Godzilla 3D (12A)

Yorkshire Post - Culture & The Guide - - REVIEWS -

THERE is a re­fresh­ingly retro feel to this lat­est in­car­na­tion of the daddy of all movie mon­sters that is redo­lent of the days when the con­cept of “less is more” guided a di­rec­tor’s hand.

What’s more, Gareth Ed­wards proves he can bring off a multi-faceted sto­ry­line that packs death, de­struc­tion, the threat of nu­clear apoca­lypse, fa­ther/ son bond­ing, the force of Mother Na­ture and a 200ft high di­nosaur from the depths into 111 min­utes.

Deep be­neath the earth some­thing is stir­ring. When it emerges – a glow­ing-eyed winged de­mon – it is not some­thing mankind can de­feat. Some­thing big­ger is needed…

Godzilla is packed with themes, sub­plots, ref­er­ences and nods to other movies. Yet un­like the slew of re­cent comic-book adap­ta­tions it holds fast to drama and avoids cheesy hu­mour. This is a plau­si­ble thriller that pays trib­ute to its Ja­panese past but rock­ets the story into the 21st century. The ef­fects are first rate, the sense of pow­er­less­ness tan­gi­ble and au­then­tic, the emo­tion raw and the ter­ror gen­uine. It is pop­u­lated with ant-like fig­ures run­ning in panic and awe. If ir­ra­di­ated be­he­moths were lay­ing waste to your neigh­bour­hood, you’d run too. a theatre critic with­out see­ing A Taste of Honey.

Which is why I want to thank di­rec­tor Mark Babych for mak­ing it feel like I was watch­ing this clas­sic of Bri­tish theatre for the first time.

She­lagh De­laney’s ex­tra­or­di­nary piece of work has be­come lum­bered with be­ing A Very Im­por­tant Play.

It came at a time when the An­gry Young Men were re­claim­ing a form of ex­pres­sion they had been de­nied for far too long. It’s easy, when faced with a work of such stature to treat it rev­er­en­tially, to put on white gloves to carry it out of its pro­tec­tive bub­ble. I never want to see an­other ver­sion of Look Back in Anger pre­sented as though I were watch­ing it in a mu­seum. In or­der to di­rect A Taste of Honey for this Hull Truck Theatre pro­duc­tion, Babych has taken the gloves off. The re­sult is a piece of work that is im­me­di­ate, vis­ceral and heart-wrench­ing and it makes you view the play in a whole new light.

By get­ting down and dirty, not wor­ry­ing about the anachro­nisms (the prospect of a mixed race baby was far more shock­ing than to­day. I hope) and sim­ply dig­ging right into the heart of the piece, Babych has given new life to De­laney’s words.

He­len is a feck­less mother, a story told with a ge­nius piece of spar­sity by De­laney, by hav­ing her daugh­ter call her by her first name. Loose with her morals, He­len has brought up a typ­i­cally re­bel­lious teenager in Jo, who is as head­strong and de­ter­mined as her mother is flighty and un­re­li­able. It is, of course, Jo who falls preg­nant with the baby of a sailor and has to suf­fer the con­se­quences. Babych has helped Julie Ri­ley as He­len and Re­becca Ryan as Jo find the emo­tional heart in two bril­liant per­for­mances. Ryan in par­tic­u­lar, as the wil­ful Jo, is elec­tri­fy­ingly good. This play’s never looked so vi­tal.

To May 17. SJT, Scar­bor­ough, May 20-24, York Theatre Royal, July 8-12. SOME­TIMES it’s good to dust off the old clas­sics and be re­minded of just how good they are.

Sure, it’s old fash­ioned and yes it harks back to an Eng­land that prob­a­bly never re­ally ex­isted, with men dress­ing in black tie and women in ball gowns for din­ner in coun­try houses full of ec­centrics, but that’s not a rea­son to con­sign the clas­sics to his­tory. Di­rec­tor Damian Cruden wisely chooses to do lit­tle other than present a straight­for­ward telling of the story in a de­sign by Nigel Hook that might have been cre­ated to al­low theatre crit­ics to use the word sump­tu­ous. It is beau­ti­ful, as are the cos­tumes as is the story.

Noel Coward’s com­edy was hugely in­ven­tive for its time, call­ing for a stage to be af­fected by the para­nor­mal. In 1941, when it first be­gan its record-break­ing West End run, one won­ders how ter­ri­fy­ing it might have been for au­di­ences who wit­nessed the oc­cult.

Nov­el­ist Charles Con­domine lives a life of lux­ury with his sec­ond wife Ruth. His first wife, Elvira, died seven years pre­vi­ously and Charles has the shard of ice in his heart

The con­cert is part of the cen­te­nary cel­e­bra­tions of the King’s Hall and Wil­son will be at the venue on Fri­day June 13 at 7.30pm. For tick­ets, which are £15, £19 and £23, call 01943 602319. GET your toes tap­ping along with Fla­menco per­form­ers Ja­leo next Tues­day, May 20, when they are ap­pear at the City Va­ri­eties in Leeds. Formed in 1988 by award-win­ning artists from Seville, this dy­namic dance com­pany com­bine the es­sen­tial qual­i­ties of fla­menco with an in­no­va­tive spirit that rep­re­sents fla­menco as one of to­day’s most dy­namic art forms. Over the past twenty years Ja­leo have built up an in­ter­na­tional rep­u­ta­tion as an ex­cit­ing and colourful com­pany. Tick­ets are priced at £20.50 and are avail­able from the box of­fice on 0113 243 0808 or on­line via www.city­va­ri­eties.co.uk NO mat­ter how many times Evita is re­vived for the stage it al­ways re­tains that in­cred­i­ble dra­matic in­ten­sity that ig­nited the West End when it opened back in 1978.

Evita tells the story of Eva Peron, and her rise to be­come one of the most adored women in Ar­gentina, and un­furls through the words of Che, the nar­ra­tor, and some of the most mem­o­rable songs in the world of mu­si­cal theatre.

Madalena Al­berto is a pow­er­ful and emo­tion­ally charged Evita. With firm con­vic­tion, she por­trays Evita from her hum­ble be­gin­nings as an am­bi­tious young girl to a woman of great wealth and power. Bring­ing a new pas­sion­ate di­men­sion to the song Don’t Cry for Me Ar­gentina this ac­tress cre­ated an un­for­get­table the­atri­cal ex­pe­ri­ence for her au­di­ence.

As Juan Peron, Mark Heene­han is im­pos­ing and stately com­bin­ing su­perb act­ing with a pow­er­ful voice. To­gether they es­tab­lish a won­der­ful on stage chem­istry that is pas­sion­ate, strong yet ten­der and at times very mov­ing es­pe­cially in their fi­nal duet to­gether. The role of Che, who links Eva’s life in both di­a­logue and song is not an easy one but Marti Pel­low tack­les this role with en­ergy and at­tack. An im­pres­sive pro­duc­tion not to be missed.

To May 17. FOR one night only next month, York­shire Dance will be pre­sent­ing Bend It, a unique evening that brings to­gether an eclec­tic mix of es­tab­lished artists from the world of dance, theatre, film, drag and cabaret whose work ex­plores themes of gen­der, sex­u­al­ity, iden­tity and re­la­tion­ships.

Cu­rated by York­shire Dance As­so­ciate Gary Clarke the evening will be hosted by drag diva Mysti Valen­tine and will in­clude live per­for­mances from solo artist Amy Bell, avant-garde dance duo Thick and Tight and will fea­ture the world pre­miere of chore­og­ra­pher Lea An­der­son and film maker Marisa Zan­otti’s new doc­u­men­tary film Ed­its.

The fun starts at 7.30pm on Fri­day June 6 at York­shire Dance in Leeds. Tick­ets are £8 and £6 con­ces­sions. Box of­fice 0113 243 8765.


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