Stage Beauty

'Without beauty, there's nothing. Who could love that?' (Ned Kynaston, Stage Beauty)

Don't expect an elegant historical romp from Stage Beauty; it's much more than that. Director Richard Eyre (Iris) and screenwriter Jeffrey Hatcher have loosely interpreted true events to deliver a passionate, romantic journey of gender-bending self-realisation set in the bawdy world of the British Restoration, circa 1660.

In a time when women are banned from acting on stage, King Charles II is on the throne, accompanied everywhere by his vulgar but merry mistress, Nell Gwnn. Meanwhile Ned Kynaston (Billy Crudup) is the most celebrated leading lady of his time. He is adored…by his audiences, by his lover and patron the Duke of Buckingham, and secretly loved by his dresser Maria (Claire Danes). But when aspiring actress Maria's illegal performance as Desdemona in Othello triggers royal permission for women to act on stage, Kynaston's fall from grace is swift.

This is an actors' film, where the talents of Danes and in particular, Crudup, shine. (Their remarkable relationship triggered an off-screen romance.) Crudup is taut as the bisexual Kynaston, trained to be a calamity and actress since early adolescence, and emotes powerfully as he struggles with his sexuality and identity in an unfriendly new political landscape. He is alternately a catty drag queen, angry young man and committed thespian, without ever straying beyond credibility. In contrast, Danes is luminous but unsure as Maria. A talented supporting cast includes Rupert Everett, providing comic relief as the languid King, while Ben Chaplin is sensual as the self-serving Duke.

Stage Beauty has been compared to Shakespeare in Love, but although it's less successful, it's far less contrived. Although Stage Beauty is a love story, you don't know how things will resolve. The pace is less brisk than in a more manufactured film, but it's also more realistic, enhanced by production design and costuming which depicts both the grit and the sumptuousness of the time.

While at first the on stage acting grates, it is deliberate. As Stage Beauty progresses, the acting technique evolves to resemble 19th Century Naturalism – not true to life, but faithful to the emotional journey of the characters. It's a special film that will take you on an emotional journey too.

**** out of ***** stars.

This movie has the blessing of the flawless direction of Richard Eyre, who knows a lot about kings and queens. The screen play is adapted by the author of the play, Jeffrey Hatcher. Surprisingly, these two men have been able to create a film that is not only visually satisfying, but it also is an adult entertainment.

This movie gives us a glimpse of how theatre functioned in England up to the times of Charles II. The female roles of all plays were portrayed by male actors. The school of acting in that era was an artificial one where actors relied in gestures and affectations that would be laughable today in a serious drama, but that was the way it was the accepted Method then, nothing to do with Stanivslaski, or Strassberg.

The leading figure of that theatrical world was Ned Keynaston, who was the most famous Desdemona of his time. There must have been a lot of gay men that were attracted to that world, as was the case with Mr. Keynaston, who might have been bisexual, although that comes as a secondary subplot. This actor is greatly admired by all, including the dressing assistant, Maria. This girl loved to be in the theatre, but could not, because only men were allowed. So instead, she goes to a second rate company that puts on plays in a pub and emerges as Margaret Hughes, an actress in her own right who will challenge Keynaston's Desdemona and makes that role, her signature role as well.

Claire Danes, as Maria, or Margaret Hughes, has never been better! She shines as the girl whose ambition is to be on stage. She is wonderful in the part. Ned, played with gusto by Billy Crudup, shows an unexpected range, although he has done theatre extensively. Both of these actors takes us back to London and make us believe that what we are watching.

A glorious English cast behind the two American principals are gathered to play effortlessly the theatrical figures of the time, and also the King and his court. Ruper Everett, as King Charles II, is hilarious. The scene in which he plays in drag with his mistress, Nell Gwynn, is one of the best things of the movie. Also, Richard Griffith, as lecherous Sir Charles Sedley, gives a stellar performance. Ben Chaplin, as the Duke of Buckingham, reveals the ambiguity of the men that were attracted to those early thespians.

Thoroughly enjoyable because of Richard Eyre's direction and eye for detail.

Stage Beauty is an unbelievably ambitious production, and with so many provocative themes running simultaneously it's definitely not boring. What I liked the most was the way the sexual ambiguity was portrayed - most of those scenes had a playful touch, so as not to get drearily heavy-handed, but I also felt a lot of the veering between seriousness and comedy was awkward where it should have been smooth. Rupert Everett's droll turn as the King was perfect, and Claire Danes has never been more passionate and radiant. Billy Crudup's role was the most difficult, of course, and he handled it commendably. My favorite scene is the one where the two of them are in bed, and she's asking, "who are you now?" (the man or the woman, based on the position) - a brilliant scene which depicts the ridiculousness of gender-stereotyping with wit and charm to spare.

We sat for the first few minutes wondering whether we'd come to the right film (expecting a formulaic period romp). And for a little while I was prepared to spend the rest of the evening apologising to my partner for the slowness and oddness of the film. But once our disbelief had been suspended and we'd got used to the cramped feeling of the film (more like a staged version than cinematic at times), we both loved it.

I agree that Claire Danes acted well (though the hyperventilation happened once too often) and Billy Crudup brought a complexity to the role that I rarely see in films. The reference to Shakespeare in Love is an affectionate comparison: I enjoyed the light snack of Gwinny, luvvies and Fiennes and have sat through the DVD time and again. But that film had a predictability that Stage Beauty lacked. We didn't know that Stage Beauty's 'love element' would ever work out.

I do not see the development of the relationship between Danes and Crudup as a conversion from gay to straight. Instead I see a problematic progress from an imposed gender identity (perpetuated through sexual fantasy by Buckingham) to an un"knowing" but more satisfying state, where it's being yourself (whatever that is) not performing a role that counts. I think that this is relevant to all of us as we perform the roles that we and those who've influenced our upbringing have created for ourselves. We can't easily escape them (and some are more hammy than others in their performance) but the knowledge that life is performative and complex is, for me, liberating.

And all that from a costume drama!

He is exquisite, Billy Crudup I mean, but not as a woman. Strangely enough he is more feminine as a man than he is as a woman. Look at him in "Almost Famous" perfect. Shaped like a flamenco dancer, rhythmic, sexual, casually overpowering. In "Jesus's Son" just by waking up at the beginning of the film, he, his character, gets you. Here he seems at odds with the feminine aspect of his character. His Desdemona is a performance. What perhaps I'm saying is that I admired the performance but I didn't feel it. I was aware of its quality but I couldn't taste it, as I have done with previous Billy Crudup creations. Another strange thing, Clare Danes. I think she's one of the most interesting actresses of her generation and here you enjoy her enormously when she's on but her character is now a blurry dot in my memory. What remains most vividly in my mind is Rupert Everett's sensational turn as King Charles. All said and done, try not to miss it.