Marvel's Agents of S.H.I.E.L.D.

So, the end of series 1 is approaching with no real explosion in the media. Perhaps that alone is something to Marvel at. However, for such a lucrative franchise I have been blown away by the series' inadequacy from episode 1. The only  thing keeping me going is the hope that it may somehow find a way to claw back towards mediocrity. 

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The first episode introduced us to Skye (Chloe Bennet), our lead female, the loveable rogue from hack group

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'The Rising Tide' whose eyelashes seem to flutter their way into every situation. As refreshing as it was for her to be thrown into a group of SHIELD misfits who don't truly trust one another, it leaves the dialogue between our characters a little dry to say the least. We are presented with three characters in Coulson (Clark Gregg), May (Ming-Na wen) and Ward (Brett Dalton) who are - or seem to be - incapable of emotion or at opening up when that is what characters onscreen need. We (the audience) need to hear their intrinsic thoughts through conversations with other characters and the entire series lacks this. Skye is the only character that allows us in. And for this, we are slowly drawn back towards the plot, just as we are about to nod off in the armchair. Thank God for Skye.

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The comedy duo of Fitz (Iain De Caestacker) and Simmons (Elizabeth Henstridge) gives us a slight satisfaction as we wonder at their genius when they fail to understand basic social norms, sarcasm or the working of doors. The one-sided - or at least accepted - affection of Simmons towards Fitz is comical, if not sometimes a little cringey. However, seeing as their relationship is about the only relationship we are allowed an insight into, it's electrifying to watch their flitting eye contact and gentle smugness at getting one over on the other with the next big idea. It's child's play but done brilliantly. It was brought out especially in episode 6, when Simmons contracts the alien virus from which others have died from. Their relationship as friends here, truly flourished as we watched them lean their heads against one another, through the glass with a hopeless lingering gaze into nothing. I await to see where their relationship may lead although I fear that the uninspiring nature of the script thus far, suggests that they will most likely stay as friends.

Screen-grab from episode 10: Rights Reserved by Marvel

The worst thing about the entire series for me, was the lack of any of that VFX brilliance we see in Marvel films. Instead, it seems we were thrust into a classroom of teenagers exploring Kar2ouche and into a world where the team had merely photoshopped images on backgrounds that do not fit. The best example of this is pictured left. I'm not sure what is worse, the car tumbling through the background that is nearly invisible or the clearly artificial existence of the car in the foreground. It's almost as though they have cut it from a magazine and stuck it on. It's HORRIBLE! Even more horrible, is the fact that this is not the only example. They couldn't even green-screen Coulson properly! It's almost as bad as going back to the years of Chitty Chitty Bang Bang!

Is there much difference between this...

And this???

Another thing the series lacked, is story. There was no arc to keep us going from episode to episode, no story that we had to wait to see finish in another episode. Until around episode 8, we know nothing more of Skye's parents than we did in episode 1. Even by the finale, all we know is that she was found by a SHIELD agent and dropped to someone else. As disengaging as this story is (due to no real risks being taken to find her parents), I do want to call that it was May who dropped Skye off and that Skye was the civilian girl May saved from the day that she lost herself. Aside from the reveal that May lost herself in a single battle there was no real exploration of May's past, nor of Skye's hunger to find her parents. No drip feed, no trail of breadcrumbs... meaning that we weren't hooked by it. The only thing, as I said, that kept me going is the hope that it would get better.

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I'll hand it to the team that episode 10 has been the best episode of the series but it didn't have much to compete with. We still have no idea who Coulson is, who May or Ward really are, which doesn't make us excited about their return in a future series. We don't know them enough to care. The only thing we have been given the opportunity to love is the hardened and unchanging expression on their faces. Even the sex didn't liven things up!

Ahhaaaa I ruin everything
Photo: marvel-movies.wikia.com

Coulson's character is one that disappoints me greatly. As the leader of the team you want him to be stern, to be smart...instead he uses an array of badly executed jokes and sarcasm. The script-writing left us cringing rather than laughing. For example, when on a mission the team hear of some underground activity. Coulson of all people, has only one thing to say, 'let's see what we can dig up. See what I did there?'. GROAN. It's just not necessary. In the 90min arc of a film, the jokes are less frequent and therefore more successful for Coulson's character. In a 40min episode, it is simply annoying, that every time we are drawn into the tension and action, we are thrown back by the reminder from Coulson that it's all a joke.

With two more episodes left to come in January, are we all waiting on the edge of our seats for the moment our misfits return to the screen? Not really. Although, for the sake of my excitement for the next Marvel release of 'Captain America: The Winter Soldier' I truly hope I am surprised and that the budget has been saved for an awe-inspiring finale.

We shall see.

From Morning To Midnight

From Morning To Midnight had received mixed reviews online. I had preconceptions about the surrealism we would witness as I often find surrealism a little hard to place. We can draw an endless list of what we THINK it means, but we never really truly know what it is supposed to represent. FMTM was different for me.

It was intelligent. The production began with a perfect symbol of a life ruled by the clock as the entire centre of the stage was revealed as a revolve, spinning round as we hear loud ticking sounds from the clock. It gradually speeds up so that the repetitive actions of the cast, especially that of our protagonist, the clerk, begin not only to represent the hours that are whizzing by, but actually begin to tire us out. 

We watch as all grinds to a halt as a pretty young woman enters unknowingly, ending up DS left as though she appeared from nowhere. Everything stops for her. The clerk serves her in the bank and overhears the men in the bank talking about her as she leaves. With that and the recent payment of 60,000 Marcs, he seems as if from nowhere, to abandon his post and begin a journey to wealth and power - the beginning of everything that ends badly.

We watch as the clerk climbs out of his cage and run free. He is taking more breaths than ever before, stretching his legs further, opening his eyes wider but all the while shrinking his own morality and loyalty. 

He springs to the heels of his newfound 'love' whom he assumes will fall madly in love with him immediately. We are presented with some truly comedic repetition of scenes firstly played out to the imagination of the clerk and then immediately brought back down to earth with a bump as we see the reality of each encounter. For example, we see the lady speaking with her son, who places his jacket on the sofa before leaving to bargain with the landlord about a painting of 'Adam and Eve'. The clerk approaches and enters the room, as the lady is flushed and gasps flatteringly. He then grabs her twirls her around and falls onto the sofa and just as she lowers her head to his crotch, the lights go out. 

The clerk is back outside the room knocking timidly. He stutters and stumbles on his words, whilst Unreeling his plan to become a rich man, both financially and socially. She turns him down and he leaves dejected. With this the set is manipulated once again. This time as if gravity itself has diminished. The wall of the house lifts into the heavens as the postman enters, almost falling through the doorframe to his death. Left stranded in the doorframe raising ever higher, it is surrealism at its best. We suddenly begin to see the existence of an unstable climb towards the top of our 1920 German hierarchal system. Tipping this way and that, the clerk has his mind set on self-improvement, regardless of what life may lay behind him and indeed, what quarrels may lay ahead.

Perhaps the greatest example of surrealism followed this. As he stumbles across a snowy

Photo: National Theatre Blog

plain, he suddenly realises the potential that wealth has given him. What follows is a self-indulgent monologue among some truly inspired physical theatre and choreographed movement. A parachute-like white cloth is pulled tight across the stage by the ensemble and taking it in turns, they crawl underneath to create obstacles and mounds in the snow. A particularly effective moment is when the clerk is overly excited, almost manic, and he climbs high and topples, only to be caught by the surging power of his own indulgence. The cast create a wall under the snow, catching him as he falls in an attempt to reflect the instability of our clerk's new social position at the top - a rather tenuous one at that. The scene is filled with the existence of vivid deadly warnings in the form of skeletal women, that foreshadow what is to come. 

Photo: National Theatre Blog

Photo: Paul Taylor - The Independent

He takes this feeling of indestructibility back to his family home, where he crosses his next barrier - to leave them behind. Surrealism creeps into their 'normal' family life, as the train that takes our clerk to his new beginnings steams through the front room as the family of girls scream. Some truly great scene changes saw the walls of the living room become the carriage of the train as it speeds into the city.



There other instances that wowed us too. The opening to the second half saw the clerk in a

Photo: National Theatre Blog

surrounding far removed from anything in his usual daily life. He arrives at the bike race, where he marvels at the ridiculousness of winding your legs round and round on a metal frame for glory, not realising that it could actually be used as an analogy of his own feeble attempt to ride to the top of society. The cyclists lean this way and that in slow motion, with shadowed grimaces upon their faces as the stage once again rotates to show the passing of time.

Photo: National Theatre Blog

As he throws more and more money into the race, the stakes grow and we watch as the excited crowd turn into puppeteered savages. A choreographed routine of jerking movements from the crowd and the rotation of the set again and again reflects how, purely with the arrival of money, the world has turned completely on its head. It turns almost grotesque as the ensemble appear through the grandstand with naked torso's, wearing clothes meant for a different sex and backing towards the audience with bare breasts... Which leads us to the next level of this coil of descent.

The clerk's next destination is to a renowned 'adult entertainment' venue where he is

filled with lust and confident of wooing a sexual encounter with his money. He purchases the best champagne in the house after an embarrassing conversation with the waiter who mocks his unfamiliarity with the types of beverage - another fallacy in our clerks new financial fantasy. We watch as his lust grows as Lycra clad men and women re-enact the extremely 'flexible' passion of Adam and Eve. We see him attempt to woo our first performer, then Adam and Eve and our third performer, a dancer dressed as a clown. As his attempts fail he soon realises that perhaps, the life that he admired in the lady from the bank, will only ever be a fantasy. His expectations of the life he envisaged, only leave him disappointed with his reality.

From here we reach the final part of our journey of destruction: salvation. The clerk, finally giving way to the disappointment of what promised to be a lavish lifestyle, is confronted in a church by poor people. However, when it comes to confessing their sins and sharing their paths to salvation, we quickly realise that these are not just characters, they are embodied

Photo: National Theatre Blog

projections of the clerk's inner voice. They torture him. If I were to fault the production, it would be on this part alone. I feel that after the first two 'confessors', (regardless of the unique visual image as we watch from the clerk's own perspective) the audience understood that they are representing the clerk. However, we were given another two characters to allow us all to catch up. It was felt quite broadly that this was unnecessary and it was the only part of the production that I struggled to stay engaged with. 

The finale of the show sees the clerk finally come to terms with the terrifying outcome of his financial change. His own gratifying salvation is found in a manic explosion of gold as he gives up on his devotion to climbing the social ladder. The poor, once again become savages and scatter in the madness, their morality left diminished. A figure then steps from the shadows as the clerk fears that he will be held accountable and have to face all those he left behind before becoming a 'money launderer'. He panics and with all that he once was in tatters, he climbs to the top of the balcony CS, where the clock from scene 1 has returned, runs to the crossed-shaped light representing salvation and us electrified. Well... I did say money was the beginning of all unhappy endings!

FMTM is one of the best examples of physical theatre I have seen in a very long time. The last example was a one woman show who seemed to be making love to her cloth, hanging from the ceiling - so it wouldn't take a lot to top it. However, the execution of such inventive and symbolic physical theatre made the experience entirely engaging throughout. The acting wasn't bad either. Our clerk's physicality, the jolly ignorance of the bankers, the upper lip of our first class lady, the effort of our cyclists and drunkenness of our clerk's desirables, all showed the calibre of the cast among an array of fantastical imaginary symbols of a life in  jeopardy. 

Photo: Johan Persson

A truly wonderful few hours at the Littleton Theatre! 9/10!

Nelson Mandela

This is neither about film, television or theatre. This post is to share how I was moved not only by the man that Nelson Mandela was, but also by the outpour of emotion across a world offering its condolences.

Photo by the Telegraph

Yesterday after work, myself and Kamal went straight to Trafalgar Square to write in the book of condolences. Here we joined the queue of about 30 people waiting to do the same thing as hundreds gathered singing carols in the square. I had been watching the constant queue of people on the Trafalgar webcam all day. There was an air of respect outside the South African High Commission and this moved me to tears. I had the need to grab Kamal's hand and squeeze it to stop me from crying. The sense of togetherness, with the carols, the Christmas tree, the queue to sign the book of condolences: it was all too much. 

I have adored Nelson Mandela from a young age. When I learned of his fight in South Africa, I was blown away by his courage and humble nature. It simply did not make sense to me that blacks and whites should be treated differently. Apartheid to me, was unthinkable. I remember sifting through news reels and online articles learning of his struggle before crying at 'Goodbye Bafana' and how it portrayed the great man he was, and will always be.

I truly hope upcoming film 'The Long Walk to Freedom' portrays the man he truly was, to us all.



My words in the book of condolences were simple, I thought: who am I to say anything at all? But I wanted to.
'You brought together a nation. You inspired a generation. You inspired me. My thoughts are with your family and all those you fought for and alongside. Thank You, the world's Madiba'.

Kamal wrote to thank him for fighting to bring South Africa together, reiterating that in instances such as Sudan, the man may be gone, but his message has only just begun. We then spent a while in silence looking at the candles lit for him under the brightly lit fountains.

I just felt the need to share the thoughts on a man that brought together a nation and with that, inspired the world. He was, is, an inspiration to us all. He was a hero to me. I am glad I finally got to tell him that.

TEDx Talks at UCL

Friday 6th December, an early start and a venture into the unknown as I became a producer for the day! We began by picking up the kit consisting of five cameras, four tripods, a sound desk, 6radio mics, a ridiculous amount of power leads, kettle leads, XLRs and adaptors ...the list goes on! All we had to worry about was getting to UCL safely, with all the thousands of pounds worth of kit unscathed .... ooooh the responsibility! (Thankfully I had a great cab driver called Paul who actually taxied Anthony Hopkins around for a few months and had some great anecdotes to share! Lovely guy).

On arrival at UCL, it was straight to rigging, with just 90mins until we went live. I should explain that this venue sports an incredible amount of power sockets - by that I mean a total of 4. I am pretty sure we ended up breaking every power safety rule that exists in order to ensure our cameras were powered up, our lights were lit and our sound desk was ready and waiting. It's amazing that we managed to gather enough power, it really is!

With everything set-up and enough gaffer tape to wrap around the world eleven times, the event kicked off. With ten speakers in total, it was inevitable that the event would over-run, which played havok with the limited amount of P2 cards we had to record to (not the fault of any UCL students or crew I might add). With that aside, the highlights for me were four speakers in particular: Alice Bentinck about the lack of women in tech start-ups, Iman Mujahed speaking about Women's Issues and her experiences in Syria, Adrian Furnham about gender based intelligence and the star of the show, Ang Swee Chai about her experiences as a doctor in the field, working in Palestine and making a small difference.

Alice Bentinck, spoke really confidently about her initiative to launch tech-start-ups led by women. For example, she showed us results of a Female-only Coding Class resulting in a 30% rise in female-led start-ups, as opposed to her original 10%. It was promising to see, and nice to know that although I may not consider myself an adoring fan of working in technology, I certainly have my moments. Put me behind a camera for example, and great!

Iman Mujahed told us all of her efforts to deliver necessities like tampons and sanitary towels to Syria, and educate society there about the female cycle. Not only was she humorous in offering us examples of questions from Syrian men such as: 'what the hell are wings?'... she truly delivered an inspiring notion in 'making things happen'. She accompanied deliveries all across Syria and was greeted by women with cries of adoration for her gifts...the gifts that we need only walk to the corner shop here in Britain. It is both saddening and liberating to know that there are women across the world who don't have access to things we deem a necessity, and indeed that there are things we can do to help.

Thirdly, Adrian made me laugh with his ridiculous examples of conclusions drawn between intelligence and gender. He explored the depths to the human brain in that women seem to more adept in emotional intelligence, whereas men are more adept to knowledge and interest in numbers or statistics. He also explained that men, are more adept to physical and spacial awareness, however concluded that there are always those that will prove the science of the brain wrong. Perhaps what made this funnier for me, is the fact that my boyfriend (also a crew member) was stood next to me and has atrocious balance and spacial awareness! I also found it exceedingly interesting to compare exam results. It is said that the difference in results between men and women, in later life is down not to the knowledge of the test but merely to the way that they prepare for a teat. A female brain is more likely to contaminate her knowledge with panic or worry, or stress due to a heightened emotional intelligence. It doesn't mean they aren't as clever! I found it simply fascinating.

Picture: Global Research

Finally, I come to the speech that captivated me from beginning to end. Beginning with tales of how her mother had gathered a group of industrial workers in China to rise up within the Chinese revolution, just as I had seen in the play 'World of Extreme Happiness' (also on this blog) Ang Swee Chai elaborated on her work as a surgeon. With the knowledge from this production, I could only imagine the struggle that her mother went through and could only refer to newsreels and films in terms of her tales of conflict. She particularly mentioned her work in Palestine, working in an overcrowded hospital after she had quit her job to take it. Here she and all the others in the building were rounded up by gunmen, a women pleaded with her to take her baby to safety before a guard thrust the child back into her arms and moved her on. Ang found out later, that both the mother and young child were shot. The vividness of that image in my head, reminded me of a story I was told by a holocaust survivor, about being pulled through a refuse exit in a house away from her sister who was pulled away by Nazi soldiers. Conflict is timeless...Ang's message is too. On her return from working in the field to work as a surgeon in Britain, she met a patient. Her patient was convinced that Ang should be back out there helping patients, and that she shouldn't waste her time  with a broken arm. Ang simply took her hand and said words close to, 'It might not be a big problem, but it is a real problem. And a real problem, is not small to me.' As I had been producing the video coverage of the event, I had not been completely focussed on the content of the talks. But something in Ang's voice resounded in me, and I found myself moved to tears by that statement. She was truly inspiring, and it was clear that everyone in the room felt the same. She was a charming lady and I have a lot of admiration for her.

And so, that rounds it up. We were down from four cameras to three for the last two speakers, due to the P2 cards finally filling up with the event slightly over-running but I have to hand it to the guys at UCL we were working with, the event was non-profit, and as stated by one of the team was certainly a 'labour of love' for organiser Sujitha Selvarajah. They did a fantastic job and the only thing I would say about next year, is have confidence in your planning, because it can only mean you surpass the high level you set this year!!! I want to thank them for allowing us and the crew to boss the, around the stage at times and steal their food, I'm glad I got to hear some truly inspirational women, from Jude Kelly and her Women of the World Festival to Catherine Purkiss speaking about Tackling Homophobia and the representation of Lesbian women. I look forward to making the videos available online for the TEDx website!! Congrats to everyone involved!

WATCH THIS SPACE!

Alan Carr Chatty Man

Sorry it's a little later than planned: I had to wait for it to air before posting!

It was a little strange being in the audience for a TV show, especially when you are so used to being among the crew. Sitting down with nothing to worry about, other than sitting back and clapping on queue, I found the lack of stress a little disconcerting. Still, after about half an hour of concentrating on the sealing of my bladder, I soon forgot about the fact I was seeing a studio show from the other direction, for the first time ever.

I watched as the crew applied the finishing touches, straightening lights and plugging in the TV behind Alan's minibar and almost found myself getting up to help them, but soon enough the warm-up was ready and I fell into the role of 'audience member' with ease. I tried to forget my interest in studio lights, talkback conversations and tidying sets and instead gathered with the studio audience to enjoy an evening of entertainment.

It's a little different from going to the theatre for sure. It's a little different from what you see onscreen too. I still have no idea how the editors manage to reduce the 4hr recording time, down to just 45mins! We first were introduced to comedian John Bishop, who kept the audience energetic and Alan on his toes. He identifies with audiences well, as he reveals his humble beginnings (his dad bought their first house for £50) and "mid-life crisis" that led him to comedy. Well thank goodness for that Mid-life crisis is all I'll say! The interview with John bishop was easy to watch and drink in. The kind of guy you'd love to chat to in a pub for a few hours!

We then moved to Heston Blumenthal, the chef that conquered nearby village, Bray. As interesting and knowledgable as he is, I felt that perhaps his food is a little more adventurous than his personality. He's a nice bloke don't get me wrong, and I found his endless knowledge about food and it's history interesting, but after an hour, and a long day, it proved a little too much for the majority of the audience. We were starting to hit a lull in our energy. Although thankfully, we got a little back when Alan was forced to eat an ear and some other odd Heston creations, presented in the style of Sweeney Todd's barbershop.

Our third and final guest was an odd one for me. I haven't ever really adored Lady Gaga as much as the rest of the public seem to. Perhaps I have slotted her into the same hole I put her diehard fans into, alongside Justin Bieber and One Direction. By this I mean - the fans terrify me! But actually, speaking to Lady Gaga (or more, watching Alan speak to her) I warmed to her a lot more. She is honest about her strangeness, open to be corrected and loves a little Alan Carr giggle. Her vocals weren't on bad form either, although I do find her lyrics a little repetitive. She isn't bad at singing, but I did feel her stray off key a few times. The faults weren't really anything to scream about though. Her fans from Paris in the audience however - creepy....as...hell! I was impressed at how she conducted herself and admitted that her ever-changing image and performance personalities are the one thing that keep her going. I also loved her Ipad costume! It really gave me respect for her as a person, beyond the facade of the term 'artist'.

Finally, we were brought together in a messy attempt to paint Alan Carr. With all three guests lining up at their easels and painting the nearly naked Alan Carr, after he was decorated by Lady Gaga herself. It was great to see the hilariously tipsy Alan Carr prance around the stage and squeal in surprise at the reveal of each portrait. An energy burst for us all at the end of a rather long studio stint.

All in all, I much prefer to be working on these shows rather than feeling rather powerless. I felt my energy lull with the arrival of a headache and some extremely long interviews which made clapping and cheering a little hard to bear at times. I had a good time, really! Just perhaps 4hours is a little long. I much prefer the 45min version on TV!

British Military Tournament 2013

It must have been about 14 years ago when I was last at Earl's Court, sitting arena side at the Royal Tournament, waving my flag and straining to see the soldiers. I remember lining up by the Jungle Gym, a mini assault course made for kids, and then when it came to my turn, running as fast as I possibly could through the course so that the soldiers that had to help you for safety, were beaten.  I loved it. Everything about the Tournament was exciting and this year, I felt as excited as I did all those years ago, as I returned for the first time in 14yrs.

Of course, there was the added mission of getting a few sneaky pictures of my brother after attempting to single him out among the other hundred marines. That always makes it more exciting as you dodge the stewards to break the rules! And of course, try not to let the bangs make you jump so that the picture isn't blurred!

The first half opened with the Marines and the National Anthem, followed by a re-enactment of the sinking of submarine U-559 and the brave actions of the soldiers (and NAAFI assistant) of 'HMS Petard' that ventured into the sinking sub, to retrieve vital documents, risking their lives. Then it was back to the Marines for an intricate drum display and march-past.

We were treated to all the things I remembered and more. We saw the White Helmets showing of their amazing skill and balance on motorbikes at high speed. We saw crossovers, handstands, headstands and at one point, fourteen guys perform a pyramid shape using just three bikes for balance. And to finish off, a jump over four military trucks to wow the crowd. I loved it.

We then saw the King's troop perform their usual cross-overs and gun salute, which always have you watching on the edge of your seat as you think the cannons are sure to crash. And always has me falling about laughing when everyone is surprised by the fifth bang!

Then we had the tanks giving them a run for their money, dancing their way around the arena through the same cross-overs and stunts. Being accompanied by a small child had it's perks. Not only do you get free flags and stickers, or get to sit in army trucks and pretend to fire weapons, you also find everything in the arena a lot more exciting! It was like I'd gone back in time!

We had another re-enactment of Lawrence of Arabia, blowing up the Hejaz railway, part of the Ottoman railway network in Saudi Arabia, with his fellow soldiers on.. camel-back? Whilst those on horseback drove the enemy away. I was just as impressed with the team that managed to fold the railway track that crossed the entire arena, back up in mere minutes.





We then returned to the part I always loved, the field gun run team: the race between colleges, through bridges, over ravines, along the arena and to the finish line, to assemble the guns the other end. This year we had Team Terrible and Team Powerful from Wellington College competing. I always loved watching them leap together across the ravine clearly giving their all to win in front of the crowd. And of course, our team won! GO POWERFUL! Finished off nicely by a mexican wave from the crowd and three gun salutes from each team. IN FACT, I don't think there were five minutes where there wasn't a bang of some sort from the arena! Of course, not that we minded!

Then we were wowed by the commandos with a live example of the work they do in the field. Identifying a hostage situation, using hi-tech helicopter cameras to identify the threat and co-ordinating an extraction. We watched as a helicopter was lowered from the ceiling of Earl's Court with commandos on the ground approaching the compound. As they took it in turns to advance, the commandos ab-sailed from the helicopter to the ground, shooting at the threat. They then approached the compound, blew a hole in the wall, neutralised the enemy and extracted the hostages safely. It was great to see what these guys face in the field.

The penultimate part of the programme was dedicated to those injured in combat. To those who had climbed Everest, competed in rallies, trekked from Pole to Pole and even competed in the olympics and all as amputees. truly incredible human beings to say the least. They received a standing ovation from the crowd and quite right!

Then we hit the finale, with all the massed bands of the Royal Marines, the London Scottish Regiment of the Pipes & Drums, the Royal Artillery, the commandos, the White helmets, the tanks, the Wellington College teams and flag bearers for one final array of applause and cheers. What a great night! The tournament is all about showing off, telling military stories in an exciting way, and it certainly did that. I'm so glad I went, not only to see my brother during the drum static, but to witness what I'd enjoyed every year as a child. It certainly came back with a bang! Meant literally in every sense.

Until next year...!

Coming Next Weekend!

Be sure to check back later this week for reviews on
Alan Carr: Chatty Man,
TEDx Talks from UCL,
From Morning Til Midnight
and my first visit to the British Military Tournament since 2000!

Hunger Games: Catching Fire

Ahhhhhhh, the sequel. That thing that always promises more than it can give. That inevitable fall from grace that every film series must endure... and yet Hunger Games did not. I had been careful not to indulge too much in hearing other people's opinions of the film and allowed myself to craft an opinion of my own.

Also... I'm starting a campaign to get this song used as a theme in the next film: cue epic montage of the readying for revolution as Peeta looks all forlorn & forgotten in custody and Katniss tries tries to make sense of her feelings for him and Gale...give it a listen and tell your friends! http://www.youtube.com/watch?v=pA9sQy7SFss

It is safe to say that I was captivated from the beginning. The world of Hunger Games has always caught my interest, what with the uprising waiting to happen, the unknown world of a population beyond the districts written on the map. It is a build upon the world of Battle Royale, in that it isn't just a twisted game, but a way of life...a horrific injustice of power and wealth inequality. We will the rebellion to rise, for the population to fight back and that is mainly down to the brilliance of the  imagination of Suzanne Collins. However, the visualisation is just as compelling.

Of course, like any other adaptation there are things missing but for someone like me who has not read the original novel, everything is new. There are of course the elements that exist in every film, the battle for love, the loss, the betrayal... but in the world of hunger games where everything is at stake, it becomes more than just a ploy for an audience's applause. I felt myself forgetting about the fact that they were actors onscreen, and the world was fictional. For the first time this year, I was drawn into the world fully and found myself there with them, rather than sitting comfortably in a cinema. For this reason, this is less a review, more an account of the film. I was drawn in by the greatness of the acting - although I feel that Finnick was among the weaker characters - and by the overall production of the film. Costume, make-up, cinematography, VFX, sound, musical score and casting all became a part of the world I felt a part of. I too felt the sting of injustice and all aspects of the production kept me with them throughout.

Katniss Everdeen, portrayed by the wonderfully honest acting ability of Jennifer Lawrence - is thrust once again into a game that will only end in death. She and Peeta have become too much of a symbol of defiance, they are the figureheads of the inevitable revolution of the people. On their tour of the districts, we see this hope grow in them, this belief that things can change. Particularly in the district of Roo, a previous victim of the games, where Katniss tells her

family, it was Roo that helped her survive and that she was taken too young. We see an old man, raise his hand in defiance against the regime that restricts them all and holds it high in the air - my first symbol of revolution. We watch as he is executed by soldiers of the regime as Katniss and Peeta scream to stop it. For this, they must be punished. Along with all of the other victors of previous Hunger Games, they are placed into a lottery to fight within the games again. Only this time - it will be harder. This time - it will be different. This time - the hope of the population rests on Katniss, the mocking jay who will see peace and justice return and this time - she is not alone. The other victors of the games are with her too.

What follows, is a myriad of symbols of hope, defiance, fight and strength. Just before Katniss enters the arena, she is forced to witness her costume designer, being beaten and punished for his 'Mocking Jay' symbol to the people whilst she can do nothing to stop it. Breaking her spirit before she even enters the arena, we then watch as she contains herself in mere seconds to the job at hand - survival.

All victors jump into the water, swimming towards the centre of the island to collect their weapons. Some die already in the frantic rush as they battle to climb out of the water rather than watch their own backs. We watch as Katniss is confronted with the decision to trust fellow competitor Finnick as Peeta is dragged below the water by another. In an overwrought few minutes, Katniss and co. gather there wits and run to the tree-line to hide.

Here they are faced with challenges of all kinds every hour. We watch as Peeta runs into a forcefield that we think kills him. As Finnick battles to resuscitate him we come round to the fact that he might actually be on the same side. Lawrence gives a wonderfully honest reaction to the loss of the only person she trusts, as she despairs, shouting, pleading with him not to die. As he draws breath, she grabs hold of him in an embrace she has never wanted so much from the man who loves her so dearly. 

They survive attacks from jabberjays carrying the words of the dead, poisoned fog, lack of water and fanged baboons as others on the island are met with a lighting blast, a tidal wave and blood rain. Katniss, Peeta and Finnick watch as Mags runs into the fog to allow them to carry on with their fight to survive and as the female morphling sacrifices herself for Peeta. 

They then then run into Beetee, Wiress and Johanna who join forces to defend Beetee and his plan to bring down the system. Wiress and her mutterings of the words 'tick-tock' leads them to discover that the entire island is on a clock, with a new threat every hour. They hatch a plan to hook up Beetee's wire to the tree and lead it to the water, electrifying it when the lighting strikes.

Through a battle with seeming mistrust, the team carry on to the tree as Katniss is forced to leave Peeta's side and she and Johanna are tasked with laying the wire directly to the water. Here, they are attacked as Johanna pretends to attack Katniss and leads the attackers away from her. As she runs back to the tree to find Peeta, she instead finds Beetee tied to his own coil as the storm clouds gather above them. She frantically shouts, fighting back tears, for Peeta to appear to her, but he does not come. It is here that she is forced to make the final decision. As Finnick runs into view, Katniss must battle against every fibre of her being telling her not to trust him, as he states 'remember who the real enemy is', the very words that her friend and advisor Haymitch used within his final utterings to her. She pauses. She then takes one look at Beetee, then to Finnick. She lowers her bow and draws breath. She ties the coil around her bow as Finnick screams at her not to. She waits, the storm clouds charge, the lighting strikes and with this... she points her bow to the skies and releases it - her arrow of defiance.

We watch the symbolic arrow fly towards the ceiling of the arena, that we have been made aware is flawed and as lighting strikes - the coil brings the charge right to the roof of the arena causing ultimate devastation of the system, blacking out all cameras and controls of the condiitons. Katniss falls to the ground, as the entire world seems to crumble around her.

We have a cast of extremely talented actors to portray a tale we could not visualise any better than the filmmakers allowed us to. It is a world where we will the underdogs to pull through and they definitely do so in style. As we watch Katniss being taken to Dsitrict 13 as she is told that they have Peeta in custody, we are faced with as much torment as an audience as Katniss herself as we ride the train to revolution.

I for one, cannot wait for the next installment. Who knows if she will finally conquer her feelings for Peeta? what will become of lifetime love Gale? What will become of the people? A year is just too long to wait!

Also... I'm starting a campaign to get this song used as a theme in the next film: cue epic montage of the readying for revolution as Peeta looks all forlorn & forgotten in custody and Katniss tries tries to make sense of her feelings for him and Gale...give it a listen and tell your friends! http://www.youtube.com/watch?v=pA9sQy7SFss

'Nut' by Debbie Tucker Green

It isn't often that a playwright truly grasps 'The Art of Conversation'. It is often too complex and off-the-cusp for any writer to really capture the impossibility of intermittent overlapping, that occurs when people interact. Debbie Tucker Green however, seems to have pushed through this hindering barrier with 'Nut'.




The play begins whilst the audience is being seated, with main character Elayne writing lists whilst sitting comfortably on the ingenious set created by Lisa Marie Hall. With a singular light beginning on our main character and then a timed loop that sees it creep across the stage, we get the sense that time is passing by - a nice touch by lighting designer Tim Mitchell. Once the crowd is seated Elayne then steps into action with co-star Sophie Stanton.

The entire play is a metaphor for many things. From script, to set, to costume; it is all a symbol of something greater. Elayne, is a troubled woman. She obviously struggles with interaction, even with those in her own home and the lists that she writes for her sister seem to be the only connection with the outside world. We see the arrival of three characters. Stanton's character whom seems to enjoy planning funeral arrangements with Elayne and telling her that 'she don't know no-one' to invite - a sign that she is deeply lonely. Devon (Anthony Welsh) then arrives expressing his 'confusion' at the fact the doorbell does not work. This is yet another symbol of Elayne's unwillingness and struggle to connect with the outside world then furthered by Devon's insistence that she is 'not normal'. Finally we meet the angelic singing voice of the timid unnamed child who sticks up for Elayne and stands by her. All characters are dressed in the same colour scheme: grey, green and burgundy and utilise the intricate abilities of the set, unbalancing it, twisting it... and for the whole scene I found myself trying to work out why. With a darker twist, we are left in a game of twisted party tricks involving a cigarette and ending with Stanton burning Elayne's arm with a cigarette. Was this a story of an abusive relationship among housemates?

Stephen Cummiskey Photography

We then cross from the masterful command of a demanding script between these characters to the life of Elayne's sister, played by Sharlene Whyte. Here we see a broken down relationship, leaving a daughter in the middle. I have to say that the direction of the scene seems completely natural, we believe without hesitance that the two characters we are presented with, know each other inside-out. From simple body language direction from Polly Bennett like rubbing thighs, rolling eyes and checking hair it was a comedic scene that anyone in - or who has ever been in - a relationship, couldn't help but relate to. Tyrone (Gershwyn Eustache Jr), knows exactly how to push the mother of his child over the edge, tempting her with a cigarette, telling her that their daughter sings to him and not to her: they could make a living from crafting quips to spite one another. Despite the inept and obviously sheltered American lady sat next to me huffing and sighing, then "subtly" stage whispering at her husband 'is that a drug cigarette?', I managed to be swept away in their lyrical games, written and directed beautifully by Debbie Tucker Green.

Stephen Cummiskey Photography

For the final scene we return to Elayne's apartment, where the apocalyptic set seems suddenly to spring into the forefront of our brains. Whyte's character arrives at sister Elayne's house for a visit. She once again mentions the doorbell being 'confusing' which irritates Elayne. She then asks if she has put batteries for it on the list for her to go shopping for her. She pushes Elayne to try and come with her, to which Elayne refuses. Then enter the other characters, all dressed in the same colours, tearing into the conversation - to which only Elayne responds. It is now that we realise, these characters are not abusive housemates, nor are they real people, instead they reflect the different aspects of Elayne's own psyche, intent on punishing her for being different or as we keep hearing, 'not normal'.
We watch as she battles with her inner demons to keep up the conversation with her sister, even with the reveal of the cigarette burns on her arms - but they are winning. As her sister pushes to help telling her to put TCP on her burns, Elayne is more interested in showing her a party trick with a cigarette. We watch as she holds out her hands and taps the ash onto her palm with no pain. She then asks to do it to her sister who refuses. Elayne then makes a bold statement -  a cry for help, 'can I hold your hand?'. Her sister, unsure of whether this party trick is going to be played out on her too, refuses. At this moment, the demons of her own psyche take hold once again and we watch as slowly Elayne lowers the burning cigarette to her forearm to burn herself.

Cut to black.

Hinged Set by Lisa Marie Hall

And so, we do not get to see the solution to Elayne's problems, nor the conclusion to our story. We are instead treated with an understanding. We now understand the costume choice to colour code all of the personas within Elayne's mind. We understand the meaning behind the beautifully symbolic set. It twists and turns, it writhes beneath the actors that walk it - it is unhinged. The set is a reflection of Elayne's own psyche. Jagged edges, vulnerable in places, easy to manipulate, to unbalance.... it is as much a story of mental instability as the script itself.

I walked away this time, not necessarily wowed by revelation or at the lessons I had learned about life but instead, in deep appreciation for some great set and costume design and a script that had mastered the art of conversation brilliantly. It was a 'slice of life' performance that we believed, that even at just 70minutes long, we were pulled into and then left hanging from - just like Elayne.

Stephen Cummiskey Photography

An 8/10 for this - and a must see for any set designers out there!