The Internet Theater Magazine of Reviews, Features, Annotated Listings

CurtainUp on Film,TV & DVD
By Elyse Sommer

The Road to 1984
No Pay, Nudity
Manchester by the Sea
La La Land
Close to the Enemy- Post WWII Drama- 7 episodes
A Place to Call Home-Season 4 of the Australia's addictive melodrama
Christine bio-drama starring Rebecca Hall and cast of stage favorites
London Road, the 2011 Stage Musical On Screen
Florence Foster Jenkins

The Road to 1984
James Fox as George Orwell in The Road to 1984
One thing that hasn't led to an angry presidential tweet or outraged comment by President Trump's press secretary is the boom in sales of George Orwell's horror novel Nineteen Eighty-Four. While the book has remained in print since its publication in 1949, sales have recently boomed as if it had just been written. And while the book has seeded a movie and several stage adaptations, the Broadway production coming to the newly re-opened Hudson Theater in June is definitely a ripple effect of the Trump administration.

For many Americans the use of "alternative facts" by Mr. Trump and his colleagues brings shivery memories of the book's "two plus two equals five" ("2 + 2 = 5"). That title described a mantra of novel's dystopian world. Orwell used that slogan to chilling effect to strike a contrast between this example of an obviously false dogma that one may be required to believe with the phrase "two plus two makes four" as the obvious—but politically inexpedient—truth.

I'll be reporting on the Broadway production when it opens next June (actually, you can preview the Headland adaptation which will be used in the States
here . But you might also want to see an excellent film released in 1984 to coincide with the predicted prophesy about the triumph over the forces of evil over good, truth and mind control— and recently released for its viewers by Acorn.

As someone who's read Orwell's early novel Burma Days (inspired by his days as a policeman there), as well as Nineteen Eighty-Four and Animal Farm, I found this film an absorbing and very smartly directed and well-acted biography. I was particularly impressed with the way the dialogue was astutely taken right from Orwell's writings by screen scripter Willis Hall. Not having read Orwell for a while the precision and yet richness of Orwell's language had me resolve to make time read some of his published essays, especially his Politics and the English Language.

James Fox, a busy British film and TV thespian looks reasonably enough like Orwell. He captures the intensity of the man's desperate struggle to complete Nineteen Eighty-Four even has he waged his long and painful battle with tuberculosis, to which he succumbed at age 46.

Director Wllis Hall has vividly dramatized the cruelties that Orwell wrote about in Burma Days as a recurring nightmarish leitmotif in the film. The bucolic retreat beautifully evokes a little known side of him —as a forlorn lonely widower's tender relationship with his young adopted son. Of course, anyone who's read Animal Farm, will recognize the dialogue of the outdoor scenes on his farm from that memorable satire.

Mr. Fox is ably supported by the various women in Orwell's life, notably Janet Dale and Julia Goodman as his first and second wives.

I doubt anyone in President Trump's inner circle will want to see The Road to 1984; nor are they likely to turn up at the stage adaptation of Nineteen Eighty-Four when it comes to the Hudson Theater (unless they come heavily disguised). But everyone else will appreciate this fine film. To see it, go to

No Pay, Nudity
no pay
Gabriel Byrne and Nathan Lane in No Pay, Nudity Fences
If I asked you to name a famous show biz guy who's grown a beard and donned a fat suit to play a part, you'd probably have no problem coming up with the correct answer. That beard and fat suit have turned Josh Groban, the super star of the concert stage into a Broadway musical stage star sure to at least be nominated for a Tony and numerous other theater awards.

Nathan Lane is also likely to nab a nomination for his performance as Walter Burns in the Broadway revival of
Front Page . But while he was beardless as the scoop chasing editor of that production, he sports a beard, an enormous fat suit and glasses and a beard for No Pay, Nudity, a heart-warming Indie movie that too many people have never heard of. That's even though Lane is just one of this charming little film's cast top drawer stage, film and tv thespians.

In moving from on to off-stage for his directing debut, Lee Wilcof has followed the "write about what you know" advice usually given to fledgling authors. After many years of performing live and in front of the camera — singing as well as acting as with his terrific rendition of "Brush Up Your Shakespeare" in the musical Kiss Me Kate— Wilcof certainly knows the ups and downs of an actor's life.

In No Pay, Nudity Wilkof and script writer Adam Sandler (also an actor) have created an unflinching yet sympathetic and charming tragi-comedy about a group of thespians whose salad days are mostly past history. As in Eugene O'Neill's The Iceman Cometh (in which both Lane and Wilkof have appeared) these aging actors still haven't given up their pipe dreams of a gig to validate their clinging to their identities as actors and the possibility of another chance to reactivate a stalled career. And so, they spend their days hanging out in the Actors Equity Lounge putting up with the insults of the facility's bad-tempered manager.

The little circle of regulars is comprised of Lester Rosenthal, (Gabriel Byrne) who could be living a comfortable life running his father's Ohio cement company if he weren't still convnced acting was his calling; the always cheerful Andrea and her toy poodle (Frances Conroy); Stephan (Boyd Gaines) who is more reality focused the others; and Hershel (Nathan Lane).

Readers who are regular theater goers will have fun spotting top tier stage thespiens in cameo roles; for example Jeremy Shamos as a veterinarian; J. Smith Cameron as Lester's critical ex-wife; Donna Murphy as a more sympathetic new romantic interest; Valerie Mahaffey as a flatteringly admring friend from his high school days and her husband John Bedford Lloyd.

Lane is the chief kibitzer and also occasionally narrates via voice-over. The back story explaining why he's been condemned to a life sentence of unemployment is not especially believable, especially since it includes no clue as to how manages to eat and pay rent when not pontificating to his cronies. More importantly, however, Lane is hilarious and also manages to be the linchpin holding this little family together when one dreamer's success and another's despair collide.

Outstanding as Lane is, the film's centerpiece is Gabriel Byrne's Lester Rosenthal. Byrne, like Director Wilkof and Nathan Lane has inhabited major Eugene O'Neill characters on stage (most recently as the self-destructive James Tyrone in Long Day's Journey Into Night ) and also enjoyed much success on TV. As the far less successful Lester Mr. Byrne is riveting as a man for whom everything that could go wrong does: His dog dies. . . his best and steadiest acting job on a TV soap opera ended years ago when they killed off his character. . . . his only steady job is reading the newspaper to a blind man. . .he experiences a sudden and demoralizing memory loss during an audition to play King Lear in an out of town production.

Lester's marriage to an actress who settled for a more practical life is also over. And while his daughter loves him, she feels he'd be better off as a waiter than clinging to his dream. No wonder that when the Equity Lounge group's Stefan gets a big break, Lester's simmering despair and jealousy erupts into an almost too painful to watch mental meltdown.

The director with the help of cinematographer keeps the main characters equity lounge scenes from being too static. Thus we follow Byrne's depressing encounters all around Manhattan and eventually to Ohio. It turns out that the title role audition he flubbed so miserably led to an offer to play but the minor role of King Lear's Fool and the production happens to be in his home town.

As it turns out he does the Fool brilliantly and since the Bring in that this is his home town so its somehow not just a catharthis in terms of his triumph in a minor role but reconnecting with his father his roots genera(an old girl friend sho opens his eyes to how to tailor a dream to leave room for being able to love more day-to-day dreams, and live fully off as well as on stage.allow for dreams of other dreams his father, and -- of working out a way to a happy ending that makes this rather specialized milieur a universal story of how to aaccept ourselves even if we haven't realized all our ambitions, but manage to love what we do anyway because it also enables us to live life fully an joyfully off stage as well as onl. Wonderful indie comedy-drama one of those very special low-budget films that outshine major studio fare made for many millions of dollars. and tive the credit line the press girl gave me dramatized in a range of encounters. There’s the hale, hearty, job-offering visit of a theater-world friend (Loudon Wainwright), the increasingly high-profile opportunities for a more focused lounge habitue (Boyd Gaines), and the wowed admiration of a former high-school classmate (Valerie Mahaffey). Yet however enthralled she is with Lester’s showbiz stories, his unfashionable friend from unfashionable Ohio is unequivocally happier than he is. Back in New York, Lester gets a romantic interest (Donna Murphy) whose idea of success is bracingly self-defined. Byrne’s performance is a masterful symphony of illuminating off-key chords as Lester confronts the painfully late-in-life question of whether acting is his true calling. It’s a fascinating and difficult wisecracking his permanent unemployment he's hilarious not paying off. The matter of success and its flip side, professional jealousy, is dramatized in a range of encounters. of a group of has-been thespians who hang out in the Actors Equity lounge If you see him at the awards Josh Groban isn't the only famous show biz guy to sport a beard and a fat suit these days. REVIEW PENDING

The late August Wilson's ten-play chronicle of the African-American Experience was a remarkable achievement. Outstanding as each of these plays was, if you happened to see one a second time, it inevitably seemed even better and more impressive.

Except for Ma Rainey's Black Bottom all the plays in the cycle were set in the Pittsburgh Hill District of Wilson's own youth; thus their being referred to as the Pittsburgh Cycle. And, while the stories were specific to the lives of poor and often embittered black characters, their focus on the struggle for dignity, love, security and happiness despite often overwhelming obstacles was universal.

Set as it is in the '50s, Fences is #8 in the cycle, but it's probably #1 in terms of popularity with audiences. The play, an emotionally powerful family drama, had its first Broadway revival in 2010. With Denzel Washington in the leading role of Troy Madsen a garbageman whose dreams of playing professional baseball got sidetracked by a youthful incident that landed him in prison, that revival was a sellout.

Though Washington was the ticket selling magnet, the entire cast was superb, especially the extaordinary Viola Davis as Troy's wife Rose. So movie goers are in luck. All except the little girl who joins the family towards the end, are present in the recently released film adaptation.

Denzel Washington, now directs as well as stars; and, in that second job, he's managed to make Fences not just one of August Wilson's best plays, but one of the best adaptations of a straight play I've seen in a long time. No overly dark filmic scenes! No meaningless expansion of the cast!

Washington opens things up just enough for a glimpse of Troy and his pal Bono working their garbage jobs, and the interior of the modest Madsen home, without losing the focus on that home's back yard where the titular fence is constructed and the major interactions play out.

Since the film so beautifully brings all the virtues of the stage production, rather than read a rehash here, you might as well click over to my review of the 2010 production of Fences .

This film is a wonderful way for August Wilson newbies to become acquainted with his work. For his many fans it's a not to be missed chance to see how well his work transfers to the screen. The release is also timely, in that Jitney, the first of the Pittsburgh plays he wrote is being given its first Broadway revival, also with a stellar cast and director. To read my review of that productuon go here.

For more about August Wilson and his work see Curtainup's August Wilson Backgrounder

Ben Affleck
Manchester by the Sea
Curtainup was launched the same year that Kenneth Lonergan's breakthrough play This is Our Youth premiered Off-Broadway. I've admired and followed his work ever since, seeing some of his plays several times (for example, I revisited This is Our Youth when it was revived on Broadway--
my review.

His movies — You Can Count on Me, Margaret, and now Manchester by the Sea — tackle the same often devastating themes as his plays (death, loss of a loved one and guilt). But sad as the stories he tells can be, they're never without laughs.

Naturally, someone turning out an impressive body of stage and screen plays is bound to disappoint sometimes; which was the case with in 2009, an Medieval Play in 2012. But Lonergan fans rejoice. He's now back at the top of his game both on stage and screen. Hold On To Me Darling was a highlight of last year's Atlantic Theater season, and Manchester by the Sea is a highlight of the current film season.

Set in a Massachussetts coastal town and occasionally in Boston, Manchester . . . is a major star turn for Casey Affleck as Lee Chandler, a depressed, anti-social handyman. It takes a while to sort through the many flashbacks Lonergan uses to reveal the cause for Lee's depressed persona. Without ever resorting to a facile happy, or at least happier, finale.

If you give those flashbacks a chance to make sense and get a handle on the emotional depth of Lee's crippling grief and guilt, you'll be privvy to a compelling, beautifully filmed psychological drama. while the focus is on Affleck's Lee coming to terms with the tragedy that destroyed his happy life in Manchester with his wife, Randi (Michelle Williams), the story enriched by a number of well realized and performed characters.

Of the people who are part of Lee's story, the most interesting is his sixteen-year-old nephew Patrick (Lucas Hedges). He's the son who his older brother Joe (Kyle Chandler) willed to him since the boy's mom (Gretchen Moll) has been out of their lives for a while. Lee is thus forced to reconnect with his Manchester life. Though Lee's unwilling guardianship is prompted by Joe's sudden death, both Chandler and absentee mom Gretchen Moll get chances to shine via the flashbacks.

Though Lee's life shattering tragedy and its lingering aftermath is the foundation stone on which the film is built, the most complex and intriguing relationship is with his orphaned nephew. There's a clearly deepening affection between them, despite their running battle as to whether Patrick will finish high school in Boston or if Lee can stay in a place so painful for him to be in beyond the current term. While Patrick seems cooler and more able to move on with his life of the two, there are subtle indications that he too is in deep grief. Lee's involvement in Patrick's complicated social life also opens things up for some much needed very funny moments.

This is a breakout role for Hedges who's currently become another actor navigating both screen and stage work, when he makes his stage debut in the MCC company's the world premiere of Yen (our review after its official opening on January 31st).

C. W. Wilson last seen in Lonergan's Hold On To Me Darling, again makes a major contribution as Joe's close friend and business partners. Josh Hamilton, a frequent Lonergan interpreter shows up in a minor role, as does Matthew Broderick.

Lonergan's finely detailed direction is abetted and enhanced by cinematographer's beautiful images of the locale, especially the scenes on Joe's boat.

If you've never seen a Lonergan play or film, don't miss this one.

La La Land
Emma Stone and Ryan Gosling
Emma Stone left the film studio world long enough to step into the role of Sally Bowles in last year's revival of
Cabaret on Broadway. She was enough of a hit to extend the run of the show. That live musical theater debut probably won her the starring role in La La Land, the movie musical that just collected enough Golden Globe awards to support the buzz about this new ode to old movie musicals with song-and-dance super stars (think Ginger Rogers, Cyd Charisse, Fred Astaire and Gene Kelly) being this year's multiple Oscar winner.

The accolades showered on Stone for her musical theater debut were not really for the vivid acting that made her not being an outstanding singer immaterial. She evolved into a big belter or a superb dancer as Mia, an ambitious but still unsuccessful young actress. But again, it doesn't matter.

What's true for Stone is equally true for Ryan Gosling as Sebastian, the equally ambitious jazz musician and the other half of La La Land's familiar yet fresh and endearing love story.

Stone and Gosling are loaded with charisma. They believably convey both the romantic sizzle between Mia and Sebastian as well as the equally overpowering intensity of their individual creative dreams — hers to be a successful actress, his to own his own club dedicated to classic jazz.

As Stone and Gosling successfully navigate the traditional man-woman love story and an individual's passionate commitment to a creative dream, so script writer/director Damien Chazelle and cinematographer Linus Sandgren have managed a double feat: He makes La La Land work as a homage to the golden oldie musicals only audiences of a certain age are likely to have grown up with. And to his great credit, he's freshened his nostalgic love letter with a somewhat astringent twist on the de rigeur style happy endings. In fact, that ending is what validates all the ecstatic buzz.

Chazelle and Sandgren's fantasy sequences are enchanting enough to give Stone and Gosling and almost Fred and Ginger like glow. That said, it's as a musical that La La Land falls short. Casting movie stars whose chief assets don't include singing and dancing typifies the pragmatism that also prevails on Broadway — Casting with a performer's box office magnetism the first cnsideration. The LA highway traffic jam that serves as the peppy ensemble opening number is certainly lively and supportive of a plot revolving around a place that's still a magnet for people eager to live the dream that Hollywood or La La Land. But Justin Hurwitz's "City of Stars" theme song is repeated to ad nauseum and the rest of the score and the Benj Pasek/Justin Paul lyrics are more serviceable than really memorable.

Yes, La La Land, is enjoyable but claims to being a genuine game changer with a really meaningful book, casting, music and lyrics made me wonder if Chazelle had ever seen Hamilton. I doubt Lyn Manual Miranda or director Thomas Kail would have sidelined the black jazz men Gosling's Sebastion so admires but upstages. Here's hoping you won't have to wait too long for the movie version of that deserved Tony and Pulitzer Prize winner.

Leslie Duncan and Alfre Molina
Close to the Enemy
This 7-episode post World War II British period drama is billed as a thriller. The concept, time frame and atmospheric setting certainly have all the earmarks of that genre.

But, given that it's written and directed by David Poliakoff, you can count on something much more than the usual mainstream escape fare — in the case of Close to the Enemy that means a thoughtful and diverse psychological exploration of the unique post World War II period when a peaceful and successful future entailed complex choices of dealing with the past and moving on.

Despite an over-stuffed and often credibility challenging plot and meandering detours, Close to the Enemy demonstrates how even an imperfect project can hook you into compulsively binging your way through the whole series.

How could it not, with stage as well as screen favorites Alfred Molina, Leslie Duncan and Phoebe Fox among the many characters poopping up regularly in the multitude of subplots to provide scene stealing and emotionally potent moments.

As for the main story line, it revolves around a secret Ministry of Defence government unit. Their mission is to capture defeated Germany's technical wizards and harness their knowledge to compete with its former allies for future dominance in science and technology.

To oversee the process and charm these people into cooperating, we have Captain Callum Ferguson (Jim Sturgess). His prime assignment is Dieter (August Diehl), an aeronautical engineer who, along with his young daughter, Lotte (Lucy Ward), has been forcibly brought from Germany and is essentially the Brits' prisoner.

Intriguing as all these people and their connection to the Defense Department's operation are, the real star of this series is its main location — The Connington Hotel, an imposing ruin sitting on the government's property. You couldn't ask for a more soaked in atmosphere setting than this remarkably unbombed architectural survivor sitting amidst the otherwise bombed-out rubble. Its restaurant still looks grand but dishes up post-war fare. The long, narrow hallways are perfect for characters to slink about mysteriously. A newly reopened basement ballroom serves as a good excuse for true to the period musical interludes by biographical movie star Angela Bassett as an American lounge singer and her band.

While Ferguson does win over Dieter fairly early on in the seven episodes, the was-he-or-wasn't he the kind of Nazi who should be tried as a war criminal rather than embraced question lingers over all that follows. The Captain also has to deal with another involuntary guest of the Defence Department, the terrific Leslie Duncan, as the imperious Frau Bellinghausen, who actually was born a Brit; that was before she married a German industrialist whose secret perfume formula is apparently a desirable asset for the nation's economic future. When not securing these secrets.

Ferguson is also busy dealing with his war-damaged brother, Victor (Freddie Highmore) his romance with Rachel Lombard (Charlotte Riley) the rich American wife of his best friend. As if that's not enough, there's his growing friendship wartime foreign service officer Harold Lindsay-Jones (Alfred Molina) whose secret past keeps lurking around the hotel.

The most interesting and thought provoking of all these sub-plots involves Phoebe Fox as Kathy Griffith (the wonderful Phoebe Fox-- who live theater goers will remember from last season's ground breaking revival of Arthur Miller's
A View From the Bridge ). Since Kathy works for a government unit that seeks to track down and prosecutes war criminals. Thus Kathy and the Cullum represent a struggle between two points of view: Kathy is on the side of the uncompromising morality that brings war criminals to justice. Cullum is with the pragmatists who are willing to not dig too deeply into the pasts of those able to help prevent future wars — shades of the he current Syrian crisis with one side willing to keep President Assad in power in the interest of a cease fire.

While I seem to be singling out the secondary characters (Molina, Duncan and Fox), I also enjoyed the deft performances of the other new to me actors. The performances, the atmosphere rich Connaught made it easy to forgive the contrivances and keep binging along.

ash house
The Bligh estate is actually a heritage-listed property called Camelot located at Kirkham, on the outskirts of Camden. It was built in 1888 and was used as a setting for the 2008 Baz Luhrmann film Australia.

A Place to Call Home -Season 4
Australia's own Downton Abbey was supposed to end with Season 2. So unlike the preceding epis the concluding episode was scripted without any hints of more to come. But then came a reprieve which required a new finale to Season 2. The subsequent new ending saw George Bligh (Brett Climo) shot. How that it happened and how he survived established laid the groundwork for more melodramatic complications in the Bligh family's life and that of Nurse Sarah Adams (Marta Dusseldorp) and her seriously shell-shocked ex-war prisoner husband René Nordman (Benjamin Winspear).

The end of Season 3 was again a cliff hanger. It left things looking pretty bad for Nurse Sarah, courtesy of rat poison sent her way by dragon lady Regina (Jenni Baird). Things were no better for Elizabeth Bligh, Ash Park's manipulator in chief. Just as she was morphing into a near saintly persona, her bad heart threatened to do her in.

Given that Sarah and Elizabeth are the two most crucial to the plot characters, it didn't take a super optimist to assume that they would survive for Season 4. But the devil being in the details, what was once again harder to know was just how this would happen and how George would react when he found out just how nasty a piece of work Regina, his former sister-in-law and now wife was.

And sure enough, Sarah and Elizabeth are alive in Season 4, the first two episodes of which arrived in time to enjoy the continuing saga of the Blighs and Nurse Sara and assorted others along with our Thanksgiving leftovers. The talented writers who've taken over for Bevan Lee, the show's creator, have added new plot lines with the same appreciation of the rewards of the melodramatic genre which Lee explained in an interview as follows: "I want to fight the rise of melodrama being viewed as a somehow lesser form. To me a good melodrama is a big plum pudding of a show, full of fruit, flavour and the odd surprise threepence." Elizabeth Bligh, the initially nominal villainess has become more and more llikeable; actually, lovable. But that doesn't leave the saga without the vital ingredient of a villain. Regina, the anti-Semitic schemer, has morphed into an Über-villain. She's like ten of Rebecca's Mrs. Danvers rolled into one poisonous package. As a runner up in the bad guys making trouble for everyone, there's also Sir Richard (a deliciously odious Mark Lee). That's the full of dirty tricks publisher who got George to go into politics and almost destroyed the rekindled love of his sister Carolyn Bligh (Sara Wiseman) and Dr. Jack Duncan (Craig Hall).

The marriage of the homosexual James Bligh (David Berry), his wife Olivia (Arianwen Parkes-Lockwood) is still very much front and center, as is that of Anna Bligh (Abby Earl) and Gino Poletti (Aldo Mignone) who overcame the cultural clashes of Italian farmers and landed Aussie gentry.

Since the complete series is archived at Acorn, readers who are new to it can do a marathon binge, starting with Sarah's first meeting with the Blighs while she's working as a nurse on a luxury ship carrying them home from a wedding. That sets things up for the soon to unfold central events, the main one seeing George Bligh, the attractive, widowed head of the Bligh sheep farm's business, smitten with Sarah —and so will you be with the terrific Marta Dusseldorp playing this woman who has her own past to contend with.

Though the autocratic Bligh matriarch was pretty much a dominating bitch in the early series, she was so fully dimensioned that there was plenty of room for the superb Noni Hazlehurst to make her a decidedly human villain.

While most of the gradually revealed surprises were — and still are — fairly predictable, I was once again hooked. This is a pungently atmospheric, thematically potent depiction of 1950s Australia still dealing with the aftermath of the painful World War II years, lingering Anti-semitism and mistreatment of homosexuals. Even when some of the action goes over the top, there's the top to bottom wonderful cast to make it all work.

I'll leave it to you to decide if the end of episode end is really the end. Having had a chance to preview all 12 episodes, I think that, like Downton Abbey, it's had it's day. Still, moving beyond the 1950s to the next generation is not without its melodramatic possibilities.

Rebecca Hall
If you're looking for easy entertainment, The just released bio-drama Christine is too dark to fit the bill. It does, however, offer the kind of close-up views of some of the theater's best actors that only the movies can provide. Every name in the cast will be a familiar, ticket selling draw for live theater enthusiasts. Good as they all are, the star of this starry cast is Rebecca Hall, who was so riveting in the 2014 Broadway revival of
Machinal . Hall's performance in the title role has "Oscar nominee" written all over it.

Director Antonio Campos' and scriptwriter Craig Shilowich's fictionalized account of the year culminates in a headline making 1974 event. That event had the 29-going-on-30 Ohio born Christine Chubbuck take her seat before the cameras and follow a few news announcements with one that sent shock waves through the Sarasota, Florida TV station's audience — and throughout the world.

If you're familiar with the case, you may be put off by what you know is coming. Too dark. Too predictable. More than a whiff of exploitation. Chances are you never heard of it since Chabbuck's story is only now re-surfacing again via this movie and a documentary about Chabbuck. Consequently , the ending will be doubly shocking. (For details about the real back story, check out this link).

Privvy to the ending or not, watching the mounting tension in this complex, volatile young woman's professional and personal life has you prepped for something explosive is going to happen. At times it felt to me like that famous French film, The 400 Blows, but from an adult perspective.

In any case, Christine, for all it's sadness, is fascinating with much to recommend it: The places and finely nuanced interactions to which the film takes us. . . an interesting group of subsidiary characters . . .the authentic 1970s details. . . and, above all, Hall's stunningly layered portrayal of a complex, emotionally troubled young woman teetering on the verge of a horrendous meltdown.

Christine's struggle to succeed as a TV journalist on her own terms and and in spite of her inability to connect is woven into a vivid tapestry. It's never clear just how and why she moved to Florida and ende up in this newsroom but it's quite clear that she and Michael the station head honcho (Pulitzer-winning playwright Tracey Letts who once again proves himself to be a terrfic actor) are on different tracks. But of course, he's in charge and that means he decides who to promote to a bigger station in Baltimore that's been opened up by Bob Anderson, a wealthy mogul (John Cullum as usual making much of a minor part).

Other relationships that go predictably wrong are Christine's friendship with Jean (a lovely, gentle performance Maria Dizzia) and George (the terrific Michael C. Hall), the anchor with his own emotional background on whom she has a secret crush. Her date with George is downright painful to watch.

As for Christine's loving but ineffective mother, there's the always wonderful J. Smith Cameron. And as if Christine's plate wasn't piled high enough with frustrations, she has an ovarian cyst that might end her chance to ever have a baby (pretty unlikely anyway, since she's still a virgin).

Ultimately, this is not just one woman's tragedy, but one of many that should have been possible to prevent. It's also a media story that's ongoing: — about journalists who cater to violence and gossip for the sake of the bottom line. Not an easy sell in a tough movie market. But definitely worth seeing if you appreciate outstanding acting.

London Road, the Musical On Screen
Elyse Sommer's View of the Film, Without Having Seen the Stage Version. . . and London Critic Lizzie Loveridge's Double View
Olivia Colman, the film adaptation's Julie

Elyse's Film Only Take
I didn't see the stage version of London Road as my colleague Lizzie Loveridge did, but it's clear that director Rufus Norris has expanded that production to give viewers a broader picture of this torn from the headlines musical about how a 2006 serial murder case ane its effect on the residents of Ipswich where it happend. What Norris has not done is to transform it into a film more true to the musical genre with hummable tunes. Despite one quite catchy number called "It Could Be Him" delivered by two teenagers the overall new music sound is more about tapping into emotions than showing off vocal talent. But then this is not a feel-good musical. Even though the case of the Ipswitch murders was familiar to London theater goers, Alec Blythe and Adam Cork's focus on the authentically recorded testimonies of the Ipswich residents was a risky proposition for the National Theater to undertake. Yet, it was an unlikely success, and so seeded this even riskier film adaptation, now officially released by BBC.

Lizzi Loveridge's review in 2011 pointed out both London Road's limitations in terms of wide audience appeal and the strengths that confirmed the National Theater in putting it on. For her review
go here .

While the film sticks to the play's plot and verbatim structure, I suspect that the performers suddenly bursting into song and taking on various roles worked better on stage. Yet its operatic quality and the expanded street scenes are quite mesmerizing, and the situation and its effect on ordinary people is univeral.

Since Lizzie liked the leading character she saw very much, obviously casting Olivia Colman as the pivotal character and Tom Hardy as the mysterious taxi driver was a case of adding some well known, ticket selling names. Colman, though not a singer, is quite fine (as she always is) but Hardy seems under utilized. Like all the film's male characters he somehow comes across as a likely perpetrator.

At this point, I'm going to turn this over to Lizzie Loveridge.
Lizzie's Double View Perspective . . .
My first thoughts: I didn't love it as a play because of the mundanity of the man in the street reaction although it also bears on phenomenon like the Brexit vote — the man in the street having their say. I really don't know how it will go down in America, whether they will "get" the context. It will need a long introduction to cinema audiences

Stage or screen, an almost documentary record of the reaction of a local community to a series of murders. is a curiosity. The film for worldwide distribution by the BBC has an only slightly changed cast from the stage production at the National Theatre in 2011. The concept is verbatim theatre, using only the words that Alecky Blythe has collected from those who lived in the road in Ipswich, Suffolk where the man accused of murdering the five prostitutes had lived for just ten weeks.

The film is unique because the participants are ordinary and their comments are often mundane. The score is sung as if the person speaking has just decided to repeat their words in a singsong tune so, now as then, this is a far cry from a musical star breaking into a melodic song that we can go home singing. The film has a different impact from the stage show since it shows shots of the dismal street of terraced houses that is London Road, dominated by the giant gas holders that immediately make a place soulless.

The Ipswich murders took place over six weeks from 30 October to 10th December 2006 but their bodies were discovered in under a fortnight from 2nd December to the 14th. Before the murderer is identified, we see the Ipswich residents speculating about who he might be.

While Olivia Coleman, best known for her roles in Broadchurch and The Night Manager, takes over the role of Julie. Kate Fleetwood is still on board with a memorable cameo as Vicky, one of the members of the oldest profession struggling with drug addiction. Paul Hilton (Tim) and Anita Dobson (June) also join the cast. Tom Hardy as the taxi driver, Mark, with an inordinate interest in serial murderers and their likely profiles is mostly seen in the taxi's mirror as he would be seen by the fare in the back. Paul Thornley, currently playing the adult Ron Weasley in Harry Potter and the Cursed Child is Dodge.

My feeling on seeing London Road on screens is pretty much the same: The ugliness and selfishness of the locals who appear to have no empathy for the girls who lives were lost is not a pretty picture of small town England. London Road

Florence Foster Jenkins Reviewed By Simon Saltzman
It is quite remarkable how many stories have recently surfaced about this self-deluding, self-aggrandizing patron of the arts in New York during the mid 20th century. Jenkins not only imagined herself a world class singer with operatic aspirations but remained remarkably oblivious to her own state of being completely tone-deaf. Made famous by the now legendary concert at Carnegie Hall in 1944 at which she sang a selection of arias with stunning inaccuracy and with ear-piercing screeches was also notable for being filled to capacity with bribed critics, curious attendees, as well as members of the armed forces who were given comps through the generosity of her devoted and caring husband.

Who else to play this lovable if lamentable loony on the screen but the equally legendary but unquestionably gifted Meryl Streep who creates a complex and conflicted character that far exceeds the minimalist text that has been given her by screen writer Nicholas Martin. Director Stephen Friers gives free rein to Streep's gift for nuance if not in giving much dramatic weight to the story.

For those who only know Jenkins from Stephen Temperley's play "Souvenir that starred Judy Kaye on Broadway and others in regional theaters (see background note below), it is curious how Martin's screenplay adds characters and events to Foster's story but doesn't really expand upon them, that is except for bringing to light the debilitating syphilis that Foster lived with for fifty years. She contracted the disease at eighteen on her wedding night ending her career as a pianist.

In the film, we have to make our own assumption as to the extent the syphilis may have created a form of selective dementia that may have only altered her hearing. There is no other explanation to how she could not have known how awful the sounds were when she sang. However, her strength wanes as her body also fails her for most of the film. When Streep speaks, the voice is generally soft but never wimpy and she has ample opportunities in the film to be emotionally stirring. This, especially in her tender scenes with Hugh Grant, as her second and very kind husband St. Clair Bayfield, a second rate Shakespearean actor who had a more successful second career as her manager. Though he has a secreted live-in mistress (Rebecca Ferguson), we may attribute the depth of his devotion to his knowing where his bread is buttered.

A major lift to the film comes from Simon Helberg who plays Cosme McMoon, the young pianist hired to accompany Foster. Virtually dumbstruck at first by what he hears coming out of her mouth, he nevertheless evolves with a touching complicity through the film and especially in that climactic scene in which he realizes that he has actually played Carnegie Hall. The film leaves us with more questions than answers, but many will be satisfied with the eye-filling decor and the costumes and the sound of Streep warbling like a chicken in heat.
Background Notes by Elyse Sommer
The strange but true career of Florence Foster Jenkins on the concert stage has had quite an after life on stage and screen. The Stephen Temperly's Souvenier mentioned in the review below was an economically effective and very stageworthy 2-actor play. Judy Kaye who created the role for that production, had to hide her genuinely thrilling voice (except for a wonderful end scene). I saw and reviewed that production three times (all 3 reviews ). Curtainup also reviewed Souvenier in New Jersey and Connecticut ( New Jersey review, Connecticut Review)

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