Category: not a book

book adjacent, theatre

Book Adjacent: Ballet Shoes

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Ballet Shoes is a new adaptation of the beloved children’s novel (and one of my favourites) by Noel Streatfeild. The book tells the story of three sisters – Pauline, Petrova and Posy – who are adopted by an eccentric traveller who brings them home to his great niece Sylvia and her former Nanny, Nana. They live in Gum’s (Great Uncle Matthew) house in London while he is away, but after he fails to return from an expedition, their money starts to run out and the household starts to take in boarders to make ends meet. These include (fortuitously) a pair of tutors who take over the girls education when Sylvia can’t afford the school fees anymore, and a dance teacher who arranges for the girls to take classes at a theatre school. And thus begins the girls theatrical careers and another vitally needed income stream for the family.

This has been lightly modernised and a few bits of the plot have been simplified – for example the two tutors are down to one, it’s a single man with a car not a married couple and there are less plays that the girls are in – but it’s still very much the same story. Financial troubles and orphans are a staple of books from this era – for adults and children (see Miss Buncle and all the parentless girls at the Chalet School) but it’s also a found family with a sprinkling of showbiz glamour which is one of the reasons why the book still works today – and why it translates so well to the stage. There is comedy and tension and plenty of excuses for dancing and fun. It’s full of excellent performances, the set is beautiful and time just flew by. And the changes worked so well I found myself re-reading the original book this week to check that I wasn’t misremembering that it wasn’t always like that!

It’s only on for another two weeks – so if you’re in London and have a free evening it’s really worth trying to see it. I saw an understudy playing Sylvia – who was wonderful but I would happily use that as an excuse to go again and see Pearl Mackie play her, but I’m not sure I have an evening that works for it.

Ballet Shoes is at the Olivier at the National Theatre until February 22.

streaming, tv

Not a Book: Jonathan Creek

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I did go to the theatre this week, but given that I’m going again next week and that show is on a much shorter run that this week’s one, I suspect we may be back at the theatre again next weekend, so I thought I’d mix it up and go with a retro TV series this week. I have to say I did struggle to get a video for this post because my favourite era of the series is from the pre-YouTube era…

Jonathan Creek is a mystery drama series that started in the late 1990s on the BBC. The titular character played by comedian and current QI stalwart Alan Davis and is a designer of magical illusions who is dragged into solving crimes by pushy investigative journalist Maddie Magellen, played by Caroline Quentin. Maddie is willing to lie and be devious to get what she wants, Jonathan is not. Jonathan also works for stage magician Adam Klaus who is flamboyant and often provides comedy subplots. Over the course of the nearly 20 years covered by the original series and then the subsequent specials, Maddie is replaced by ambitious TV exec Carla Borego (Julia Swalha) and then Joey, a paranormal investigator played by Sheridan Smith and finally Sarah Alexander’s Polly.

Although at the start of the series Jonathan is pretty antisocial and reclusive, over the course of the early series he gains in confidence and social skills to become fairly witty and charming in an offbeat sort of way – which continues in the specials. However, there is not a lot of running plot strands in this – they’re basically murder of the weeks, where the emphasis is on the actual mechanics of the crime being investigated. There is a will they won’t they with Maddie in the early years, but it’s never anywhere near the main focus of the series.

There are a few bits that haven’t dated that well – and if you’re under 30 the fact that at least one of the plots involves a video recorder is going to be novel to you. But the mysteries are tightly plotted and very hard to work out when you watch the show first time around. But at this point I’ve seen all of the early series a couple of times and they still hold up even when you know the solution. And they have the advantage of having a lot of interesting guest stars – the writer is David Renwick who has as long and storied history in British comedy and that brought in people. And so there are a few Easter Eggs here if you’ve watched a lot of British TV over the years – but also if you watch the pilot episode you’ll see that Adam Klaus was originally played by Anthony Stuart Head – who couldn’t continue with the series as he got a role in a little American show called Buffy the Vampire Slayer.

Jonathan Creek is on the iplayer if you’re in the UK, and if you’re abroad it’s also available on various streaming service.

Have a great Sunday.

comedy, concerts, not a book

Not a Book: Bill Bailey

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It’s been a bit of a run of theatre the last few weeks, but this Sunday it is comedy – but at a theatre (not a club or a stadium) as I had a last minute trip to see Bill Bailey’s residency at the Theatre Royal, Haymarket this week.

If you haven’t come across Bill Bailey before (which I find hard to believe if you’re in the UK because he’s won Strictly) he’s a stand up comedian and musician who is also known for acting in the TV comedy Black Books and the movie Hot Fuzz among other things. I was trying to count how many times I’ve seen him live and I think this is the fourth or fifth time – and he’s always incredibly funny and inventive.

I am a pretty mediocre musician – when I was at my best I was about Grade 6/7 but music theory is my bete noire, so I really enjoy the way that he deconstructs how music works and makes it funny. But it’s not all music theory, some of it is just funny – in the current show he’s got some bluetooth music balls that are set up to make drum noises, and a laser harp. What’s not to like. He’s also got a new Kraftwerk parody – and the original one was one of my favourite skits on the Part Troll DVD that I rented from LoveFilm back in the day – so I’ll finish up today by posting that original.

Bill Bailey: Thoughtifier continues at the Theatre Royal, Haymarket until the 15th February.

not a book, theatre

Not a Book: The Play That Goes Wrong

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Here I come again with another play on another Sunday. Although to be fair, this is one I saw a fair few weeks ago now and has had to wait its turn. And given that we’re into 2025 now, it’s not even the tenth anniversary year any more – which was one of my reasons for revisiting the show.

The Play That Goes Wrong follows an amateur dramatic group as they attempt to put on a performance of a murder mystery as their latest show. And as the title suggests, it just keeps going wrong. Then even more wrong. Each actor is playing a character in the drama club who is playing a role in the show. And if you’ve ever spent any time around an am dram group you may recognise some of the types that seem to turn up in amateur productions. And then there’s the show – it’s sort of Mousetrap-y but it doesn’t matter if you haven’t seen the Mousetrap, because it’s a murder mystery play where anything that could go wrong does go wrong.

The first time I saw this – on the original UK tour in 2014 I laughed so hard that I couldn’t breathe and my sides hurt. I saw it again in London with maybe the second cast and so I think this was my third trip. And it’s still hilarious. The cast make it look easy but it’s really not – so much depends on the timing of all the physical comedy – and it’s impeccable. The company behind this are Mischief Theatre and they’ve gone on to do another show featuring the same characters from the drama group – Peter Pan Goes Wrong – which I saw for a second time this time last year when it had a Christmas run in the West End with many of the original cast returning. And they’ve done several other shows – several of which I’ve seen – and they have a new show coming into the West End later this year which is definitely going on the to-see list.

I struggle to think of anyone this isn’t suitable for – it would definitely make a great first grownup show for older kids (and I think there were a few families doing that when I was there) as well as people who maybe don’t speak as good English – because there’s so much physical comedy in it as well as the puns. And because it’s been going a decade it’s usually pretty easy to get sensibly priced tickets too if that’s what you’re after as well.

Have a great Sunday.

not a book, theatre

Not a Book: Twelfth Night

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This is my second post about a Shakespeare play in under a month, and considering how rarely I got to see Shakespeare – in the grand scheme of my theatre going, this is quite something. However as I said in that post about Midsummer Night’s Dream, Twelfth Night is my favourite, so here we are.

This is the RSC’s latest production of the comedy, at the main theatre in Stratford-Upon-Avon with a cast lead by Samuel West as Malvolio and Freema Agyeman as Olivia. Set in a sort of floating now (or at least floating near-now), what you can’t see from the pre-show set up is the giant organ set that is the backdrop to most of the show and allows characters to appear, disappear and hide as well as providing some of the music. it’s dark and melancholy but also a bit dreamy.

Having seen a few different versions of this now – from the Trevor Nunn directed film, through the Globe all male production and right back to my very first at the Barbican in the mid 1990s – I love to see the different ways that directors can take the show and how they can highlight some things and how many different ways there are to play it and how many different roles can actually steal the show with a cracking performance. That Globe production absolutely belonged to Mark Rylance’s Olivia – all gliding like she was on wheels and building to a screaming climax at “Cesario, husband, stay”. This production might have been stolen by Michael Grady Hall as Feste if it wasn’t for West as Malvolio – and taken over all they balance each other out in a way. Feste is ridiculous – whether it’s his giant yellow and black costume at the start or when he’s painting the organ with a paintbrush made for fine art. It can sometimes be hard to see why the household wants to take quite such a drastic action against on Malvolio but West does a good job of making you see why they might want to do that – and then manages to make the audience feel almost guilty for laughing at him by the end.

This is only on until next weekend, but I really hope that it gets a run at the Barbican as the Dream has this year – I would happily see it again because I’m sure there’s a load of stuff that I would notice going on behind the main action at a second viewing.

Have a great Sunday.

not a book, theatre

Not a Book: The Producers

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A modern classic of a musical today – and actually one that I saw early in December when it was still in previews but as the whole run was sold out before it even started previews, there was no point in rushing!

This is the first London revival of Mel Brooks’ musical version of his classic movie The Producers. It follows Max Bialystock, a down on his luck theatrical producer, and Leo Bloom, and accountant turned producer, who team up together to try and swindle investors by deliberately putting on a show that will fail. Except that their sure-fire flop (Springtime for Hitler: A Gay Romp with Adolf and Eva at Berchtesgaden) is a surprise hit – and now they have to pay back their investors.

My first exposure to this show was the Broadway message boards of the early 2000s and then I West End production, on about its third cast one summer holiday. And it was wonderful. It was big and brash and funny and had huge production numbers. I loved it – and the CD of the Broadway cast recording was in regular rotation for me for years. I think I could probably still sing along to almost the whole thing. But given how big the original production was, and how small the Menier Chocolate Factory is, I was fascinated to see what they did with it, especially given their reputation for transforming massive shows into more intimate productions. I am forever in love with their La Cage Aux Folles, where they did just that, and which remains one of my favourite things that I have ever see in a theatre.

And it was a brilliant night. The Producers is still hilarious and the performances were brilliant – Andy Nyman was just as good (maybe better?) in this as he was in Hello Dolly this summer as Max and his pairing with Mark Antolin as Leo was brilliant. And it felt rawer and less shiny than the Drury Lane original did. The sets are smaller, the cast is smaller with the ensemble doubling or even tripling roles (especially on the night I was there where the artistic director came out before the start to say they were three cast members and the stage manager down). But it also felt very familiar. But with so many jokes and so much there in the writing how much can you really change? And had they actually just changed enough to make it feel fresher and less like an Old School Musical than the original did – and thus more likely to appeal to new audiences, as opposed to jaded old theatre habitues like me? I went with someone who had never seen it before and she really enjoyed it. I got exactly what I wanted – another look at a favourite show, done a bit differently – and I would have gone again if I could have done. But I can’t because it’s sold out. But if it transfers to the West End…

Have a great Sunday everyone.

Oh and here’s the original London production on the Royal Variety Show back in the day so you can see the difference in scale…

film, not a book, tv

Old Favourites at Christmas

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Every year in the run up to Christmas, I need to clear space on the TiVo for all the new stuff that’s coming – and that means that I’ll delete a few of my favourite movies to clear space – knowing that they’ll be on again at some point over the 10 days of Christmas and if the TV happens to be on when they’re showing, I’ll probably switch over and watch too. So today, here are a few things that are on that list…

Some people say it’s not Christmas if the Wizard of Oz isn’t on TV, I say it isn’t Christmas if The Sound of Music isn’t on somewhere. It is in my top 10 favourite movies, if not my top five. But it’s also now a tradition to read this genius article from McSweeneys: I Regret to Inform You that My Wedding to Captain Von Trapp has been Cancelled. It’s thirteen years old now and it’s still as funny as the first time I read it. I think I like it more than I like their Decorative Gourd Season article. And that’s saying something!

I’m also a big Doris Day fan – and Christmas is often a time when her movies pop up on TV. This year as well as Pillow Talk (definitely in my top five) there’s Lover Come Back, Move Over Darling and Calamity Jane where you can also enjoy the wonder that is Howard Keele – star of the movie version of Kiss Me, Kate (which inexplicably isn’t on this Christmas damnit).

And then there’s the Agatha Christie adaptation situation. Unusually this year there are no repeats of the Joan Hickson Miss Marples (Alibi are repeating some of the Ngaio Marsh Alleyn adaptations this year though) but you can watch the Albert Finney Murder on the Orient Express, which is definitely a Christmas movie (snow!) and has an all star cast and amazing music and is much better than the recent remake – which isn’t bad, it’s just not that one!

Oh and Some Like it Hot is on too. Another from my all time my top five. My TiVo is going to be so, so full!

Happy Christmas Eve everyone!

not a book, tv

Christmas watching 2024

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If you’re lucky, you might be finished for Christmas by now. If you’re me, it feels like you might never be finished. But I have my Christmas Radio Times, and I’ve been through it to work out what my highlights are this year.

You would have to have been out of the country to miss that it’s the final every (definitely, definitely, cross their hearts) episode of Gavin and Stacey on Christmas Day. Following in recent tradition of One Last Episode for Christmas (see also Detectorists and Ghosts) Ruth Jones and James Corden say that once you’ve seen it you’ll know why there’ll be no more. I do hope everyone lives. I’ll be watching to find out, but the last Christmas special was good so I sort of trust them.

I’m slightly more worried about Wallace and Gromit. But that’s more because the bar for them is so incredibly high. Lest we forget the duo have five Baftas and three Oscars. The train track chase in The Wrong Trousers remains one of the most perfect sequences in animation. But they’re back – and so is Feathers McGraw, easily one of the most sinister villains ever to grace a children’s programme. I really, really, hope it’s good.

And the other new thing that I’m looking out for this year is a fresh adaptation of Enid Blyton’s The Famous Five. I’m always fascinated to see how childrens classics are reinvented. As some one who reads a lot of vintage childrens literature I would say that the Blyton cannon is one that stands up less well when rereading as an adult compared to some of the others but people have very fond memories of it from when they were small so it can go either way. I didn’t mind the reinvented Swallows and Amazons a few years back, but it wasn’t as good as the books. So lets see how this one does.

Have a great week everyone!

not a book, theatre

Not a Book: A Midsummer Night’s Dream

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Actual proper culture from me this week with some Shakespeare. Although to be fair, Conclave got a bunch of Golden Globe nominations this week so maybe it’s two weeks in a row.

The RSC are back at the Barbican this winter with A Midsummer Night’s Dream. This had a run at Stratford earlier in the year and has transferred in and as you can see from the programme, the big name here is Matthew Baynton (of Ghosts fame) who is playing Bottom. When I started writing this, I thought this might be the first time I’ve seen Dream done professionally* but I had totally forgotten that I saw the Michael Grandage Company’s production with Sheridan Smith and David Williams in it a decade or so ago. This is much better than that one. Much.

This isn’t one of my favourite Shakespeare’s (that’s Twelfth Night) but this production is a bit like a minimalist fever dream – with 80s inspired costumes in a big black space where lights and ladders can appear and the actors at times seem to materialise from no where. Baynton and the mechanicals are genuinely funny and their final performance capped a riotous evening that seemed to go by in a flash.

It always feels like A Decision to go and see some Shakespeare – so long, such language, not always funny when its meant to be but this was an excellent choice for a wintery evening – and as I happened to be there on press night, I also spotted several of the other Ghosts stars in the audience (to be fair I mainly spotted them in the bar at the interval) to support their colleague. A very satisfactory night out.

*although technically it was the first Shakespeare I ever saw – because Class Six did it as their leavers play when I was in Class Five, but I don’t think that counts. In case you’re interested, I spent two years in Class six (village primary, only six classes for seven years of school when I was there) and we did Bugsy Malone – I was a dancer at Fat Sam’s, and Twelfth Night – I was a recorder player at the court of Duke Orsino. As you can tell acting was not my forte

book adjacent, film, not a book

Book adjacent: Conclave

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Another Sunday, and another week where I’ve been out and about and doing a few bits and bobs. It’s been a few weeks since I talked about a movie so I’ve gone with that.

Conclave an adaptation of the book of the same name by Robert Harris. I haven’t read the book, so I can’t comment on the differences between the two. But as the movie starts the Pope has died, and Cardinal-Dean Thomas Lawrence is suddenly in charge of the Conclave – the meeting to chose the new Pontiff. A flock of cardinals descends on the Vatican to be cloistered together and vote. There are several different candidates and factions as the diversity of views in the church try to find a candidate the majority can get behind.

Considering that at the core of this is a group of old men voting, this is a suprisingly exciting movie, with plenty of twists and turns as votes go on and the situation in the Sistine Chapel gets tenser. And it’s got a pretty cracking cast: Ralph Fiennes plays Lawrence, who says (repeatedly) he doesn’t want to be Pope, much to the disbelief of some of his colleagues, and who has doubts – about himself and about some of the leading candidates. Stanley Tucci is Aldo Bellini, a liberal American cardinal who was close to the previous Pope, and who is one of the favourites going in to the conclave. John Lithgow is Joseph Tremblay, a moderate Canadian cardinal and Isabella Rossellini is Sister Agnes, the head of the Vatican housekeeping staff.

I really, really enjoyed it – the plot keeps moving and shifting, and the set design and cinematography make it feel cramped, dark and claustrophobic – a feat considering it’s set in the Vatican, a place filled with marble and high ceilings and designed to make you feel small and insignificant. The ending is going to be… divisive, but I thought it worked – and fitted in to the themes of the movie in general.

Conclave is in cinemas now – not sure how easy it will be to fine for long, but this week it’s on at both the independent cinema in my town that we’re members of and at the big chain.

Happy Sunday everyone!