Showing posts with label critics circle. Show all posts
Showing posts with label critics circle. Show all posts

Thursday, January 5, 2012

Downton Abbey’s Hugh Bonneville on Butlers, Historical Accuracy, and Watching Season Two Online (Vulture)

Vulture Main




Hugh Bonneville.



Today at 11:15 AM

Downton Abbey, the soapy British period drama created by Gosford Park's Julian Fellowes, ended last season on the eve of World War I. Its second season begins this Sunday on PBS, with the entire estate, both upstairs and downstairs, mobilized for war. We spoke with Hugh Bonneville, who plays Downton's patriarch, Robert Crawley, Earl of Grantham, about the show's appeal, its historical accuracy, and his character's doting dogs. He also gave us a firm talking-to for watching season two on the Internet.

Would you want to have a butler in real life?
No, I think it’s pretty demeaning. Actually, no, I don’t think it’s demeaning to have a butler because a lot of people take great pride in service, as is one of the points of the show. I think because I’ve been brought up in an environment where you do make do for yourself I’d find it very strange. I would like to have a driver. I’d be happy with a chauffeur.

If you had to put yourself back in that time and place, where do you think you would fall in the scheme of it?
I think I’d probably be head gardener. I might rise to head footman. Head footman is pretty good, actually. You have a degree of respect from others around you, but none of the massive responsibility.

Do you think that it’s realistic to show servants so accepting of their roles in this show?
I think it’s very easy to put our modern credentials on an era in which, let’s face it, unless you had money and position in society, there was very little opportunity. And to be in service, and to do it well, was a huge feather in your cap. There’s no question that for 99 percent of the population, life was shit in 1912 or 1913. But we’re creating a fictional world where it so happens that the Earl is a generous-minded figure. Yes, it is a feudal system, but he realizes that if one cog in the machine breaks down, the whole system’s fucked, so it’s in his interest to keep the cogs turning. This is a world before civil welfare. A world before any national health system like we have in the U.K. So I think it’s too easy to say they’re being treated appallingly. Their prospects would probably be a little bit bleaker if they were working somewhere other than Downton. So, yes, it’s a fiction, but the bottom line is that it’s a fictional world. We’re not saying this is social history.

Although it does seem like people are very concerned with the historical detail.
There was a letter in the newspapers only yesterday about the season finale, that you haven’t seen yet, I don’t think.

I’ve actually already watched it on the Internet.
I wish you hadn’t told me you had watched it illegally, that’s really pissing me off. Shame on you. Be ashamed.

… You were saying about a letter in the newspaper?
There was a letter yesterday where someone says, "I hear that on the shooting party that takes place someone is seen wearing gators — they would not have worn gators." My favorite one was in season one, when Thomas the footman, after Cora’s had the miscarriage, says, "I don’t see what all the fuss is about, the baby would only have been the size of a hamster." And someone wrote in saying the footman used the wrong word because the Syrian hamster was not introduced in northern Europe until 1922; the actor should have said “small rabbit." That’s just ludicrous. But I suppose if we’d been a flop, no one would write in.

There’s a dog that’s always following you around on the show.
In season one it’s called Ferrer, and in season two it’s called Isis. It’s a new dog. Ferrer dies, but off-screen; it’s not dealt with. Julian sort of tried to fop it off as the same dog and I said, "Look, there’s a big difference." The first one, Roly, who played Ferrer, his main focus was the next treat, a piece of chipolata. The next dog, Isis, played by Ellie, her main interest is wagging her tail a lot, usually near valuable vases, and skipping around really not listening to anything anyone says. And chipolata. So she has a very vibrant personality and zero sense of self-control.

What do you think is so appealing about the show?
I wish I knew the answer to that. If I knew the answer, I’d be a millionaire. I think partly it’s that people enjoy watching period drama. There’s a sense of escape to a world that seems to be a better world, a fairer world, that we would like to live in. But I think what’s different about this is it’s not an adaptation of a Jane Austen or a Dickens or a George Elliott. Because no one knows what happens next, because it’s actually been written freshly. So it has the best elements of soap, and if you get bored of one character there’s always another one coming along in a minute.


http://nymag.com/daily/entertainment/2012/01/downton-abbeys-hugh-bonneville-on-butlers-historical-accuracy-and-watching-season-two-online.html

Sunday, November 20, 2011

Benedict Cumberbatch, Jonny lee Miller - Frankensteins Share Best Actor in Standard Awards, Smith Wins with Flare



Date: 20 November 2011

Having shared the roles of the scientist and his creature in Frankenstein, Jonny Lee Miller and Benedict Cumberbatch now share the accolade of Best Actor for their performances in this year’s Evening Standard Theatre Awards, announced tonight (20 November 2011) in a black-tie ceremony held at London’s Savoy Hotel.

Miller and Cumberbatch, who’d been shortlisted separately, beat off competition from Charles Edwards for the Globe’s Much Ado About Nothing and Bertie Carvel for his musical role in the RSC’s Matilda, just transferred to the West End this month.

Best Actor was one of two joint awards presented tonight. Playwright Richard Bean shared the Best Play prize with himself – being recognised for both his climate change piece The Heretic at the Royal Court, and his 1960s-set adaptation of Goldoni farce One Man, Two Guvnors, which premiered at the National and opens this week at the West End’s Adelphi Theatre ahead of a Broadway transfer next year.

Meanwhile, Sheridan Smith, who was nominated for Best Actress last year for Legally Blonde, which won her Best Actress in a Musical honours at both the Whatsonstage.com and Olivier Awards, this year scooped the same prize for her performance as a nearly-widowed countess in Trevor Nunn’s revival of Rattigan’s Flare Path at the Theatre Royal Haymarket. Last week she was given Equity’s Clarence Derwent Award, designed to honour supporting roles, for the same performance.

Smith triumphed over competitors including Kristin Scott Thomas, who returned to the West End this year’s in Harold Pinter’s Betrayal. But the judges wouldn’t let Scott Thomas go home empty-handed either, presenting her with the non-shortlisted Lebedev Special Award.

Other big winners tonight included: Mike Leigh, named Best Director for helming the world premiere of his new play Grief at the National; Tim Minchin and Dennis Kelly’s adaptation of Roald Dahl’s Matilda for the RSC, named Best Musical; and actor Kyle Soller, named Outstanding Newcomer for his performances in The Glass Menagerie and Government Inspector at the Young Vic and The Faith Machine at the Royal Court.

The Court’s third award of the night was for Most Promising Playwright, which went to Penelope Skinner for The Village Bike, premiered in the Royal Court Upstairs. The Most Promising Playwright prize, named in memory of former Standard editor Charles Wintour, carries a £3,000 cheque for the winner, and £1,000 cheques for the other shortlisted authors.

The Evening Standard this year presented three special, non-shortlisted prizes: to outgoing Donmar Warehouse artistic director Michael Grandage, playwright Tom Stoppard and, in a new “Beyond Theatre” field, the Pet Shop Boys ballet The Most Incredible Thing.

The 57th annual Evening Standard Theatre Awards ceremony was a black-tie dinner held at the Savoy Hotel, hosted by Dame Edna Everage (aka Australian comedian Barry Humphries, with presenters including Miranda Hart, Karen Gillan, Anna Chancellor, Dan Stevens, Gemma Arterton, Chiwetel Ejiofor, Stephen Fry, Sam Taylor Wood and Romola Garai, and other celebrity guests such as Tom Hollander, Ruby Wax, Erin O’Connor and Alexandra Shulman, editor ofVogue, which sponsored this year’s awards.

The Evening Standard Awards are the first in the annual awards season. They’re followed by our own Whatsonstage.com Awards, the “theatregoers’ choice”, for which shortlists are announced at our launch party next Friday 2 December 2011 following theatregoer nominations throughout November, the Critics’ Circle and the Laurence Olivier Awards



- by Terri Paddock


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