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Title: Finding Your Feet Director: Richard Loncraine Cast: Imelda Staunton, Timothy Spall, Celia Imrie, Joanna Lumley, David Hayman, John Sessions, Josie Lawrence, Indra Ové, Sian Thomas. The 35th edition of the Torino Film Festival opened with vigorous fun. The British musical comedy, ‘Finding Your Feet’ conveys the message that it’s never too late for a […]

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It's a darker episode for Atlantis this week, but a well-written and strongly acted one. Here's Dave's review...

This review contains spoilers.

2.4 The Marriage Of True Mind

Let's begin with a short recap of tonight's action. Having failed to secure Atlantis for herself, Pasiphae is worshipping the dark gods and it's revealed, in short order, that Telemon is working with the wicked woman. He’s been promised a place in her court when she comes to power as long as he leads Ariadne to her death.

Convincing Ariadne that he needs his father's blessing for the marriage, Telemon manages to draw the Queen out of the court, much to the concern of Jason. Unable to convince her she's doing the wrong thing, Jason, Pythagoras and Hercules set out to ensure the Queen remains safe and join the retinue that will escort her.

As chaos ensues, Telemon seizes the opportunity to attack,...

Tonight’s episode of “Merlin,” “The Disir,” is going to be a real doozy for King Arthur, who learns a less on the hard way, thanks to his making some soothsayers angry. Here’s what you can expect from tonight’s episode: In the inky depths of an ancient pool, three soothsayers known as The Disir (played by Frances Tomelty, Sian Thomas, Helen Schlesinger) cast a dark judgment upon the king of Camelot. But despite Merlin’s warnings, headstrong Arthur refuses to take their words seriously, and their fury rains down on Camelot. Only the greatest sacrifice can appease them, and with the kingdom in jeopardy, is it one that Arthur is prepared to [ Read More ]

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Stop complaining about me giving away plots. I'm doing you a favour

Am I guilty of indecent exposure? I only ask because I am frequently accused by bloggers of revealing too much of a play's plot. I was even charged, rather weirdly I felt, with spoiling someone's enjoyment of the National theatre's Frankenstein. Given that Mary Shelley's novel has been around since 1818 and subject to countless adaptations, I'd have thought it highly unusual for anyone to attend the production in a state of total innocence. But, in general, the accusation raises fascinating questions about the technique of reviewing and the undue primacy we give to narrative suspense.

How much should a critic give away? With a whodunnit, we are obviously honour-bound not to reveal the ending. It's a convention the London Evening Standard's Milton Shulman once broke by concluding his review of a 1950s Agatha Christie thriller with the fatal words: "George did it.

Sheffield Crucible

The effect of Richard Burton and Elizabeth Taylor slicing one another with lines as sharp as flensing knives in the 1966 film version of Edward Albee's 1962 play is still emotion-scouringly vivid. (Taylor, who died last week, won an Oscar for her performance.) Their coruscating exchanges seemed set to define the middle-aged, warring, married couple, George and Martha - whose names, borrowed from President Washington and his wife, signal their function as emblems of the ruin of the American dream.

Sian Thomas and Jasper Britton, though, seize the parts for their own in this Northern Stage and Sheffield theatres co-production. Thomas's Martha, part praying mantis, part puppet, jerks around the stage as if impelled by forces trying to rip free from her control – despair, grief and rage. Britton's George is a perfect foil – an oxymoronic worm with a backbone. John Hopkins and Lorna Beckett shine as the initially pure-seeming but morally putrid younger couple.

Britain's stages are about to be invaded by drunks. What's the secret to playing a tipsy character? And who is drama's biggest boozer?

Drama frequently holds up a mirror to our drinking habits: think of the booze that casually gets put away in plays as diverse as Pinter's Betrayal, Chekhov's Uncle Vanya, or anything by Tennessee Williams and Sam Shepard. Actors are routinely required to express joy, cry real tears or shed fake blood; yet there is no technical challenge more tricky than the business of drinking on stage. This spring they are getting plenty of practice at mastering the art, as a host of drunk characters are staggering the boards across the country.

Michael Caine once pointed out that a drunk person is actually trying very hard to be sober: therefore acting drunk requires a degree of reverse psychology. Sian Thomas, who is playing Martha in a revival of...

Sian Thomas, who played Amelia Bones in Order of the Phoenix and who is currently starring in the West End musical Spring Awakening in London, England, recently confirmed to a fan that she had recently filmed for Deathly Hallows. ---Quote--- "I am in, but it's a blink and you miss it in a moment. I am on the cover of the Daily Prophet talking, with the headline 'Amelia Bones Murdered'. Harry, Ron and Hermione see the headline when they visit the Ministry of Magic." ---End Quote--- Photos of an autographed poster obtained at the stage door can be seen here (http://www.snitchseeker.com/gallery/thumbnails.php?album=44); Image: http://www.snitchseeker.com/gallery/albums/userpics/13923/normal_SDC10997.Jpg Thanks to Alex for the info!