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A highlight of last week was the encore broadcast performance of Coriolanus - the Donmar Warehouse production, featuring Tom Hiddleston, Mark Gatiss and Hadley Fraser. I was fortunate enough to see the production live, back in January 2014, and I really enjoyed being able to see it again, and to realise once more what stunning actors Tom Hiddleston and Mark Gatiss are.


Then on Friday, came the start of the Bath Children's Literature Festival, now in its 9th year. The first event, and the first I booked when the brochure came out, was with Judith Kerr.


Her 'Mog' books are some of the earliest books I remember reading, as a child, and then when I was older, her book 'When Hitler Stole Pink Rabbit' was an early introduction to the history of Nazi Germany, and experience of Jewish refugees, and I then read the other 2 books in the trilogy when I was rather older.


This is the third time that Kerr has been booked to appear at the Festival, but on each of the previous occasions she had to cancel due to poor health.


So, I was particularly keen to see her this time, and really pleased that was able to make it (she turned 92 this summer, so its hardly surprising that she's not always able to make it to events!)

She was interviewed by Julia Eccleshare (former Children's Book Editor of the Guardian), and it was an interesting evening. She was officially publicising her most recent book, 'Mister Cleghorn's Seal' which is a short novel for older children, abut a man who adopts a seal. She explained that had wanted to do a book with lots of pencil drawings, and to suit the age where children can read. in her words "they are too old for picture books but a 250 novel is a bit daunting - the gap between Dr Seuss and Sherlock Holmes".

Judith Kerr : 25.09.2015

She went on to explain that the book was inspired by an incident in her father's life - he ended up with a baby seal after it's mother was killed in a cull, and he decided to take it home rather than allow it to be killed. She described how he took it by train from Normandy to Berlin, attempting to feed it on a mixture of milk and cod liver oil, before arriving in Berlin and taking a taxi to a restaurant, as he had run out of his milk mixture!


In real life, things didn't end well for the seal,I think the fictional one probably does better!


Kerr's love and admiration for her father and his skills as a story teller came through loud and clear. Moving on, she spoke about Mog - who was a real cat, the first that she had, when she and her husband first had a home with a garden, and gave us a number of anecdotes about various cats, including the current one who has trained Kerr to open the door for her (after looking out through the cat flap)!

Which led on to The Tiger Who Came to Tea . Julia Eccleshare raised the fact that Michael Rosen has suggested that the Tiger represents Kerr's memory of, and fear of the Nazis - Kerr immediately responded that she loves Rosen and is happy for him to say anything he likes, but that the Tiger was a story for her daughter incorporating all of her daughter's favourite things, and was made up when her husband was, unusually working away from home so she and her children were lonely and wanted someone, anyone, to visit. She also explained that she was able to then make the story into a book once both of the children were in school and she had time.


Kerr than answered questions from the audience. She explained that she considered herself to be an illustrator first, and writer second, and that she felt she had learned a lot about writing from her husband (Scriptwriter Nigel Kneale) and her son (novelist Matthew Kneale). She also explained that she thinks in English, and that while she does speak French and German can only write (books) in English. She wrote When Hitler Stole Pink Rabbit because she wanted to tell her children about her own childhood, and that she was surprised when it was published, in part because it did not conform with what might be expected; that normally in children's books (at least at that time) parents were remote but could do anything, but her own parents were not like that, and that despite everything, she had a happy childhood. She also spoke at some length about her experience of being a refugee, her feeling of gratitude to Britain for letting her family in and saving their lives, and commenting that even during the London Blitz, with people dying every night, no one was cruel or offensive to her parents (who both had strong, and obvious German accents). She was asked about the current refugee crisis and simply said that she did not think that the scenarios were the same, as the sheer numbers of people now involved are so much greater, and she doesn't see there being an easy or obvious answer.


Finally, she was asked by a young girl whether there really was a Pink Rabbit, and whether it was left behind. And she confirmed that yes, there was, and it was left behind. But, she added, "I've got over it".


Over all, she came across as a wonderful, witty and optimistic person - I would have loved to have had the opportunity to say hello but (understandably) she did not do a signing, but I'm very glad that I had the opportunity to hear her speak. It was a fun evening.

marjorie73: (Default)

Back in the New Yer, I heard that Tom Hiddleston, who I was fortunate enough to see live in Coriolanus at the Donmar theatre just over a year ago (as well, of course, as enjoying his performances on screen, including his wonderfully insane Loki in the Avengers film) was going to be appearing for a one-off 'in conversation with' evening at the Nuffield Theatre in Southampton.


The prospect of having to drive the (nearly) 2 hours home after the event was a little daunting, but not daunting enough to put me off booking, so last night, after a fun weekend with my sister and her husband, I arrived at the Nuffield ready to watch, listen and enjoy!


The theatre is a relatively small one (I think it seats around 450) and was almost full. I was fortunate enough to have tickets for Row D, which was the third row back, so had an excellent view.


Tom was interviewed by Sam Hodges, the theatre's director / CEO, who proved to be a good interviewer, willing to let his interviewee talk without interruption, and letting the interview develop as a conversation rather than a rigid set of questions, which was nice.


The event started a little late -it was closer to 7.15 than 7 when Tom came onto the stage, wearing a beautiful 3 piece suit and red tie. He immediately told  us that he would be taking his jacket off, "if we didn't mind" (there was a round of applause which I think could be interpreted to mean that no-one would mind in the slightest)


Tom spoke about his passion for the theatre, and how important to him the connection between the actors and the audience is, and how he first felt how powerful this could be when he attended a performance of Ibsen's John Gabriel Borkman starring Paul Schofield, when he was about 14 years old. He described seeing how before the play, all of the audience members were talking and worrying about babysitters and work, and there came a point in the show where the whole audience were united, and forgetting those preconceptions. He also mentioned that on a personal level he doesn't really understand why people chose to drink before attending at the theatre, as why would you not want to be completely alert and focused on what is happening?

He described how he sees acting - quoting a mentor, he said that it is about telling the truth in imaginary situations. Tom was very clear that he feels he has an obligation (he used the word duty) to try to be as truthful as possible in portraying characters and their emotions, and that he would never want to look back on a performance and feel he could have done it better.


This led on to discussions as to favourite performance spaces, and the pleasure of spaces with good acoustics and the ability to feel that connection with the audience. Tom explained that this was particularly true in Coriolanus, when he could hear the gasps from the audience, and see people shrinking back lest they were spattered with his blood!


(He also explained that with a long run, there is always a challenge of trying to keep performances fresh, and that in Coriolanus, he would pick one of three possible entrances each night for his first entrance, so that the 3 actors playing the commons would be genuinely surprised,each night, not knowing where he would come from! )


Tom also talked about the process of acting - explaining that for his role as Loki, he spent days being filmed in ultra violet light by 160 cameras totally surrounding him, to register every different emotion, in order that this could then be used to put those expressions onto Loki's face in scenes (such as the Hulk smash ones) where Loki has to be created by CGI.


He confirmed that while he has great admiration for Daniel Day Lewis he doesn't consider himself to be a Method actor, he finds it more helpful to be able to discuss a character with the director, and to ask for input and make suggestions. (Although he did admit to staying in character to the extent of retaining the same voice/accent, when filming 'I Saw the Light' ). Did I mention that when Tom quotes what other people have said he uses their voices?


When Tom is quoting other people he uses their voices, so we heard Sir Anthony Hopkins (speaking about the way that people love dark and dangerous characters, even though they would run in terror were they to met those characters in real life, with reference to both Loki and Hannibal Lecter), and Rodney Crowell (who mentored Tom for 'I Saw the Light'  . My words cannot do justice to the sight and sound of Tom Hiddleston, in his beautiful waistcoat and lovely natural accent,suddenly coming out with a pitch-perfect Southern accent! You will just have to imagine it (at least until the film comes out)

The interview also covered the issue of education and equality of access - Tom explained that when he attended Cambridge, and then RADA, he paid around £1,100 per year for tuition fees, but now the fees are around £10,000 per year. He did stress that there are various bursaries and scholarships available, and that he believes that actors and other people in the industry are very welcoming and egalitarian (which I guess is good for young actors once they have managed to get one foot in the door!)



The topic of Tom's support for 'He for She' came up, and he dealt with it very simply by explaining that for him, it is inconceivable, anathema, to think that women and men are not equally capable, and should not be equally treated, so there was every reason to lend his support, and no reason not to.


Tom talked about the various roles he has played, and why and how he chooses them. He explained that he feels there is a part of him in in each role, his determination and self-motivation in Coriolanus,for example, and his sense of mischief in Loki, and also the roles follow on from one another - the goodness and decency of Captain Nicholls in War Horse came as a contrast with the dark and 'damaged' character of Loki (and of course there was also the opportunity to lead a cavalry charge, which is not an opportunity which comes up every day!)


The majority of the evening was in the form of the interview / conversation between Tom and Sam, including some questions which had been sent in in advance by audience members.

At the very end there was about 10 minutes for audience questions. Sadly the first was someone trying to circumvent the very clear information about Tom being unable to stay to provide autographs, photos or a meet and greet, and to ask for an autograph but after that there were a couple of interesting questions.

One woman asked whether, following on from various women playing male roles, there were any female roles he would like to play, and mentioned her own wish to play Iago (he told her to go for it!) His response was to say he thought there needed to be more women taking on traditional male roles.


It was a fascinating evening, and gave a lot of insight into Tom's approach to his craft, which he clearly takes very seriously, and works extremely hard at, to be the very best he can be. I would love to know whether there were many drama students or aspiring actors in the audience, as I think that they would have found it illuminating, and helpful.


Oh, and did I mention the part where he offered one of the bottled of water from the stage to someone in the front row who seemed a bit hot and thirsty?  (It was very hot in the theatre). Such a thoughtful chap!

We were not permitted to take photographs during the event, so I didn't, so here is a copy of one of the press pictures for 'Coriolanus' instead,  because, well, why not?

I shall be looking forward to seeing I Saw the Light when it comes out (Apparently, all of the singing and playing is Tom himself) and will keep my fingers crossed that he comes back to live theatre (and that I can get tickets) sooner rather than later.

I got home very late, but very happy!

marjorie73: (Default)
I couldn't resist booking to see Coriolanus at the cinema,  (part of the NTLive programme) even though I had the good fortune to see it live. So Thursday night found me sitting in the Little Theatre in Bath, waiting to see Messrs Hiddleston and Gatiss, and Co. again.


I really enjoyed seeing the play again - I enjoyed the chance to see it from (mostly) the front rather than the side, which allowed me to see the faces of the actors for some of the parts where they were facing away from me during the live performance, for instance.  (I got to see Aufidius's kiss, which I didn't, the first time round)

The camera angles also meant the painted lines on the stage were more effective. On the other hand, I thought the shots of Martius's bloodied torso after the battle scenes did it a disservice - it was too clearly make up, less convincing than when seen on stage.





There were a couple of issues with the sound - I'm not sure whether that was just at our cinema, or whether it was at the Donmar end. Fortunately it was only for a couple of seconds at a time.

Having had the luxury of seeing the play already, I found that I was able to focus more closely on the dialogue, and on some of the subtler nuances of the play and the actors.

I did find that, in common with other NT Live broadcasts I've seen (and broadcasts of other stage productions, such as ballets) the film crew did insist on a certain amount of cutting and swapping between viewpoints, and zooming in and out. I am not a big fan of this approach - I would rather, on the whole, that they picked a 'seat' for the camera and stayed there, as I feel that that would give a more authentic theatre-going experience. After all, the production has been designed to be seen on stage, not as a film, and I think it loses something when you go to close, or move around too much.



I also disliked the interview with the director, Josie Rourke, being shown during the interval - I felt it was quite jarring. I was interested in what she had to say, but would rather have heard from her either as part of the 'talking heads' shown before the show started, or at the end, rather than in the middle of the play.

However, all of these are minor irritations. Over all, I thoroughly enjoyed seeing the play again, (and would be more than happy to see it a third time, if I can find an encore screening that I can get to) and can only repeat what I said the fist time - Tom Hiddleston is a superb actor, and one who is well supported by an excellent cast in this production.

My evening was slightly marred by the fact that I temporarily mislaid the car in the car-park when I came to go home, as I haven't really learned what it looks like yet, so I had to wander around clicking the key until a car flashed its lights at me, but other than that it was a practically perfect evening!
marjorie73: (Default)
Way back in June, tickets went on sale for a production of 'Coriolanus' at the Donmar Warehouse in London, with Tom Hiddleston in the title role.


I was originally hoping to go with friends, but it appeared that everyone else had the same idea, and despite trying the moment that the tickets went on general sale, it was almost sold but immediately and I could only get a single ticket, and only on New Year's Eve.

So, Tuesday saw me setting off for London, on a surprisingly quiet train, travelling through water-logged country (but not as much flooding as I'd expected - most of the rivers were very full, but didn't, for the most part, seem to have burst their banks, or at least not within sight of the railway!) I'd built in lots of extra time in case of travel delays, so I arrived with plenty of time to check into my hotel (also booked back in June, which is just as well, it would have cost me more than twice as much had I left it to closer to the time to book!), eat and change before heading to Seven Dials and the Donmar Warehouse.

I haven't been there before - it's not a big space -just 4 rows of seats in the stalls, wrapped round 3 sides of the stage, and a slightly larger number of seats (I think) up in the circle. I was in the back row of the stalls, and right round almost at the end of the row, so I saw a lot of the action side on, but although this did mean missing some of the actors facial expressions at times, this wasn't a major issue. (and if I am 100% honest, there are worse fates, than to find oneself forced to stare at Tom Hiddleston's backside.. Or Hadley Fraser's, come to that.)

I haven't ever seen 'Coriolanus' before,(I saw parts of the Ralph Fiennes film version, but not all of it) and I am not familiar with the play (although I think  may read it now) and I think it has probably been cut quite a bit for this production, but it's not difficult to follow, and the lack of familiarity meant I was really focused on the dialogue, and not on waiting for familiar speeches or quotations.


For others who may be equally unfamiliar, the play focuses on Caius Martius,(later Caius Martius Coriolanus)  a noble of Rome. At the start of the play, we see the People of Rome are discontented, calling for bread, and fairly priced grain. Martius is one of the few to stand against them, sowing the seeds of their hatred of him. Mark Gatiss, as Menenius, is  more conciliatory and diplomatic (shades of his Mycroft, but much more approachable!)

In this production, there are few props or scenery, and the citizens mark their discontent with graffiti on the brick wall at the back of the stage, the Senate is represented by a row of chairs, and other than a lectern there are no other furnishings. Costumes are similarly sparse - a mixture of modern clothes with swords and leather breastplates which works surprisingly well.

Martius goes off to war, and we meet his formidable mother, Volumnia (Deborah Findlay) and his wife, Virgilia (Birgitte Hjort Sørensen). Volumnia is clearly the kind of Roman mother who expects her sons to return bearing their shields or upon them - and Findlay and Hiddleston do a fantastic job of showing the relationship between mother and son - it's obvious that Volumnia has shaped Coriolanus's character - he is desperate for her approval, and she is single minded in her pride.

We then see Martius as soldier, taking part in the war against the Volscians - at the siege of Corioli, he is the ultimate soldier - where others falter and  are willing to give up, (in the face of rains of ash, and fire) he swarms up a ladder and into the city, to reappear, bloodied from head to toe, as his companions give him up for lost, pausing only to reassure them before moving on to engage the Volscian general, Aufidius (Hadley Fraser) in single combat. he is, perhaps inevitably, victorious.  The fight was a very physical one, with the actors sword-fighting, then wrestling, throwing each other around the stage.

I admit that I lost the plot very slightly here. On account of that nice Mr Hiddleston taking his top off and having a quick shower. In a way which was, I am sure, entirely necessarily and justified. I'm sure Shakespeare would have said so, too. There is probably a footnote in a lost folio somewhere suggesting it.

Anyway, after his shower, and being given the name Coriolanus for conquering Coriolis all on his own, Coriolanus returns to Rome where he falls out with the populous due to his unwillingness to play politics. All joking aside, Hiddleston was superb - he brilliantly conveyed a mixture of contempt for the system and pride in his own achievements - as Coriolanus spectacularly, and inevitably, shoots himself in the foot.

It was at this point that I started to doubt the wisdom of the early Romans. It seems to me, that if you have a spectacularly successful soldier who has recently single-handedly invaded and defeated a rival city-state, then it is, to say the least, a little short-sighted to piss him off, throw rotting fruit at him and banish him from the city. You might make him angry, and you won't like him when he is angry..

Whatever his other failings (personal relationships, for one) Coriolanus doesn't lack chutzpah, and goes straight to Aufidius (last seen, if you recall, being comprehensively defeated both in battle and in single combat by Coriolanus) to put himself forward as a conquering-general-for-hire, in a home-erotic scene which leaves you wondering whether Aufidius is going to cut Coriolanus's throat, or take him to bed...

By this point, it's not hard to see that things are not going to end well, and they don't. Coriolanus is, ultimately, a tragic hero, and he finds himself, inevitably, at the gates of Rome at the head of an invading army, facing first his friend and mentor Menenius, and then his wife, child, and mother, as they try to persuade him not to invade and conquer his former home. The moment when he gives in to his mother's entreaty, and you can see him make that choice, to sacrifice himself, rather than his wife, son, and mother, is heartbreaking. Particularly as Volumnia seems unaware of the consequences of her action.

The play concludes with Coriolanus submitting to Aufidius's judgement for having failed to drive home his attack on Rome, and is executed (lots more blood.)

Over all? If I want to be picky, there were times when the use of the chairs on stage as props was a bit irritating, and I felt that the small child playing Coriolanus's son was mostly a distraction (He didn't speak until the final scenes, but appeared at various points to do.. nothing much)

But these are very minor points - the positives are much greater, and I loved that hiddleston gives us a Coriolanus who is very human.


The run at the Donmar is completely sold out, but the production is being broadcast to cinemas as by NTLive - on 30th January in the Uk, and other dates elsewhere - well worth seeing if you manage it (I'm going - I want to see it all again)

And did I mention? that Hiddleston is a damn fine actor.
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They've just built a new cinema in the town centre, which means I can now go to see films on impulse, rather than having to actually plan ahead, and on Sunday afternoon I decided to wander down there to see 'Thor: The Dark World' , because, well, why not?
Mild spoilers after the cut...Read more... )

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