Testament of Mary is the latest play to take Broadway by storm, for all the right reasons too.
Testament of Mary is an ambitious project as far as Broadway productions go, with the striking stage set up almost as awe-inspiring as the actual one person show. A live vulture, an uprooted tree suspended in mid-air and a seemingly bottomless pool of water litter the stage that is soon inhabited by the show's star, Fiona Shaw, who gives a commanding performance in Irish writer Colm Toibin and director Deborah Warner's one woman show.
Fiona Shaw and Colm Toibin at the show's premiere.
The script is adapted from 2012 novella about Mary, the mother of Christ in 'historical' terms and the Mother of God and the Queen of Heaven in the Biblical sense. Holding lilies, surrounded by a Plexiglas cube or by candles, or stripped of any defining qualities, Toibin's presentation of the Virgin Mary is bound to be one that you have never seen before as Testament of Mary really is a spectacle to behold.
Continue reading: Fiona Shaw Gives Powerhouse Performance In Testament Of Mary
Janet McTeer and Academy Awards - Janet McTeer and Guest Friday 24th February 2012 GREAT British Film Reception to honor the British nominees of The 84th Annual Academy Awards at the British Consul Generals Residence
Jack O'Brien (McCracken, then Penn) grows up in the 1950s American Midwest with his harsh-but-caring dad (Pitt), loving mother (Chastain) and little brothers RL and Steve (Eppler and Sheridan). Over the years, events shift and shape the family, including illness, injury and death. But what does it all mean? And can the truths of humanity be traced back to the dawn of evolution or the age of the dinosaurs?
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Dorian (Barnes) is an orphan who inherits a sprawling mansion when his tyrant grandfather dies. Young and eligible, he's quickly taken under the wing of Lord Henry (Firth), who introduces him to the licentious ways of late 19th century London. But the sex and drugs sabotage his relationship with an innocent young actress (Hurd-Wood), and Dorian pledges his soul to the devil in exchange for eternal youth. Now instead of aging, a portrait painted by his friend Basil (Chaplin) shows the scars of his depraved life.
Continue reading: Dorian Gray Review
Fracture has no excuse to be so lazy, given the actors at its disposal and a setup that should have made this an easy slam-dunk. Hopkins plays Ted Crawford, an aeronautics engineer who's found out that his wife Jennifer (Embeth Davidtz) is having an affair with police detective Rob Nunally (Billy Burke). Confronting her at home, Crawford shoots her in the head and calmly waits for the cops to arrive. When they do, it's with none other than Nunally at the lead, who's shocked and enraged at finding Jennifer in a pool of blood and Crawford standing there as though nothing had happened. After a quickly-interrupted beating from Nunally, Crawford later confesses and even waives his right to a lawyer. When it's all dropped in the lap of assistant district attorney Willy Beachum (Gosling), the case couldn't seem more airtight, which is good since Beachum can't wait to slip the bonds of lowly civil employment for a well-paying private sector job.
Continue reading: Fracture Review
The generally limp script by Josh Friedman starts off smartly, setting us up for the bruising friendship between the stars, a couple of L.A. cops who also happen to be boxers and get paired up for a publicity-machine fight that touts them as "Mr. Fire and Mr. Ice." Ice is "Bucky" Bleichart (Josh Hartnett), a cool and low-key guy charitably described as a loser who gets his shot at a good chunk of change as well as reassignment to the LAPD's hotshot Warrants department for agreeing to the fight. Fire is Lee Blanchard (Aaron Eckhart), one of those bigger-than-life cops who cuts corners with aplomb and seems happy enough to bring Bucky on as his partner after knocking his teeth out (literally) in the ring. Further binding the two men together, besides work and friendship, is Kay Lake (Scarlett Johansson), the sultry blonde dame on Lee's arm who takes a shine to Bleichart that doesn't seem to be entirely platonic.
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