First Look at WITHNAIL & I at Birmingham Rep

New production photos have been released from the Birmingham Repertory Theatre’s production of Withnail & I. 

By Stephi Wild

Birmingham Rep’s brand new adaptation of Bruce Robinson’s 1987 British tragi-comedy film, Withnail and I is directed by the double Olivier Award-winning Artistic Director of Birmingham Rep, Sean Foley and designed by Alice Power.  The show is currently running at The Rep and Press Night is on 14 May at 7pm.

Robert Sheehan plays Withnail, Adonis Siddique plays Marwood and Malcolm Sinclair plays Uncle Monty.  The cast is completed by Adam Young (Danny), Israel J Fredericks (Presuming Ed), Morgan Philpott (Wanker/Jake the Poacher), Matt Devitt (Farmer/Colonel & Band), Adam Sopp (Geezer/Policeman, Band & Musical Director), Sooz Kempner (Miss Blenehassitt/Policewoman & Band).

Photos: First Look at WITHNAIL & I at Birmingham Rep

The creative team joining the writer, director and designer, Bruce Robinson, Sean Foley and Alice Power are:  Jessica Hung Han Yun (Lighting Design), Ben & Max Ringham (Sound & Composition), Akhila Krishnan (Video Design), Candida Caldicott (Music Supervision), Ginny Schiller (Casting Director), Alison de Burgh(Fight Director), Sara Joyce (Associate Director), Simon Marlow (Production Manager), Jennifer Taillefer (Production Environmental Manager), Kay Wilton (Costume Supervisor),  Robin Morgan (Props Supervisor) and Andriea Nelson (Wigs Supervisor).

Robert Sheehan made his acting debut in Aisling Walsh’s acclaimed feature Song For A Raggy Boy. Since then, his screen credits include:  Season of the Witch, Cherrybomb, Killing Bono, The Mortal Instruments: City of Bones, The Road Within, The Song of Sway Lake, Anita B, The Messenger, Moonwalkers, Jet Trash, Geostorm, Bad Samaritan, Three Summers, Mute, Mortal Engines, the BAFTA winning Red Riding trilogy for Channel 43, the multi-IFTA winning Love/Hate, the BAFTA winning Misfits for E4 (for which he was BAFTA nominated), The Borrowers, Fortitude, Genius: Picasso, The Last Bus, The Umbrella Academy and the upcoming film Red Sonja.   His theatre work includes The Playboy of the Western Worlddirected by John Crowley for the Old Vic, Richard III in The Wars of the Roses directed by Trevor Nunn for the Rose Theatre and Endgame directed by Danya Taymor for the Gate Theatre Dublin.

Photos: First Look at WITHNAIL & I at Birmingham Rep

Adonis Siddique’s theatre credits include: The Crown Jewels in the West End, Saleem in East Is East (a Birmingham Rep co-production with the National Theatre); Dorian Gray in The Picture Of Dorian Gray  at the Pleasance Theatre in London, Crowther in The History Boys, Jav in Mismatched, a Sky Comedy/Birmingham Rep production, Quasim in Very Special Guest Star at Soho Theatre and Kyle in Dad at SouthwarkPlayhouse. Adonis was a creative collaborator and actor in Shunt’s Party Skills For The End Of The World at The Manchester International Festival.  His film & television credits include: Newark Newark, Tin Star,  Tyrant, Beyond Reasonable Doubt for CNN and the feature film Me Myself and D.

Malcolm Sinclair is currently appearing at the National Theatre in Dear Octopus with Lindsay Duncan.  His other many theatre credits include The Inquiry at Chichester Festival Theatre,  My Fair Lady in the West End, The Light in the Piazza internationally and at the Royal Festival Hall,  An Enemy of the People at Nottingham Playhouse, This House at Chichester Festival Theatre and at the Garrick Theatre,  The Doctor’s Dilemma, The Habit of Art, The Power of Yes and House/Garden, History Boys and Racing Demon for the National Theatre,  Ivanov at the Donmar Warehouse and Richard III, Uncle Vanya and The Comedy of Errors for the Royal Shakespeare Company.  His many TV credits include  Andor in A Star Wars Story for Disney +,  Midsomer Murders, Virtuoso Silk,   Henry V,  The Hollow Crown, Foyle’s War, Hustle, Judge John Deed, A Touch of Frost and the US mini-series,  Scarlett.   His many films include: Drowning; The Man Who Knew Infinity, Survivor, A Belfast story, The Young Victoria, Casino Royale, V for Vendetta,  Keep The Aspidistra Flying, Young Poisoner’s Handbook, God On The Rocks,  Now That It’s Morning and Success Is The Best Revenge.

Written and adapted for the stage by Bruce Robinson himself, the writer and director of the original film, the show will bring to life some of the most iconic comic characters ever created. The film, based on Robinson’s own unpublished novel, was produced by Handmade Films and starred Richard E Grant, Paul McGann and Richard Griffiths.

Photos: First Look at WITHNAIL & I at Birmingham RepPhoto Credit: Manuel Harlan

Source: Photos: First Look at WITHNAIL & I at Birmingham Rep

America’s cowboy myth poisoned by Trump and the GOP

Heather Cox Richardson | Letters from an American

Heather Cox Richardson

May 12, 2024

I write a lot about how the Biden-Harris administration is working to restore the principles of the period between 1933 and 1981, when members of both political parties widely shared the belief that the government should regulate business, provide a basic social safety net, promote infrastructure, and protect civil rights. And I write about how that so-called liberal consensus broke down as extremists used the Reconstruction-era image of the American cowboy—who, according to myth, wanted nothing from the government but to be left alone—to stand against what they insisted was creeping socialism that stole tax dollars from hardworking white men in order to give handouts to lazy minorities and women. 

But five major stories over the past several days made me realize that I’ve never written about how Trump and his loyalists have distorted the cowboy image until it has become a poisonous caricature of the values its recent defenders have claimed to champion.

The cowboy myth originated during the Reconstruction era as a response to the idea that a government that defended Black rights was “socialist” and that the tax dollars required to pay bureaucrats and army officers would break hardworking white men. 

This weekend, on Saturday, May 11, Paul Kiel of ProPublica and Russ Buettner of the New York Times teamed up to deliver a deep investigation into what Trump was talking about when he insisted that he must break tradition and refuse to release his tax returns when he ran for office in 2016 and 2020, citing an audit.

The New York Times had already reported that one of the reasons the Internal Revenue Service was auditing Trump’s taxes was that, beginning in 2010, he began to claim a $72.9 million tax refund because of huge losses from his failing casinos.  

Kiel and Buettner followed the convoluted web of Trump’s finances to find another issue with his tax history. They concluded that Trump’s Chicago skyscraper, his last major construction project, was “a vast money loser.” He claimed losses as high as $651 million on it in 2008. But then he appears to have moved ownership of the building in 2010 from one entity to a new one—the authors describe it as “like moving coins from one pocket to another”—and used that move to claim another $168 million in losses, thereby double-dipping. 

The experts the authors consulted said that if he loses the audit battle, Trump could owe the IRS more than $100 million. University of Baltimore law professor Walter Schwidetzky, who is an expert on partnership taxation, told the authors: “I think he ripped off the tax system.” 

The cowboy myth emphasized dominance over the Indigenous Americans and Mexicans allegedly attacking white settlers from the East. On Friday an impressive piece of reporting from Jude Joffe-Block at NPR untangled the origins of a story pushed by Republicans that Democrats were encouraging asylum seekers to vote illegally for President Joe Biden in 2024, revealing that the story was entirely made up.  

The story broke on X, formerly Twitter, on April 15, when the investigative arm of the right-wing Heritage Foundation, which promises to provide “aggressive oversight” of the Biden administration, posted photos of what it claimed were flyers from inside portable toilets at a migrant camp in Matamoros, Mexico, that said in broken Spanish: “Reminder to vote for President Biden when you are in the United States. We need another four years of his term to stay open.” The tweet thread got more than 9 million views and was boosted by Elon Musk, X’s owner.

But the story was fabricated. The flyer used the name of a small organization that helps asylum seekers, along with the name of the woman who runs the organization. She is a U.S. citizen and told Joffe-Block that her organization has “never encouraged people to vote for anyone.” Indeed, it has never come up because everyone knows noncitizens are not eligible to vote. The flyer had outdated phone numbers and addresses, and its Spanish was full of errors. Migrants who are staying at the encampment as they wait for their appointments to enter the U.S. say they have never seen such flyers, and no one has urged them to vote for Biden.

Digging showed that the flyer was “discovered” by the right-wing video site Muckraker, which specializes in “undercover” escapades. The founder of Muckraker, Anthony Rubin, and his brother, Joshua Rubin, had shown up at the organization’s headquarters in Matamoros asking to become volunteers for the organization; they and their conversation were captured on video, and signs point to the conclusion that they planted the flyers. 

Nonetheless, Republicans ran with the story. Within 12 hours after the fake flyer appeared on X, Republican representatives Marjorie Taylor Greene (R-GA) and Dan Bishop (R-NC) brought posters of it to Congress, and Republicans made it a centerpiece of their insistence that Congress must pass a new law against noncitizen voting. Rather than being protected by modern-day cowboys, the woman who ran the organization that helps asylum seekers got death threats.

The cowboy image emphasized the masculinity of the independent men it championed, but the testimony of Stephanie Clifford, the adult film actress also known as Stormy Daniels, in Trump’s criminal trial for falsifying business records to cover up his payments to Clifford to keep her story of their sexual encounter secret before the 2016 election, turns Trump’s aggressive dominance into sad weakness. Covering Clifford’s testimony, Maureen Dowd of the New York Times yesterday wrote that “Trump came across as a loser in her account—a narcissist, cheater, sad Hugh Hefner wannabe, trading his satin pajamas for a dress shirt and trousers (and, later, boxers) as soon as Stormy mocked him.”

In the literature of the cowboy myth, the young champion of the underdog is eventually supposed to settle down and take care of his family, who adore him. But the news of the past week has caricatured that shift, too. On Wednesday, May 8, the Republican Party of Florida announced that it had picked Trump’s youngest son, 18-year-old Barron, as one of the state’s at-large delegates to the Republican National Convention, along with Trump’s other sons, Eric and Donald Jr.; Don Jr.’s fiancée, Kimberly Guilfoyle; and Trump’s second daughter, Tiffany, and her husband. 

On Friday, May 10, Trump’s current wife and Barron’s mother, former first lady Melania Trump, issued a statement saying: “While Barron is honored to have been chosen as a delegate by the Florida Republican Party, he regretfully declines to participate due to prior commitments.” It is hard not to interpret this extraordinary snub from his own wife and son as a chilly response to the past month of testimony about his extramarital escapades while Barron was an infant.

Finally, there was the eye-popping story broken by Josh Dawsey and Maxine Joselow in the Washington Post on Thursday, revealing that last month, at a private meeting with about two dozen top oil executives at Mar-a-Lago, Trump offered to reverse President Joe Biden’s environmental rules designed to combat climate change and to stop any new ones from being enacted in exchange for a $1 billion donation. 

Trump has promised his supporters that he would be an outsider, using his knowledge of business to defend ordinary Americans against those elites who don’t care about them. Now he has been revealed as being willing to sell us out—to sell humanity out—for the bargain basement price of $1 billion (with about 8 billion people in the world, this would make us each worth about 12 and a half cents). 

Chief White House ethics lawyer in the George W. Bush administration Richard Painter wrote: “This is called bribery. It’s a felony.” He followed up with “Even a candidate who loses can be prosecuted for bribery. That includes the former guy asking for a billion dollars in campaign cash from oil companies in exchange for rolling back environmental laws.”

The cowboy myth was always a political image, designed to undermine the idea of a government that worked for ordinary Americans. It was powerful after the Civil War but faded into the past in the 1920s, 1930s, and 1940s as Americans realized that their lives depended on government regulation and a basic social safety net. The American cowboy burst back into prominence with the advent of the Marlboro Man in 1954, the year of the Supreme Court’s Brown v. Board of Education decision, and the idea of an individual white man who worked hard, wanted nothing from the government but to be left alone, was a sex symbol, and protected his women became a central myth in the rise of politicians determined to overturn the liberal consensus. 

Now it seems the myth has come full circle, with the party led by a man whose wife rejects him and whose lovers ridicule him, who makes up stories about dangerous “others,” cheats on his taxes, solicits bribes, and tries to sell out his followers for cash—the very caricature the mythological cowboy was invented to fight.

Bodkin review: An off-kilter, funny riff on true-crime hackery

In Netflix’s comedic thriller, Will Forte and Siobhán Cullen seek journalistic absolution and find a whole lot of trouble.

By Jarrod Jones

True-crime podcasts have just as many fans as haters, and there’s a chance that Bodkin, the Netflix series from Jez Scharf that premieres May 9 about a trio of bickering podcasters, will appeal to both.

In a sense, Scharf’s mystery series, set in a beautiful, isolated Irish village, is optimal content for the Netflix binging model. It shares the protracted rhythms of typical true crime in that it’s brimming with detail while stashing its most salacious revelations for the end of each episode, almost as if it’s daring its audience not to hit play on the next one. Episodes are inundated with tin-eared true-crime clichés, but it’s done winkingly by Will Forte, who drops lines like “the more you learn, the less you know” and other such inanities. Its score, by Paul Leonard-Morgan, evokes the plinky earworm themes from investigative podcasts like Serial, a creative choice that seems almost Pavlovian in its design. Bodkin knows what it is, and thanks to this self-cognizance, it becomes more.

Yet, as good as Bodkin is, no amount of quality character work or engrossing mystery can kick enough dirt over how dumb it is to hear the word “podcast” repeated again and again. That might explain one of the show’s better recurring jokes: Gilbert (Forte), a Chicago-based podcaster eager to both please and impress, frequently tells folks from the provincial Irish village which gives the show its title that he’s doing a podcast. The retort we often hear, delivered in that politely barbed manner the Irish tend to excel at, is priceless: “And will people listen to it?”

The humor in Bodkin is, to put it mildly, droll. It sets a mood as much as the dramatic elements of Scharf’s story, and that blend of wit and melancholy mostly clicks. It makes much of the events that transpire in this fictional town feel both conceivable and ridiculous at the same time, even if those barbs are eventually sanded down by kindness and virtue before the end—an inevitability, perhaps, considering Bodkin is produced by Higher Ground executives Barack and Michelle Obama. Still, the series’ off-kilter approach is successful, by and large, and puts steam behind the many intrigues that uncoil during its seven-hour runtime. Continue reading