Posts with the label play
Showing posts with label play. Show all posts
Showing posts with label play. Show all posts

Friday 25 May 2018

Confidence, Southwark Playhouse | Review


Confidence
Southwark Playhouse 
Reviewed on Friday 25th May 2018 by Olivia Mitchell 
★★

The Southwark Playhouse is a hub for amazing theatre and has been the home to some of my favourite, fresh, exciting, talent-filled productions. Unfortunately, the first UK revival of Judy Upton's 1998 play Confidence is not one of these shows. There is nostalgia and some positives but overall the play feels shaky and underdeveloped. 

The plot of Confidence is pretty random. There's a dead hamster, ice cream, flakes and fake dolphins. Ella is on a mission to make money and move to LA where she can mingle with celebrities and live a dream life. For the moment she is stuck with her friend Dean on the pier of a seaside town. From here we see the characters strive for love and money.

Overall the piece feels slow, simmering but never reaching the boil. What could have been explosive moments are dimmed down and any real drama happens too fast for it to have an impact.


The standout performances of the show come from Will Pattle and Rhys Yates who could genuinely be brothers. The two humourously bounce off one another as they vie for money and Ella's love.  Will is particularly impressive, especially towards the end - a great professional debut. Anna Crichlow is funny and random as cafe worker, Ruby. Her quirky role provides some comic relief whilst also hinting at a more painful side.

As the commanding, Machiavellian girl who oozes sex appeal and fire, Tanya Burr falls flat. It’s certainly admirable that she is taking steps to make the jump into theatre but taking on a lead role, in an intimate space, with very little to work with has not led to the greatest debut. The character of Ella is someone who is able to wrap people (specifically men) around her finger and make them believe she can offer them everything. Whilst there were brief moments of fluidity and power, ultimately Tanya’s newness and one-dimensional acting is sub-standard and it's hard to believe Ella's power over people. 

From a number of sold out performances, it’s evident that Tanya’s fans are booking to see the show and whilst it’s great that this could potentially be introducing new audiences to theatre, this show is far from suitable for her younger viewers. Of course that is not Tanya’s fault at all and this is clearly a step towards her maturing her career, but just a warning to anyone going with younger children that whilst this is a 90s throwback show, the emphasis is on much deeper, less child-friendly themes.


The set design by Amelia Jane Hankin is suitably 90s filled, with the carpet and retro kiosk designs alongside little features such as a walkman adding to the atmosphere. 

Something about Confidence just doesn't click. Given more time and a bit of a rework it could be a layered, interesting show but in it's current state there is a unity and flow missing. Hopefully the energy and verve will come and those seeing future performances will experience a solid (if random) story, alongside some wonderful 90s nostalgia.

Confidence runs at the Southwark Playhouse until June 16th

photo credit: Helen Murray

Confidence, Southwark Playhouse | Review

Friday 25 May 2018

F*cking Men, King's Head Theatre | Review


F*cking Men
King's Head Theatre 
Reviewed on Thursday 24th May 2018 by Shaun Dicks
★★

I’m a massive advocate for LGBTQ+ theatre and the King’s Head Theatre is a fantastic platform for LGBTQ+ art. It is a venue that I whole heartedly support. It produces exciting work – like Strangers In Between, which I previously reviewed - and is really a benchmark for pub theatres. The King’s Head is currently home for the show F*cking Men, written by Tony Award winning writer Joe DiPietro. The show follows a multitude of characters that are interwoven into multiple narratives, exploring monogamy, lust and cruising. 

In recent times I’ve come across the quote of ‘Happiness writes white,’ but in a play where there is no happiness, simply sex, the word I would use to describe F*cking Men is beige. Don’t get me wrong, there are a few redeeming qualities that I commend. One of the shows biggest pluses is its characters. In mainstream media there is a overwhelming amount of archetypal gay characters that only represent a small cross section of the community; here there is a smorgasbord of characters covering much of the gay community. Another redeeming quality is the performance of the actors, they do the best they can with what they have been given. 


Despite these redeeming qualities, there are too many negatives in this show that far outweigh the positives. As I was reflecting on the show after I’d seen it, I couldn’t decide whether it was brave or demoralising that the show was so full frontal with its exploration of the modern gay relationship and cruising culture. Ultimately, I concluded that it’s demoralising. F*cking Men takes a metaphorical dump on one of the rights the LGBTQ+ community have fought for, monogamy. 

DiPietro presents men of the gay community as lust driven, predatory creatures who can’t hold down a monogamous relationship. It is repeated throughout the script that one of the bonuses of being gay is that we aren’t bound by monogamy. The show is also hampered by it’s painstakingly long transitions from scene to scene, and when we finally get to a scene, they are very vague and basic; the actors spend more time taking their clothes off than they do act. We were given no time to invest into characters, so when heartfelt moments happened, I felt nothing. 

I simply don’t understand why most LGBTQ+ shows insist on including such vulgar nudity. I’m no prude but I don’t come to a theatre to stare at a chiselled man and his penis. I implore all who are writing LGBTQ+ theatre, raise your taste level, we will rise with you. 

I urge you to go and support the King’s Head Theatre, it is an incredible venue with a very bright future but do it in ways other than seeing F*cking Men. It’d be a waste of your time and money. I’m not angry, I’m just disappointed. 

photo credit: Christopher Tribble

F*cking Men, King's Head Theatre | Review

In Conversation With... Anna Crichlow | Confidence | Southwark Playhouse



Confidence opens tonight (May 25th) at the Southwark Playhouse. It features a small cast, some of whom are making their theatrical debuts. Anna Crichlow, who has previously appeared in Pride and Prejudice for Regents Park Open Air and Common at the National Theatre, plays Ruby, who works at the cafe on the pier in the show. Anna took the time to talk to us about Confidence, the 90s and what the audience can expect from the show...




Can you explain a little about Confidence and how your character Ruby fits into it?
Confidence follows four young people who live in a seaside town in the 90s. The world is shaken up by the introduction of Ella, played by Tanya Burr, who’s dreaming and scheming attitude gets some of them into a pickle. Ruby runs the cafe on the promenade and has a more down to earth approach. She’s sweet and seems less ambitious than the other characters but she is a grafter. 


The show has a small cast and is playing at the intimate Southwark Playhouse, you must all have had to grow close quickly. What was the initial meeting and rehearsal process like for you?
It was lovely and really chill. We all met initially trying on loads of hilarious 90s clothes on in a vintage shop so I think that definitely broke the ice. It being some of the cast’s first theatre job made it even more exciting because everyone was so ready to get stuck in. The rehearsal space was always really open and Rob made us all feel comfortable to play with each other and the piece. 


You get to live out your 90s dreams in this show, what's your favourite song from the 90s?
That’s a really hard question, there are so many bangers from the 90s. I think right now it’s Jade-Don’t Walk Away. 


Ruby works in the cafe over summer, have you had any random summer jobs?
Don’t know how random it is but I used to works as an usher at Regents Park Open Air Theatre over summer. It was lush and I got to go back to act there three years later. 


Why should people come and see Confidence? What will audiences be saying as they leave the theatre?
Confidence is an explosion of 90s fun but it also explores what it means to work and all the different ways people, especially young people, achieve their dreams. 

I think they’ll leave thinking “I didn’t see that coming” and hopefully having laughed.


If you had a magic wand which show would you do next?
Gosh that’d be nice but genuinely I want to do the next show that is meant for me. If I had to say it would be amazing to get stuck into some Shakespeare. 


What's your best piece of advice for aspiring performers?
Don’t give up and be your most authentic self. 

Thank you so much Anna for taking the time to do this interview. Confidence runs at The Southwark Playhouse until 16th June.

Interview by Editor, Olivia Mitchell

photo credit: Clare Park and Helen Murray

In Conversation With... Anna Crichlow | Confidence | Southwark Playhouse

Tuesday 8 May 2018

Kinetics (Film) | Review


Kinetics (Film) 
★★★★★

Sue Wylie’s stunning play, Kinetics has been adapted for film. The moving story is told through the eyes of Rose who has recently been diagnosed with Parkinson's disease. She meets Lukas, a free-runner with whom she forms an unlikely friendship. Both have a desire to move and be free and ultimately remind one another that life is worth living. 

'Accept, adapt, adjust' really sums up this play in a nutshell. Not only is it a beautiful story but it raises awareness of Parkinson's a relatively unknown disease that affects around 127,000 people in the UK alone. 

Lukas played by Roly Botha is a wonderful addition to the film. He adds so much movement and fluidity; a brilliant contrast to Rose. He has heaps of talent, not only acting but also free running. His story within the play is touching and the interplay between the characters really gives out a message of hope. 

A special mention must go to Steve Eaton Evans who plays Mr Burton and successfully portrays an older gentleman with Parkinson's who eventually gives the best advice of the whole film. 

Rose played by Sue Wylie is a wonder to see. She really does tell her story well. Her play is well worded and very powerful, while staying respectful to those suffering from Parkinson's. By telling her own story regarding her diagnosis of Parkinson's and how it affects her both in her job and personal life is simply beautiful. 

I urge anyone and everyone to watch Kinetics either in film or play version as it has so much potential not only to spread awareness with Parkinson's but also as it gives the audience a wonderful feeling of hope.

Review by Isobelle Desbrow

Kinetics (Film) | Review

Tuesday 8 May 2018

Friday 27 April 2018

In Conversation With... Lizzie Winkler | Quiz | Interview

Quiz is one of the hottest plays on in the West End right now. Transferred from Chichester Festival Theatre, it is an immersive experience which examines the conviction of 'the coughing Major', Charles Ingram, following his appearance on Who Wants to be a Milionaire? Lizzie Winkler plays a variety of roles in the show and sat down to talk about that experience as well as who'd she's share a million pounds with...


Hi! You've had a varied career so far. What have some of your highlights been?
This! 


Can you tell me a little about Quiz and your role in it?
I play the most characters, ranging from real people Claudia Rosencrantz (Head of light entertainment for ITV), Ruth Settle (Head of Marketing for the show) Alyn Morris (cough doctor) to characters whose names I've been allowed to make up, police officer (PC Jill Salmon) attractive assistants (Denise Body and Kirsty Sparkle) Pregnant Juror (Alison De Winter) Court Stenographer (Linda Bland) I really enjoy creating characters' back stories and histories even if they don't have lines. 


What do you think people will be saying as they leave the theatre after experiencing Quiz?
"What did you vote?". "Do you think they are innocent?" and hopefully "that was amazing "


Can you sum up the play in five words?
Entertaining, interactive, thought-provoking, political, human.


What has your favourite immersive/interactive theatrical experience been?
All the Punchdrunk shows. 


If you won Who Wants to Be a Millionaire? who would you share your money with?
Whoever asked the nicest. 


If you had a magic wand, which show would you do next?
I write television comedy, with Emma Jerrold I would get one of our shows commissioned and be in it. 


Finally, what's your number one piece of advice for aspiring performers? 
Be yourself and work hard!

Thank you so much Lizzie for taking the time to do this interview. Quiz runs at the Noel Coward Theatre until 16th June.

Interview by Editor, Olivia Mitchell

In Conversation With... Lizzie Winkler | Quiz | Interview

Friday 27 April 2018

Friday 13 April 2018

The Mousetrap, St Martins Theatre | Review


The Mousetrap
St Martins Theatre
Reviewed on Thursday 12th April 2018 by Shaun Dicks
★★★★

The Mousetrap at the St Martins Theatre has been a staple of the West End for many years. Sixty years in fact, making it the longest running show in the world. As we were told at the beginning of the night’s performance ‘Not bad for a show that Agatha Christie hoped would have a nice little eight month run’. Agatha Christie and her works are a pillar of English literature and was a true trailblazer of the ‘Who Dunnit?’. The 12th April 2018 was its 60th anniversary gala, celebrating the prestige and longevity that all shows dream of. 

The plot of the show is simple enough, eight seemingly random people of all different backgrounds and histories come together to a guest house, one being a police officer trying to crack the latest high-profile murder case that could involve those staying there. But with heavy snow falling and no communication to the outside, the games begin. There is another murder in the guest house, and it’s anyone’s guess who committed the crime. 


The Mousetrap takes you back to a different era, where the pioneering technology is the ‘Wireless’, today known to us as a radio, where there are no televisions or mobile phones; where seclusion really meant seclusion. The show is very much a delight, the first half was full of rich language, situational humour and a wonderful classic aesthetic. It’s wonderful to be immersed in such a stylised and all-encompassing world. The second half was equally inclusive of all these qualities, but as the investigation broke down and we got to the gritty part of the story, it felt a little bit clunky; a minor flaw in an otherwise wonderful night of entertainment. 

It is a wonderful feat to become the longest running show ever, and it adds to the already glittering prestige of Agatha Christie. It’s a wonderful night of classic British entertainment. Do you want to know who dunnit? Go down to the St Martins theatre to find out. 

The Mousetrap, St Martins Theatre | Review

Friday 13 April 2018

The Comedy About a Bank Robbery, Criterion Theatre | Review


The Comedy About a Bank Robbery
Criterion Theatre
Reviewed on Thursday 12th April 2018 by Emma Gradwell
★★★

Written by Mischief Theatre founders Henry Lewis, Jonathan Sayer and Henry Shields, The Comedy About a Bank Robbery gives you a grouping of incompetent thieves as they try to steal a rare diamond from Minneapolis City Bank during the summer of 1958 – very much a homage to American screwball cops and robbers comedies. The play begins with escaping convicts and corrupt Prison Guards plotting the heist. The tone is set from the start that this is very much a modern farce, with “Naked Gun” style misheard and misinterpreted words and phrases. 

The farcical plot concerns a dubious banker by the name of Robin Freeboys (played by Leonard Cook) whose name produces many comic moments when misheard as “robbing three boys”, inexplicably being entrusted with a rare diamond owned by a Hungarian Prince. The mantra from the start is that everyone in this town is a crook of which we are often reminded by Mr. Freeboys underpaid but very smart receptionist, Ruth Monaghan (gloriously played by Jenna Augen). You have to keep watching to the end to find out who finally bags the jewel. 


Aggressive and gruff prison escapee Mitch Ruscitti (played by Matt Hunt) returns home to his beautiful but tricky girlfriend Caprice (played by Holly Sumpton) who happens to be the daughter of Mr. Freeboys. Caprice is entertaining loveable petty criminal Sam (played by Sam Fogell) that she met at the bank, he also happens to be the son of bank employee Ruth. What follows is an impeccably timed scene involving concealing Sam all around a malfunctioning mechanical bed ending with him assuming the identity of Robin Freeboys with a ridiculous disguise made up of household objects. 

The story continues with obvious visual and verbal gags coming thick and fast. The sporadic doo wop musical interludes are cute and beautifully done. One of the highlights is a scene in the bank set at a perilous 90 degree angle to obtain a birds eye view from the banks vents system where the crooks are attempting to get to the vaults. Ageing intern Warren Slax (gamely played by Peter McGovern) is anchored by a safety harness as he tries to manoeuvre his way around the “office” while carrying out menial tasks for the demanding Mr. Freeboys. It is very hard to pour a coffee when gravity is not defied. 


A special mention needs to go to Chris Leask who marvellously plays “Everyone Else” in the play. His facial expressions alone had the audience roaring with laughter. A three way fight between Caprice’s unwitting lovers ensues. The lovers are a hillbilly, a decrepit nursing home resident and an angry German. Playing all three parts and being on the giving and receiving end of the punches is no mean feat. Wonderfully performed and slickly directed. 

The jokes do become repetitive and are not really very clever. If it’s an evening of high-brow culture you are after then this definitely is not the show for you but if you want to just sit back and watch a bit of silliness then this will tick the right boxes.

Photo credit: Robert Workman

The Comedy About a Bank Robbery, Criterion Theatre | Review

Thursday 12 April 2018

Quiz, Noel Coward Theatre | Review


Quiz
Noel Coward Theatre 
Reviewed on Wednesday 11th April 2018 by Shaun Dicks
★★★★

‘In a world that is so confusing, I like to know there is a right and a wrong.’

Blurring the lines, nothing is ever black and white anymore, it is forever a shade of grey; Quiz is a show that reflects that sentiment fully. We are at the Noel Coward theatre, a venue steeped in prestige and history. It plays host to many an iconic show. Quiz, being a transfer from the Chichester Festival Theatre, comes from a long line of excellent shows and is penned by a writer (James Graham) who is on a streak of West End transfers. This show has all the initial components to be a great show, and I believe, it lives up to all its potential. 

This show is all about an infamous scandal of the early noughties, cheating to win a million pounds on ‘Who Wants to be a Millionaire?’. In this retelling of infamous events, we follow multiple narratives, all following the people involved in this scandal, all leading to the main narrative, the courtroom, where the suspects are put to trial, we as an audience act as their jury. The show is of two halves, the first act is the prosecution, which is well presented by Paul Bazley (Nicholas Hilliard QC), with the second act being the defence, well presented by Sarah Woodward (Sonia Woodley QC). 


The show is presented in a slick, poignant, and often humorous manner. The humour is a particular highlight, with the inclusion of a hilarious warm up act (Kier Charles) who created a community in the audience, and the use of spoofs throughout, there is a light-hearted element to this dark complex narrative. My highlight for this show was Kier Charles as Chris Tarrant, his mannerisms and facial expressions were absolute perfection, Charles must have studied Tarrant for a long time because it was absolutely on point. Charles is a comedic genius. 

Despite its humorous side, this show is very psychoanalytical, it plays with your thought process through the ideas of circumstantial evidence, distorted evidence and fake news. It creates a grey area on what is True and what is False, and therefore creates a social relevance and poignancy, as well as an empathy for the accused. This show is a slow build drama, but that is how the tension is kept high. 

Quiz as a show is brilliant, it lives up to it's potential and delivers a great night of entertainment, with a few messages placed throughout. It makes you laugh, it makes you think and it makes you question. That is what all shows should aim for. I highly recommend this show, phone a friend and watch it together.

Quiz runs at the Noel Coward Theatre until 16th June

Quiz, Noel Coward Theatre | Review

Thursday 12 April 2018

Thursday 5 April 2018

The Country Wife, Southwark Playhouse | Review


The Country Wife
Southwark Playhouse
Reviewed on Thursday 5th April 2018 by Olivia Mitchell 
★★★

Set in 1920s London, a time when scandal, drugs and debauchery were rife, The Country Wife tells the story of Harry Horner who poses as a eunuch in order to sleep with men's wives without suspicion. He meets Margery the, innocent, young country wife of Pinchwife, when she visits London. Pinchwife desperate to keep her chained to him soon loses her to the fun of the bright young things society as her eyes are opened to the ways of the town people and she beings a search to find what makes her happy instead of her loveless marriage. Alithea, Pinchwifes’ sister, is due to marry Sparkish (for social and financial convenience) but when she meets Frank Harcourt who pursues her and offers her the possibility of a happy relationship we see her struggle against what is 'right' and what she wants.

At the time of it's first productions, Wycherley's 1675 comedy was notorious and although it's not as shocking and 'socially-unacceptable' to watch a play about sexual misconduct now, it's amazing how resonant the themes are. With desires, the role of women and more being cleverly brought to life by Morphic Graffiti (designer Stewart Charlesworth and director Luke Fredericks).

Events take place in a number of different locations such as the bedrooms, The Savoy and elegant drawing rooms. The transitions between these are outstanding. Sharp 20s Charleston steps are accompanied by Postmodern Jukebox-esque renditions of songs including Stacy's Mom and Girl's Just Wanna Have Fun as the characters smoothly move the set pieces and props into place. This is a delightful and seamless way to transition as well as to show some of the raucous parties that aren't shown in the actual show itself and also helps keep the action moving.


Something great about this production is that misogyny is avoided by having the women be very self aware of themselves- they know their worth and are willing to do what they want to  have somewhat fulfilled lives. In fact, the women are the people who drive the show.

Whilst the play is roaringly funny for the most part, there are times when the switch from humour to seriousness feel too sudden and scenes happen at lightning speed so it's hard to keep up with what's going on.

The cast are very strong, with Siubhan Harrison as the subtle but biting Alithea, Nancy Sullivan as the hilarious, lively Margery and Joshua Hill as the drugged up wingman are stand-outs. 

The Country Wife is a little long and felt arduous to watch at times, especially in the first half, but the conversation between the 1920s and modernity and the clever use of humour and staging make it a fun night out at the theatre.

The Country Wife runs at Southwark Playhouse until 21 April

photo credit: Darren Bell

The Country Wife, Southwark Playhouse | Review

Thursday 5 April 2018

Wednesday 4 April 2018

The Case of the Frightened Lady (UK Tour), New Victoria Theatre | Review


The Case of the Frightened Lady (UK Tour)
New Victoria Theatre 
Reviewed on Friday 20th October 2017 by Melanie Mitchell 
★★★

The Case of the Frightened Lady is the second production by Bill Kenwright's Classic Thriller production company. Originally written by Edgar Wallace the play is a new adaptation by Anthony Lampard. It is directed by Roy Marsden whom you may know as televisions Inspector Dalgliesh.

This classic whodunnit is set in 1932, the story takes place in the Baronial hall of Marks Priory, the ancestral home of the Lebanon family. Beautifully created by set designer Julie Godfrey. The opening scene begins with a fancy-dress party, where we are gradually introduced to the characters. It is at the party a horrifying murder takes place, putting everyone under suspicion.

When Detective Inspector Tanner, played by Gray O’Brien, probably best known as Tony Gordon in Coronation Street, is bought in to investigate the crime he soon realises that things are not what they seem.  Along with his assistant Detective Sargeant Totti, Charlie Clements, of Eastenders fame, they begin to uncover a closely guarded secret.


Rula Lenska is well cast as Lady Lebanon, a mother obsessed with marrying her son Lord Lebanon, played by Ben Nealon to his cousin Isla Crane. This is to be a marriage of convenience, not wanted by either party but purely to fulfil Lady Lebanon’s wish for a son and heir to carry on the Lebanon title. Miss Lenska plays the part with an aristocratic haughtiness, whilst April Pearson is very believable as her terrified niece and secretary Isla.

Adding to the suspicious goings on are Denis Lill as the horribly lecherous family physician Dr Amersham with Glenn Carter and Callum Coates as Gilder and Brook, 2 rather sinister footman. 

I felt that the first act was rather slow and although we were introduced to the various characters, apart from the murder not very much happened. I certainly wasn’t on the edge of my seat.


However, the second half picked up pace as the story unravelled and secrets were revealed. The plot was full of red herrings, with almost everyone a suspect. I for one didn’t solve the case until very near the end, which added to the enjoyment. 

Don’t expect to be scared witless by this production although there were several very unexpected claps of thunder and gunshots, with sound by Dan Samson, that alongside some clever lighting effects, by Chris Davey, certainly made me and many other audience members jump out of their seats.

If you like a good old fashioned whodunnit then this is definitely a show for you. 

The Case of the Frightened Lady runs until Saturday 7th April 2018 at the New Victoria Woking.

The Case of the Frightened Lady (UK Tour), New Victoria Theatre | Review

Wednesday 4 April 2018

In Conversation With... Siubhan Harrison | The Country Wife | Interview

Siubhan Harrison stars as Alithea in the 1920s play, The Country Wife which opens tonight at the Southwark Playhouse. Siubhan told me about her role in the show, the 20s world, audience reactions and more... 


Can you explain a little about The Country Wife and how your character Alithea fits into it?
The Country Wife is about a society of sexual liberation where Harry Horner poses as a eunuch in front of men in order to sleep with their wives without suspicion! He meets Margery the young beautiful country wife of Pinchwife, when she comes to London, we soon see Pinchwife lose her to the fun of the bright young things society as her eyes are opened to how town people conduct their relationships and searches for what makes her happy instead of her constricting loveless marriage. Alithea is Pinchwifes’ sister, who is due to marry Sparkish for what we suspect may be financial and social convenience for the pair of them but when she meets his friend Frank Harcourt who pursues her and offers her the possibility of happiness we see her turmoil.


What attracted you to the role of Alithea? Are you alike at all?
Alithea is fabulous, cutting, searing honesty and an absolute hostess, the image of the 1920s glamour girl! I wish I was like her... in real life I’m very clumsy and geeky!


How has it been immersing yourself into the 20s world? What do you enjoy the most?
1920s is so much fun, pretending to be a bright young thing has been a hedonistic, liberating party!


What do you think people will be saying and feeling as they leave the theatre after seeing the show?
Hopefully they’ll laugh, it’s amazing how a play written over 340 years ago can still be so accessible, the language and humour is brilliant!!! The era is so evocative and sexy!


Can you sun up the show in 5 words?
Debauched, funny, liberating, hedonistic, glamorous


If you had a magic wand, which show would you do next?
A spy film! Or a Pinter play


What's your best piece of advice for aspiring performers?
Be playful, be brave!


Massive thanks to Siubhan for taking the time to do this interview. The Country Wife runs at the Southwark Playhouse until 21st April . 

Interview by Editor, Olivia Mitchell

In Conversation With... Siubhan Harrison | The Country Wife | Interview