show offered several highlights, including that opening number featuring Ariana Grande and Cynthia Erivo offering soaring renditions of Wizard of Oz, The Wiz and Wicked belters. The night was a terrific celebration of independent filmmaking, with big love for Anora, for which Sean Baker won a record 4 Academy Awards for a single movie. Other memorable elements included Morgan Freeman's beautiful eulogy for Gene Hackman, Isabella Rossellini honouring David Lynch by wearing a blue velvet dress and bringing Laura Dern as her date, and the powerful appearance of the No Other Land filmmakers as they accepted Best Documentary.

BEST OUT THIS WEEK:
Day of the Fight • Mickey 17
Ernest Cole: Lost & Found
ALL REVIEWS >
I also watched some movies this week, including Robert Pattinson in Bong Joon Ho's Mickey 17, a comical sci-fi adventure that's actually remarkably warm. John Lithgow and Geoffrey Rush are on fine form in creeky Kiwi horror The Rule of Jenny Pen; Bruce LaBruce is back with The Visitor, yet another provocative, nutty and remarkably inventive satire; the hyperactive animated adventure Giants of La Mancha is enjoyably silly. There were two documentaries: Ernest Cole: Lost and Found is a riveting, urgent portrait of the South African photographer, while the artful Riefenstahl tells the story of the controversial German filmmaker. I also saw Wayne McGregor's Deepstaria at Sadler's Wells.

This coming week I'll be watching Cate Blanchett and Michael Fassbender in Black Bag, Ayo Edebiri in Opus, Brian Cox in The Parenting, the comedy She's the He, Chinese thriller Brief History of a Family and Peacock at the opening of WatchAut, the Austrian Film Festival. There are also two stage shows: Dear Martin at the Arcola Theatre and Drum Tao: The Dream at the Peacock Theatre.



Saturday, 1 March 2025

Out on a Limb: Oscar picks & Predictions

Once again, here are how I think things will go Sunday night at the 97th Academy Awards. This is one of the least predictable Oscar races in recent memory, with multiple categories too close to call. And I do love surprises and upsets! A couple of my notes here are risky, but here we are...

PICTURE
Will win: Conclave
Serious contender: Anora
Should win: A Complete Unknown

INTERNATIONAL FEATURE
Will/should win: I'm Still Here
Dark horse: Emilia Perez

ANIMATED FEATURE
Will win: Flow
Should win: The Wild Robot

DOCUMENTARY
Will/should win: No Other Land
Dark horse: Porcelain War

DIRECTING
Will win: Sean Baker - Anora
Serious contender: Brady Corbet - The Brutalist
Should win: Coralie Fargeat - The Substance

ORIGINAL SCREENPLAY
Will/should win: A Real Pain - Jesse Eisenberg
Serious contender: Anora - Sean Baker

ADAPTED SCREENPLAY
Will win: Conclave - Peter Straughan
Should win: Sing Sing - Clint Bentley, Greg Kwedar

ACTRESS IN A LEADING ROLE
Will win: Demi Moore - The Substance
Serious contender: Mikey Madison - Anora
Should win/dark horse: Fernanda Torres - I'm Still Here

ACTOR IN A LEADING ROLE
Will win: Timothee Chalamet - A Complete Unknown
Serious contender: Adrien Brody - The Brutalist
Should win: Colman Domingo - Sing Sing

ACTRESS IN A SUPPORTING ROLE
Will/should win: Zoe Saldaña - Emilia Perez

ACTOR IN A SUPPORTING ROLE
Will/should win: Kieran Culkin - A Real Pain

FILM EDITING
Will win: Conclave - Nick Emerson
Should win: Anora - Sean Baker

CINEMATOGRAPHY
Will/should win: The Brutalist - Lol Crawley

ORIGINAL SCORE
Will win: The Brutalist - Daniel Blumberg
Should win: The Wild Robot - Kris Bowers
Dark horse: Emilia Perez - Clement Ducol and Camille

ORIGINAL SONG
Will/should win: El Mal - Emilia Perez - Clement Ducol, Camille, Jacques Audiard

PRODUCTION DESIGN
Will/should win: The Brutalist - Judy Becker, Patricia Cuccia
Dark horse: Conclave - Suzie Davies, Cynthia Sleiter
[Winner: Wicked: Part I - Nathan Crowley, Lee Sandales]

COSTUME DESIGN
Will win: Wicked: Part I - Paul Tazewell
Should win: A Complete Unknown - Arianne Phillips

MAKEUP AND HAIRSTYLING
Will/should win: The Substance - Pierre-Olivier Persin, Stephanie Guillon, Marilyne Scarselli

VISUAL EFFECTS
Will/should win: Dune: Part Two - Paul Lambert, Stephen James, Rhys Salcombe, Gerd Nefzer
Dark horse: Wicked - Pablo Helman, Jonathan Fawkner, David Shirk, Paul Corbould

SOUND
Will win: Dune: Part Two - Gareth John, Richard King, Ron Bartlett, Doug Hemphill
Should win: The Wild Robot - Randy Thom, Brian Chumney, Gary A Rizzo, Leff Lefferts