согласна)))я и так  выбираю 
Rain Man, Apollo Theatre, London

22.09.2008

Three days after giving a warm review to Calendar Girls, I find Rain Man, another adaptation of another sentimental movie, getting up my nose somewhat. What’s the difference between the two? Part of it might be nationalism: I may be more prepared to get my hankie out for home-grown material. Then there’s West End snobbery: Calendar Girls opened as astute seasonal programming in a conservative regional house, whereas Rain Man arrives in a West End that is the subject every few months of gloomy think-pieces about the dearth of serious, straight drama therein.

But I think the real reason is that Rain Man seems to offer more but ends up giving less. Barry Levinson’s 1988 picture is partly a road movie, partly an odd-couple movie, but its core is redemption. It’s not about the autistic savant Raymond Babbitt, it’s about his selfish huckster brother Charlie’s getting of humanity. It pretends to be concerned about Raymond’s condition, but exploits him as a walking plot mechanism for the salvation of Tom Cruise.

For Tom Cruise, in this version, read Josh Hartnett (pictured), the latest Hollywood star to grab some West End stage kudos. Hartnett quickly and vigorously positions his Charlie as an unpleasant person, mendacious in business and commitment-phobic. However, the “real” Charlie starts shining through far too early, almost at the moment at which he abducts Raymond from his care home; what we see in the final scene is not someone taking tentative steps on the road to acquiring a heart but a minor (and slightly potty-mouthed) saint.

As Raymond, Adam Godley’s vocal riffs are more penetrating. Godley gives Raymond a furrowed brow of incomprehension and mild anxiety, and lopes through the story like a vexed bloodhound. (This is a compliment.) Terry Johnson directs efficiently; Jonathan Fensom’s design of wipes, trucks and flats is rather too obviously an attempt to accommodate a filmic range of settings. And in the end, the play gives us nothing that the film doesn’t – not even a sense of liveness, because in Dan Gordon’s adaptation these don’t feel like live people.

Источник

Интервью с Мэри Стокли
Rain woman
24.09.2008
ISABEL JENSEN chats to former Walthamstow resident and actress Mary Stockley who is currently starring in the stage version of the 1988 Oscar winning film Rain Man

[взломанный сайт]  Kissing a Hollywood heart throb three nights a week may not sound like hard work, but that’s exactly what one lucky actress and former Walthamstow resident is doing and she’s getting paid for it.

Mary Stockley is appearing at the prestigious Apollo Theatre in London’s glittering West End in a stage adaptation of Rain Man, alongside Hollywood hunk Josh Hartnett.

A consumate professional, Mary is much more interested in discussing the play than talking about kissing Hartnett, skillfully evading my fourth question on the subject.

She laughs: “Its awful! I can’t bear it, seriously though, it is a job and he’s been great to work with. All the cast are incredibly talented.”

Following her training at the National Youth Music Theatre, Mary has graced several large productions, including Anything Goes, Oliver and Shakespeare’s Love’s Labours Lost.

Although she has since moved away from Walthamstow she remains “very fond” of the area.

Rain Man tells the story of Charlie Babbitt (Hartnett), a self-centred hustler and his discovery and subsequent relationship with his elder brother Raymond, who is autisitc and has been kept hidden in institutions for the majority of his life.

Charlie discovers Raymond has an incredible gift, like a human calculator he is able to calculate hundreds of sums, and help his wayward brother save his business.

Along the way Charlie discovers several important lessons on the nature of love, family and loyalty.

Fans of the original 1988 film starring Tom Cruise and Dustin Hoffman may be disappointed, as the entire show has been “re-imagined” in a modern day setting, although according to Mary the basic themes and human frailties are still on show for all to see.

She said: “People that love the film will certainly enjoy the show, but it’s not the same, but is still as powerful as it is on the screen.”

Describing her character Susan, Charlie Babbitt’s (much better) half as a “genuine, fun, morally sound and passionate” antidote to his self-centred egomaniac - Susan is the one who brings the hotshot to task for his treatment of his autistic brother.

The Hoffman role is played by Adam Godley, whose many credits include turns in the recent film adaptation of Charlie and the Chocolate Factory, Elizabeth: The Golden Age and X-Files: I Want To Believe.

Rain Man runs at Apollo Theatre, Shaftesbury Avenue London, W1V 7HD until December 20. To book tickets call 0844 412 4658 or visit apollo-theatre.co.uk

Источник

Ещё одна статья...    
Josh Hartnett's West End wash-out
26.09.2008
Josh Hartnett hasn't been well. The star of the films Pearl Harbor and Black Hawk Down couldn't manage the Wednesday matinee this week.

But he did muster a gallop for Tuesday and Wednesday night in this competent but underwhelming staging of the 1989 movie which starred Tom Cruise and Dustin Hoffman.

Even allowing for Hartnett's being under the weather, though, the film about an egotistical car hustler and his autistic brother doesn't make much of a play.

Not even Terry Johnson, who adapted The Graduate for the stage, can make it fizz. The story doesn't benefit from being performed live and, as a road movie, it gains nothing from being anchored to a stage.

And this despite Jonathan Fensom's cunning design of shifting locations with flats acting like camera shutters. The play has little to say about autism, too.

Like the film, it romanticises the isolating condition as a form of genius, and the autistic character of Raymond (which Hoffman played in the film) serves mostly as the long-lost inner child of Hartnett's soulless brother, Charlie (Cruise's role).

More dubiously, Raymond is used to supply comedy in a world where he thinks his underpants belong to Calvin Klein.
The purpose of the production is as a star vehicle for Hartnett, and he is a powerful actor. He has the full measure of his character's cynical egotism. His eyes are two hooded pools of darkness that make him appear deep as well as butch.

But given that he doesn't even have to react much to his father's death, it's not the most demanding of parts. It's a bit like watching Lewis Hamilton revving a Skoda.

Hartnett's character is instead overshadowed by his newly discovered brother, Raymond. With his doleful eyes and goofy ears (neither a feature of autism), Adam Godley elaborates Raymond's internal anguish with buckled hands, and only once looks anyone in the eye.

Godley gives a studied, but not mannered, performance that justly wins him the loudest whoops at the end.

Verdict: Josh Hartnett reined in by autism drama
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    И ещё один замечательный отзыв , с довольно подробным описанием некоторых сцен спектакля. Кто в ближайшее время собирается в Лондон посмотреть спектакль , может не читать !   
Reviewing Rain Man
30.09.2008г.
With a cast and creative team that have kept the press in ink and paper for the past few months, Show and Stay® went to find out what all the fuss was about. Rain Man; best left as a film or theatrical masterpiece?

Nestled between the Lyric and the Gielgud, the faces of Josh Hartnett and Adam Godley adorn the front of the Apollo theatre; announcing the arrival of Rain Man, beacons to the swarms of tourists buzzing around Piccadilly Circus.

Fighting through the gaggle of young and well-dressed women loitering outside the theatre and in the foyer, I made my way to the auditorium. The Apollo is an intimate theatre spread across 4 tiers. Ornate cherubs and gilded mouldings decorate the walls, off-set by the ruby red chairs. The curtain is up, three busy desks stand abandoned. Papers are strewn haphazardly amongst pencils, phones and empty cups; a scene of quiet chaos.

Music starts and the stage is plunged into darkness. When the lights are abruptly brought back they reveal Josh Hartnett centre-stage, animatedly chattering on his hands-free device. A young woman sits to his left busily calming a client over the phone. So this is Charlie Babbit and his less than scrupulous car dealership.
t is amidst this cacophony that Charlie receives the call regarding his father's death. His arrogance is masked, if what briefly, by shock. A flurry of activity ensues as they arrange the details of his trip to his father's home. Charlie's stoic girlfriend Susan, played by Mary Stockley, is to join him for the journey and with that the stage moves seamlessly to the next scene. Punctuated by dimming lights and spots on the characters in question, side flats slide silently into various positions forming a false proscenium and denoting a change in location. The design by Jonathan Fensom is inspired, each location punctuated with sets and props worthy of a Hollywood film. The hotel room in Las Vegas is a particular stroke of genius and comes complete with a breathtaking panoramic view that is slowly revealed to the audience. In fact this unveiling creates a real sense of vertigo, no mean feat when sat on ground level, row F of the Apollo Theatre.

Confronted with stacks of boxes and a vast Gothic-looking door, it is evident that we are in the Babbit household. Nervously pacing, Charlie is quizzed about his childhood as Susan tries to piece together any family information she can prise out of him. It is here we first hear of his father's love for his rose bushes and the 1948 Buick convertible that was the envy of Charlie during his youth. Interrupted by the family lawyer, Susan is discarded to "water the roses" whilst Charlie hears of his inheritance. Much to his dismay (and believe me when I say his language painted a pretty filthy picture) Charlie learns that his father's $3 million fortune is to be left to an unnamed beneficiary and that he is to get only the Buick and custody of the roses.

Angered by his apparent lack of inheritance, Charlie seeks confirmation from family-friend Dr Bruener (Colin Stinton). It is within the walls of the Walbrook Institute that Charlie learns of, and meets, his brother and beneficiary to their father's fortune, Raymond, played by Adam Godley. It is from this point that Charlie hatches a scheme to kidnap his brother in an attempt to get his hands on at least half the money.

Based on real-life savant Kim Peek, Raymond Babbit is severely autistic and Godley portrays this vastly misunderstood condition with poise, clarity and grace. He quite literally steals the show from his very first entrance, creating an instant empathy that takes a film several thousand frames to produce. Godley's very physical performance is the complete antidote to Hartnett's focused vocal performance. Hartnett speaks with such rapidity whilst Godley commands attention with his precise phrasing, a ying to Hartnett's yang. The chemistry between the two leading men is tangible and vastly stronger than that of Hartnett and Stockley.

Although Hartnett has received a mixed response from critics, his performance was solid. His stilted manner and poignant pauses were more directorial choices rather than not committing to the moment and emphasised the nuances of Charlie that are far easier to capture on film.

By the close of Act One the audience have been treated to the naked torso of Josh Hartnett (which drew an audible gasp from every lady in the audience) as well as the blossoming relationship between the two brothers. Susan, fed up of Charlie's apparent disregard for his brother's condition, has returned home, leaving the two to continue their journey across America alone. Just before the curtain drops we hear a little more of the Babbit family history and begin to understand just why Raymond was moved to an institution.
Act Two picks up right where the first left off, following the brothers to Las Vegas where Charlie convinces Raymond to help him cheat at the casino and Raymond learns to dance. For those who don't know the story I won't reveal much more, only to say that the moment Raymond and Charlie dance together is one of the most poignant of the production and a real pivotal moment for their relationship, a mark to how close they have become.

One thing that is abundantly clear about this production is the pride and passion the cast have for the story. Dan Gordon has updated the script for the twentieth century, with sporadic nods to recent cultural events and people. Hartnett and Godley make for an interesting coupling, working well and bouncing off each other appropriately in the comical moments in the play, delivered with expert timing.

So Rain Man; best left as a film or theatrical masterpiece. A true masterpiece in my opinion and a production I will definitely be going back to see as much as I can during its time in London. I urge you to see this play and I defy anyone that is not blown away by the sheer majesty of Adam Godley's performance and touched by the intimate relationship between him and Hartnett.

Please note that due to the content of this production and excessive swearing children under the age of 5 will not be permitted in the auditorium. Show and Stay would recommend Rain Man to anyone aged 15 and over.

Источник

Miaow! Будем с нетерпением ждать твой отзыв!!!

Нашла страничку"Человек дождя" получает удивительные отзывы" с цитатами из рецензий , но точную ссылку дать не получается((((поэтому просто копирую :
Rain Man receives amazing reviews
“Josh Hartnett’s riveting performance…as charismatic on stage as screen” - Evening Standard

* * * * “a masterly performance” - Adam Godley - Daily Telegraph

* * * * “One leaves practically walking on air” - Time Out

“Adam Godley is wonderful” - Independent on Sunday

“funny…touching…simply unforgettable” - The Times

“Godley is a fine actor” - Guardian

“Godley’s Raymond is impressive” - Metro

“profoundly moving” - Daily Express

“a deeply emotional performance” - Daily Express

“hits all the right emotional buttons” - Whatsonstage.com

“Adam Godley is outstanding” - London Lite

* * * * Hartnett dominates the stage” - Sunday Times

“breathtakingly beautiful” - Sunday Times

* * * * “Terry Johnson directs this intelligent and life-enhancing production with aplomb” - Sunday Telegraph

“Godley’s stunning performance, guaranteed tears as well as laughter” - Sunday Telegraph

“Certainly the best straight play I've seen for a long time”. - Paul Phear - Magic Radio

“Sexy, brilliant, funny.... Josh Hartnett steals the show” - Robin Burke – Virgin Radio

“A sharp, sexy and witty West End debut for Josh Hartnett” - Robin Burke – Virgin Radio

“Josh Hartnett is brilliant. The best west end show I've seen in years” - Robin Burke - Virgin Radio

“The best show in London's West End. You must see Rainman” - Robin Burke - Virgin Radio

Date posted: 29 Sep 2008

Источник : http://londontheatredirect.com

http://londontheatredirect.com/information/ltdItem.asp?lngID=246&lngCategory=1&datItem=Mon Sep 29 00:00:00 UTC 0100 2008

      

Как же я люблю спектакль "Человек дождя"!!!!    Считаю его одним из самых грандиозных событий этого года!!! Столько статей, информации, фотографий, видео и интервью о Джоше не было со времен "Перл Харбора"!!! (не будем о библиотеке, ладно?   )

Сегодня появилось ещё одно интервью о спектакле с Адамом Годли. Очень замечательное интервью.   Полностью прочитать его можно  ЗДЕСЬ!!!
Из интервью :
Hollywood heart-throb, Josh Hartnett, is appearing alongside Godley in Rain Man, although Hartnett is an experienced screen actor he has less experience on the stage than his highly experienced co-star. Godley seems genuinely impressed with the speed at which Hartnett has taken to acting for a live audience; "Josh is coping brilliantly, he is a really fabulous actor". Godley seems acutely aware of just how much scrutiny Rain Man and its cast are under. He expresses genuine admiration for Harnett coming to London and taking on the challenge of a West End debut under "the full glare of publicity".