The Dumb Waiter at the Old Vic: I Try Pinter Again!
It’s Theatre Thursday! Today’s show is the recent livestream of The Dumb Waiter from The Old Vic’s In Camera series.
Man, I feel like over the years I have seen every Pinter play (and piece of Mahler’s) and every time I’m like “…yeah okay.” Like I GET IT (do I?) he’s a genius and they’re all classics (really?) but it’s just…not my thing. The Dumb Waiter reinforced my whole ‘I mean sure’ vibe about Pinter.
The Dumb Waiter is widely considered one of Harry’s best shortypops, and I did appreciate that it was only about an hour long. The four-hander (that’s right) stars the very fine duo of Daniel Mays and Daniel Thewlis (who we enjoyed in Harry Potter and the Dude who Turns into a Werewolf) as two apparent hit men who wait in a prison cell-like room for instructions on their next target. I’m not the biggest fan of hit men, so at the start it’s an uphill battle for me to care about anything besides wondering if someone else in their universe could turn them in without using or glorifying the role of cops.
Instead of that, we had these two jackwagons sitting, reading the paper out loud, pacing, &c. And then they hear something in the wall and it’s a working dumbwaiter! Like for moving food between floors! Fun! Houses should have these! They start receiving messages – an envelope under the door, and then an order through the dumbwaiter. They’re like ‘well we don’t have any of these items’ so naturally they send back up whatever snacks they had on them. LIKE, WHY. I guess this humorous turn is kind of funny but the nonsense of it felt inconsistent. The men keep communicating with an unseen someone at the other end of the dumbwaiter, without really knowing who it is or what’s going on. Who is giving the instructions? Where are these messages coming from? These and more question will not be answered and will stand in for deep meaning!
I guess the whole twisty point of what, not knowing who you can trust? the destructiveness of power? everyone suffering under an unjust system? could have worth, but it had the emotional impact of a faux-motivational poster without supporting material helping any maxim feel earned. It kind of felt like Pinter trying to be Beckett. A loose plotline, slow pacing. a bit convoluted. As ever, I feel like Pinter plays are best appreciated by people who say ‘wow it really makes you think’ in a way that lets you know they have no idea what they are thinking.
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Golden Globes 2019: The Annual Shitshow is Back So Let’s Make Some More Shit Up
The truest golden years were when Amy Poehler and Tina Fey hosted, providing funnier comedy in their 10-minute opening monologues than any of the Best Comedy movie nominations had – mostly because the movies in the best comedy category are never actually comedies. (HELLOOO I mean ‘The Martian’? ‘Ladybird’? Forking ‘GET OUT’???? HFPA YOU F-ING CRAZY? Oh, right, yes.) I have reservations about tonight’s hosts, Andy Samberg and Sandra Oh, because they clearly were chosen after every famous person’s name was put on little slips of paper and then into a hat and then also inside the hat was a drunk rabbit (it was a magician’s hat) and he ate the pieces of paper and then threw it all back up and they chose the names on the first two slips that came back, that’s the only way this pairing makes sense. I mean ostensibly it’s because they were charming when they presented at the Emmys back in September but taking that great little presenting performance and thinking it will translate to great success as hosts of an entire show is what got us ‘Get Him to the Greek’ after people loved Russell Brand’s (incredible) small performance in ‘Forgetting Sarah Marshall’. I also can’t help but think that, even though I do love Andy, it’s like no one in charge would be okay with having a woman of color on that stage without a safe white man to keep viewers from throwing their TVs out the window. The powers that be are like ‘don’t be mad that we’re showing you a lady in charge, or a non-white! There’s a white man, see, everything’s okay!’ I wish them well though, and maybe we can get Tina and Amy back for the Oscars if the heads over there are ever able to look past f-ing Kevin Hart. Like why do they think he is the only option??
So, to recap, no one takes the Globes seriously, but it’s still fun to watch. And none of the celebrities take it seriously either but some of them (especially/only the newcomers) will still cry when they win because, well, winning rocks, like why I care that my team wins Quizzo every week even though the prize is money to the very same bar where the quiz occurs and I don’t drink so like, I don’t actually get anything out of it but I still get to say I FORKING WON, you know, and so the Globes is that, just like that. Anyway it’s really hard to see everything in time since I’m in London so we are going to do our best with these thoughts and predictions. Some of you long-time readers might be like ‘wait where’s you amazing list of reviews for every important movie’ and may I remind you that that comes out before the Oscars, where the movies actually matter/when I have had more time to account for the stupid later UK release dates.
BEST MOTION PICTURE,
DRAMA A Star is Born Black Panther BlacKkKlansmen Bohemian Rhapsody If Beale Street Could Talk |
BEST MOTION PICTURE,
COMEDY/MUSICAL Crazy Rich Asians The Favourite Green Book Mary Poppins Returns Vice |
As for the actual Comedy/Musical category, the only great surprise is ‘Crazy Rich Asians’, which deserves the slot and is actually a comedy, so well done to the HFPA. This is the perfect maneuver for the HFPA to get big names of the year, but from non-awardsy movies, to come to their party. ‘The Favourite’ was a great movie and it’s billed as a dark comedy, though to me it was more horrifying and full of nervous laughter, but I concede that it’s the right kind of movie for this category. That Yorgos though! ‘Mary Poppins Returns’ shouldn’t be on this list, not because it wasn’t a musical, which it is, but because it was not good. Most disappointing movie of the year for me. There are 100 movies that should have taken that slot, but none with Emily Blunt and Lin-Manuel Miranda, who the journos wanted to invite, so here we are. Party’s not a party without Lin! As for ‘Green Book’ and ‘Vice’, they should be swapped (with the two musical biopics) to the drama category. I have it on good authority that ‘Green Book’ is clearly a drama. And I guess the foreign reporters find it funny to make fun of America’s downfall so they are calling ‘Vice’ a comedy even though it’s upsetting and depressing? I guess.
Given that these categories are bonkers, it’s hard to pick winners. For ‘Drama’, my vote would be for ‘A Star is Born’, and the Globes seem like the right venue for rewarding that starry successful film. Everyone loves it (I know I know except for two of you reading this, I get it, you hated it) and it was completely wonderful, and it doesn’t hurt that it was a financial hit. For ‘Comedy/Musical’, I think it will be ‘The Favourite’ because it’s actually a dark comedy, it’s a pretty great (though WEIRD AF) movie, and the foreigners voting love them some Yorgos and some Olivia Colman.
Glenn Close, “The Wife”
Lady Gaga, “A Star Is Born”
Nicole Kidman, “Destroyer”
Melissa McCarthy, “Can You Ever Forgive Me?”
Rosamund Pike, “A Private War”
Bradley Cooper, “A Star Is Born”
Willem Dafoe, “At Eternity’s Gate”
Lucas Hedges, “Boy Erased”
Rami Malek, “Bohemian Rhapsody”
John David Washington, “BlacKkKlansman”
Emily Blunt, “Mary Poppins Returns”
Olivia Colman, “The Favourite”
Elsie Fisher, “Eighth Grade”
Charlize Theron, “Tully”
Constance Wu, “Crazy Rich Asians”
Christian Bale, “Vice”
Lin-Manuel Miranda, “Mary Poppins Returns”
Viggo Mortensen, “Green Book”
Robert Redford, “The Old Man & the Gun”
John C. Reilly, “Stan & Ollie”
Amy Adams, ‘Vice’
Claire Foy, ‘First Man’
Regina King, ‘If Beale Street Could Talk’
Emma Stone, ‘The Favourite’
Rachel Weisz, ‘The Favourite’
Mahershala Ali, ‘Green Book’
Timothee Chalamet, ‘Beautiful Boy’
Adam Driver, ‘BlacKkKlansmen’
Richard E. Grant, “Can You Ever Forgive Me?’
Sam Rockwell, ‘Vice’
Bradley Cooper, ‘A Star is Born’
Alfonso Cuaron, ‘Roma’
Peter Farrelly, ‘Green Book’
Spike Lee, ‘BlacKkKlansmen’
Adam McKay, ‘Vice’
The Americans
Bodyguard
Homecoming
Killing Eve
Pose
Jason Bateman, Ozark
Stephan James, Homecoming
Richard Madden, Bodyguard
Billy Porter, Pose
Matthew Rhys, The Americans
Caitriona Balfe, Outlander
Elisabeth Moss, The Handmaid’s Tale
Sandra Oh, Killing Eve
Julia Roberts, Homecoming
Keri Russell, The Americans
Barry
The Good Place
Kidding
The Kominsky Method
The Marvelous Mrs. Maisel
Michael Douglas, The Kominsky Method
Sacha Baron Cohen, Who is America
Jim Carrey, Kidding
Donald Glover, Atlanta
Bill Hader, Barry
Kristen Bell, The Good Place
Candice Bergen, Murphy Brown
Alison Brie, GLOW
Rachel Brosnahan, The Marvelous Mrs. Maisel
Debra Messing, Will & Grace
Audra McDonald in “Lady Day at Emerson’s Bar & Grill”: A Once In A Lifetime Performance
This isn’t an imitation happening onstage, but a full transformation and embodiment of Lady Day, from the mannerisms to the stance to the way she moves her eyes. It’s magic happening in front of you as Audra channels Billie Holiday. Seriously, everyone was gasping and pretty much didn’t stop (at least the people next to me didn’t stop, despite my repeatedly throwing shade).
In between the many songs, which are so astonishing it’s like you could say you actually saw Billie Holiday in concert, Audra tells her concert audience (“my friends”, she calls us) little stories that illustrate her life. This is where the real magic happens, and this is where Audra wins her sixth Tony. Some stories are hilarious yet they all express the untold heartache she has had to experience. She speaks and stumbles and falls and it’s Billie Holiday. She drinks, smokes, walks through the table seating, wanders offstage for several minutes to retrieve her dog, who’s her best friend. She holds back tears, and the audience does too. It’s all Billie.
The stories she tells come up organically between songs and are perfect glimpses into Billie’s turbulent life. She looks back at her backup musicians and drifts off in thought about her old love, a musician who was a drug addict (she says “herwan” and it’s adorable). She tells how the man would say to her, “If you really loved me you’d try it too,” and despite her protests, he kept at it, making her feel unnecessarily guilty and terrible until she couldn’t argue anymore. Her stories are full of people she thought she loved weakening her and manipulating her until they hurt her and took advantage of her. Yet she was still strong. And despite Audra’s hunched posture, wild eyes, and frightening imbalance, she successfully conveyed this inner strength.
The stories about her mother were the most heartbreaking parts. Everyone called her tiny mother “The Duchess”, and Billie makes lots of jokes about how little the Duchess was and how big she herself was. The Duchess had Billie as a very young teenager and put her to work early in various kinds of houses they stayed in. Billie recounts ‘the first time’ she was raped as a young child in one of these houses, told in a tone so casual it showed how accustomed to trauma and tragedy she had become.
One of the most repeated thoughts she shares is that she always wanted a nice house and children, and how much she loved children. She never had any, or had any stability in her life. The beauty of the performance helps to balance just how sad everything is. It’s really a fool’s errand to try to describe how wonderful this show is. If you can get to New York before it closes in August, you absolutely must see this performance of a lifetime. If you can’t, watch the clip below. (Don’t watch it if there’s any chance you can see the show. You don’t want to be spoiled.)