Culture
REVIEW: Tess by Ockham’s Razor at New Theatre Royal Portsmouth
What would you say is the best way to do a book to theatre adaptation? Well I think ‘Tess’ by Ockham’s Razor could be the answer to that question. On offer at New Theatre Royal Portsmouth at the moment is ‘Tess’ by Ockham’s Razor, and all I can really say is wow! This is an adaptation of Thomas Hardy’s classic novel, ‘Tess of the D’Urbervilles’. It’s a story that has already been adapted to the screen, and to be honest I wasn’t quite sure how it would transfer to the stage. I could vision it being performed as a standard play, but could I vision it as a mixture of contemporary circus and theatre? My answer should have absolutely been yes! Alex Harvey and Charlotte Mooney have adapted and directed this masterpiece to perfection. Along with producer Alison King, a fantasy vision was seen – and they have managed to bring that vision to life.
This show showcases the storytelling ability of dance, circus, and movement; as well as the athleticism and range of talent its performers have. The story is one that still has major relevance in today’s society with its incredibly nuanced evocation of female relationships, sexual desires, consent, privilege, and poverty. In this particular adaptation, it is all told as a flashback through Tess herself as a narrator. She is the only character with dialogue, the rest of the cast (including ‘Memory Tess’) tell their part of the story through the incredibly energetic and powerful nature of circus and body movement. I just love this! It’s such a creative way of showing the power, loss and and endurance of the story – as we see how the performers bodies react with the extreme strength and physicality of circus. It seems like subliminal messaging at its finest almost.
Just stunning.
There are only seven in the cast but they have to be seven of the most talented performers I have seen. All of them are so strong and powerful, you get hooked on their every movement and emotion. These aren’t just performers, they’re athletes. I can guarantee that you will feel a wide range of emotions whilst watching this show. There were many times I was audibly laughing, and there were times when you could hear a pin drop in the auditorium. Just stunning. Heading the cast was Hanora Kamen as ‘Tess Durbeyfield’, and her narration was spot on. She wasn’t only telling the story, but recalling speech in different accents as the cast was performing the relevant flashback. In fact there were many times when the cast would be performing something different to what Kamen would be narrating, and you would be consuming two different things at once – but it didn’t feel difficult.
Kamen’s partner in crime was Lila Naruse as ‘Tess Durbeyfield’ but the ‘memory’ version. These two were so good together that you would actually forget that you were watching/listening to two different people. The trio of girls was Lauren Jamieson, Victoria Skillen, and Shannon Kate Platt. The connection that these three share is phenomenal, and their comedic moments were fantastic. ‘Alec D’Urberville’ was played by Joshua Fraser who’s ring routine won’t leave my mind anytime soon; and ‘Angel Clare’ was played by Nat Wittingham who’s performance was beautifully powerful. The strength, commitment, and attention to detail of this cast is fantastic and certainly doesn’t go unnoticed. The standing ovation tonight only proved that – Bravo!

The set was actually incredibly intricate, whilst also being very stripped back. It was basically just lots of wood, rope, and materials – that when placed together with the dynamic movements from the cast, created a piece of innovative theatre. The cast actually end up building all of the set and there is always so much going on, that it feels like incredibly organised chaos. One thing that sticks in my mind as extremely effective was the way in which they portrayed Tess’ horse, and the way they would walk on the two planks whilst staying in place. It was new, it was fresh, and I loved it! The lighting and projection was also simple but added the perfect amount of ambience or warmth/cold when it needed to. Visually gorgeous.
I still can’t get over how beautiful and impressive the whole thing was.
The music was matched perfectly to the show, but sometimes was very repetitive in all honesty. It was only a soundtrack that was being played, but as a friend rightly said, if it was a live band it probably would’ve taken away from the show because of how much was going on. In fact there were times where the music was too loud which just overloaded the senses. I think what really makes this show is all of the above mixed with the brilliant choreography. Choreographer, Nathan Johnston, cannot be credited enough as without his work, I don’t think the show works. One piece of movement that gets revisited multiple times, forwards and in reverse (if you know you know), is the sequence of ‘Tess’ and ‘Angel’ when they make their way along the trail to the farm. The movement of the set and cast had to be inch perfect, both in timing and spacing, and that’s exactly what it was. Literally mesmerising!
Overall, ‘Tess’ is an incredibly impressive spectacle. It’s something new and exciting, and I’m interested to see what Ockham’s Razor will produce next. The story was easily followable, and the way in which it’s told is beautifully powerful and physical. Mixing contemporary circus into theatre adaptations should now be a benchmark to hit I think. I still can’t get over how beautiful and impressive the whole thing was. Whatever part of theatre you’re into, I think this is a show that you should definitely see if you’re lucky enough to get the chance. The cast are superb and the production as a whole will be unlike anything you’ve quite seen. ‘Tess’ is touring until June this year before further dates for spring 2025 are announced. I wish everybody involved the best of luck going forward, I know I’m already looking at when I can come and see this again.
Culture
Hampstead movie review
With the passing of Diane Keaton I decided that I would watch some of her old work.
I chose to watch the 2017 movie Hampstead as it seemed to be quite a good representation of her acting skills.
It is based loosely (trying not to give the plot away, however it did come out eight years ago!) on Harry Hallowes real life, he used to live on a plot in Hampstead Heath and then managed to claim rights on it.
One of the best parts of this movie was the chemistry between Diane Keaton and Brendan Gleeson.
It felt natural and not strained which definitely made it more believable for me.
Their chemistry also helped make their characters seem more natural making their performance that much better.
I’m not one who normally enjoys romantic (some may say sappy) movies but the mixture of romance and social justice themes in this movie made it not too uncomfortable.
It gives the audience a feel-good time with us feeling like we are doing something right, due to us deciding that Gleeson’s character is right.
It made me feel like I was standing up for the underdog and marginalised communities.
I found it quite clever how they made it an easy movie to watch, not too many sad themes, while also fitting in the themes of community and standing up for the right thing.
I would say that if you are feeling a bit down then this would be a very good movie too watch.
A perfect movie for a light matinee
As a nature person, the setting of this film was spectacular.
I really liked the idea of an expanse of nature so close to a city.
It creates a very picturesque backdrop for the movie which further added to the warmthness portrayed throughout the movie.
I especially liked where Keaton’s character ended up living in the end.
However, as always there are critics.
With this movie one of the big critiques was that the story was very predictable and followed the same formula that a lot of other romance movies used.
There was just too many cliches which made it painful for the audience to witness again and due to the lack of surprises it was not the most engaging film to watch.
This goes hand in hand with the fact that the characters where more broad and stereotypical than they should have been.
The other big critique from this movie was that people thought it lacked tone and depth, saying that while it did touch on different societal problems such as eviction, class divide and property divide it didn’t pronounce it enough.
It felt a bit like dipping one toe into the water of the problems.
While I do agree that it didn’t delve deep into the problems society faces, I didn’t think that was what the movie was about or what the directors were trying to get across to the audience.
I believe that it was simply highlighting these issues in an easy to understand way.
Culture
Are Max Martin and Shellback the downfall of Taylor Swift’s latest album?
The release of Taylor Swift’s 12th LP, The Life of a Showgirl, has been met with divided opinions.
Although a record breaking 2.7m albums were sold on the first day of release, not all these buyers are satisfied.
It might be a push to say the majority are. Online, listeners argue this album is “millennial cringe” and that Swift is showing her “true capitalist self”.
Alongside Swift herself, Max Martin and Shellback produced the album.
Long-time collaborators, they previously helped define 1989 and Reputation. But this marks the first time the trio have exclusively worked together.
1989 and Reputation catapulted Swift to global pop fame.
Through hits such as Blank Space, Shake it Off and Getaway Car, Martin and Shellback provided Swift a clean break from her country roots, throwing her into the deep end of mainstream pop.
However, a decade later the formula feels tired.
So why has The Life of a Showgirl fallen so flat?
Following Swift’s last album The Tortured Poets Department, a lyrically rich 31 song LP radiating heartbreak and introspection, the synthetic glitz and glamour of Showgirl feel false.
In a post-Folklore world, where Swift proved her strength as a lyricist with the help of producer Jack Antonoff, the return to maximalism and Martin-Shellback production feels hollow.
With the loss of Antonoff and the return of Martin and Shellback, has Swift lost the reflective heart of her songwriting?
That’s not to say Showgirl is without merit.
Its production is faultless, and the album follows a clear and fluid theme.
But perhaps that’s the problem. In collaborating solely with Martin and Shellback, Swift may have created her most technically accomplished album but her least emotionally convincing one.
Whether this is a misstep or the purpose of the album remains to be seen.
But the reception of The Life of a Showgirl questions the path Swift is on.
Now the world dominating Eras Tour is over, is the peak of Swift’s career over too?
Culture
The End of Strictly Come Dancing as we know it?
We all know Strictly Come Dancing as one of the most popular prime time slots on a Saturday night.
But could this be the end of Strictly as we know it?
The BBCs show has struggled recently with allegations of bullying and inappropriate behaviour, but now Tess Daly and Claudia Winkleman have released a joint statement to say they are passing the sparkly button on at the end of this series.
Their Instagram statement in full:
We have loved working as a duo and hosting Strictly has been an absolute dream. We were always going to leave together and now feels like the right time. We will have the greatest rest of this amazing series and we just want to say an enormous thank you to the BBC and to every single person who works on the show. They’re the most brilliant team and we’ll miss them every day. We will cry when we say the last “keep dancing” but we will continue to say it to each other. Just possibly in tracksuit bottoms at home while holding some pizza.
Tess & Claud
Following their joint statement they each released their own statements as a follow up.
Tess Daly’s statement in full:
After 21 unforgettable years, the time has come to say goodbye to Strictly Come Dancing. It’s hard to put into words what this show has meant to me, so here goes… Strictly has been more than just a television programme. It’s felt like having a third child, a second family, and a huge part of my life since that very first show back in 2004. I knew then it was something special, but I could never have imagined the magic it would bring.
Strictly has always been about joy, celebration, and bringing people together – and I’m so proud to have played a small part in something that continues to mean so much to so many.
From that very first series, I had the great honour of standing alongside the incomparable Sit Bruce Forsyth.
Brucie set the tine for everything that Strictly became: warmth, wit, connection, and pure showbiz magic.
I have always been in awe of our superbly talented professional dancers, our magnificent judges, and all the celebrities who have taken part. I absolutely adore our brilliant crew – every single member of the Strictly team who have worked tirelessly to make this show what it is. You are the very best in the business – the kindest, most fun, most loyal, and definitely the hardest-working team in television.
Thank you for your laughter, the friendship, and the countless memories over all these years. You’ve filled my heart in ways I’ll never forget. I’ll miss you all so much.
And to you – the viewers at home – the biggest thank you of all. Thank you for welcoming us into your homes for over two decades.
Your love, loyalty, and unwavering support have meant the world. You’ve carried us through every series, and that has never, ever been taken for granted. You are the heart of this show, and I feel so lucky to have shared it with you. Being part of your weekend from September to Christmas for the past 21 years has been one of the greatest joys and privileges of my career.
To my beloved Claud – what an absolute joy and pleasure it has been sharing this adventure with you. You’re one of a kind, and I’ll treasure every giggle, every live show, and every backstage moment we’ve shared. I’m so grateful to have you as my friend for life.
This isn’t goodbye to glitter, sequins, or Saturday night sparkle (I could never say goodbye to those!). Strictly will forever hold a special place in my heart – but it does feel like the right time to hand over the reins.
With all my love and endless gratitude, Tess x
Tess Daly has been on the show since its very first episode seeing over 300 celebrities enter the ballroom and join the competition.
She started the show with Sir Bruce Forsyth, with Claudia Winkleman being a part of their presenting team hosting the sister show It Takes Two.
The duo made history in 2014 becoming the first female presenting duo of a prime time slot.
As a team they have welcomed almost 200 celebrities into the ballroom.
Over their time on the show they have also seen nine judges join and leave the show.
Claudia Winkleman’s statement reads:
It’s very difficult to put into words exactly what Strictly has meant to me. It’s been the greatest relationship of my career. From working on It Takes Two in 2004 until now it has been my everything, the show I will be eternally grateful for. I will never forget Len Goodman trying to teach me what a cucaracha is (I still don’t know) and the complete thrill and honour it was to work with Tess on the results show to cohosting on Saturday nights.
Strictly is a magical, glittery, fake tanned train and it’s been a privilege to be a tiny part of it. The extraordinary talent of the dancers, the band, the hair and makeup and costume teams, the unbelievable production crew and creatives – all utterly amazing. I’ve always believed it’s best to leave a party before you’re fully ready to go and I know the new hosts will be magnificent, I look forward to watching them take Strictly to new heights. As for Tess – I’m so so lucky I got to stand next to you. You’re funny, kind, whip smart and a true friend and I love you.
With two of the biggest jobs in the BBC now up for grabs who will we see step into the glitz and glammer of Saturday night at Strictly Come Dancing?
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