The Brit(ish) List

( This week: Matt Smith and David Tennant team up in Doctor Who 50th anniversary, Benedict Cumberbatch honoured at Britannia Awards, Tom Hiddleston's Thor PR antics are a lesson in mischief as marketing, Tom Mison enjoys challenge of Ichabod Crane role, Hugh Laurie to reign as Bacchus 2014, Robson Green's new romance is with a flight attendant, Alan Cumming buys Edinburgh flat for Yes vote, Sir Sean Connery is UK's greatest actor, Luke Evans Talks Losing 26 Pounds and Wearing a Miniskirt, James Purefoy turned down Lex Luthor, Michael Sheen visits Syrian refugee camp, Andrew Scott publicly comes out, Stephen Fry to host BAFTA Film Awards for 9th year, David Suchet on Poirot, Mangan and Macfadyen bring Perfect Nonsense to West End, Radcliffe wary of social media, Idris Elba Signs On for Bastille Day, Damian Lewis Celebrates Movember with a Mustache, Dan Stevens Joins The Cobbler, Tom Hardy reveals secrets about Mad Max, Michael Fassbender On His Role In The Counselor, David Morrissey Talks the Governor's Return, Jude's new role as Dom Hemingway, Sean Bean is playing Macbeth in a dark new reimagining, Dornan's initial Fifty Shades fear, ITV axes Whitechapel says its star Rupert Penry-Jones, Andrew Lincoln Looks Back At Love Actually, James McAvoy hits Broadway with 24 Hour Plays challenge, Laurence Fox talks Lewis return, Colin Firth Plays an American P.I. in Devil's Knot )

via victoria

I kept seeing Cleaver come out when Gogo got going, I said. Oh, many times, affirmed Himself.

Despite a stupid week/month and stupid weather, we were off to see Godot. in what was, frankly, the best production I've seen, and will probably ever see of it.

It had everything I could ever want, including, and especially, a cast of four absolute faves: Hugo Weaving, Richard Roxburgh, Luke Mullins and Philip Quast. Quast was a most theatrical Pozzo, and Luke's aptly named Lucky entirely stole the show from Hugo and Rox, which is no mean feat, as the two boys were on top form, clowning about, completely owning the stage while portraying such lost, almost ghostly souls, and there was a real affection there, which I think make for the best Didi and Gogos. The history the actors can draw on really helps sell the sady adorable co-dependence of our two heroes.

Despite the much reported troubles with the production, I think, personally, it was all the better of it, the cast having been made to wait for a director that never arrived (that particular irony not lost on anyone), I think, saved them from overthinking it and filling the blank empty spaces with too much trickery. (I know I'm not normally one for bare empty spaces, but it's Beckett, it's required - what I object to is staging high Victorian drama as post-Beckett bleakness, it's not appropriate and not clever).
( more: in like flynn )