Because it is just that, a beautiful lie as far removed from real life as anything can be.
What is real life is the tragic sight of Skeet holding Vivienne alone and fractured.
That is real life.
Anna's grand passion is so beguiling, the clarion call to touch the wild thing, the wild thing will present itself sooner or later, to those who have the calling, some of us have the Anna Karenina factor in our make up, some of us do not.
Who is the luckier?
I don't know, I want to choose the wild thing but boy for the thrill of it all, the price is so high, as Tolstoy graphically showed us in his masterpiece.
This imagining does not insult the masterwork, on the contrary thanks to the depth, personality, character, and flair brought to bear by the writers, producers and performers assembled, who carry this off with a commendable combination of dark humour, deepest pathos, focused dialogue (that is mercifully controlled never tipping overly into boring cliche, though coming close enough to show, this is what people do and say in these situations), also there is a solid grounding in reality, how this would really go down for all players concerned, along with a sufficiently intense and pulsating depiction of the grand passion for us to get it , to want it for ourselves.
The characters (both supports and central), are very well drawn each with their individual contribution from high spirited Dolly to down to earth Helen, to enraptured (what a performance from Sarah Snook), fragile Anna, to Xander who is played so well by Roger Corsar showing those first fledgling steps towards acceptance, growth, processing pain after the disbelief grief and outrage passes, all his words and responses are understandable, relatable.
Kitty, Kingsley, Nick, Peter (special hearts to him) all added so much as well.
Benedict Samuel strikes a perfect note as Skeet. We don't get to know him too well, great, we don't need to, he does not do a lot of talking, great,we don't need him to, he barely changes his outfit, he barely combs his hair, good he needs to be somehow out of reach, a representation of something mysterious to lust after then when he does need to show fire in his dialogue, his body language, to demonstrate to us the awful reality of his situation, and what it is causing him to feel, he rises to the occasion with just the right mix of anguish, helplessness and grief.
Suddenly he is very accessible.
We feel for him.
I felt for Skeet more than I ever felt for Count Vronsky and that's saying something :) Thanks to all concerned with this production, great work, really. Hope lots more people watch it.
What is real life is the tragic sight of Skeet holding Vivienne alone and fractured.
That is real life.
Anna's grand passion is so beguiling, the clarion call to touch the wild thing, the wild thing will present itself sooner or later, to those who have the calling, some of us have the Anna Karenina factor in our make up, some of us do not.
Who is the luckier?
I don't know, I want to choose the wild thing but boy for the thrill of it all, the price is so high, as Tolstoy graphically showed us in his masterpiece.
This imagining does not insult the masterwork, on the contrary thanks to the depth, personality, character, and flair brought to bear by the writers, producers and performers assembled, who carry this off with a commendable combination of dark humour, deepest pathos, focused dialogue (that is mercifully controlled never tipping overly into boring cliche, though coming close enough to show, this is what people do and say in these situations), also there is a solid grounding in reality, how this would really go down for all players concerned, along with a sufficiently intense and pulsating depiction of the grand passion for us to get it , to want it for ourselves.
The characters (both supports and central), are very well drawn each with their individual contribution from high spirited Dolly to down to earth Helen, to enraptured (what a performance from Sarah Snook), fragile Anna, to Xander who is played so well by Roger Corsar showing those first fledgling steps towards acceptance, growth, processing pain after the disbelief grief and outrage passes, all his words and responses are understandable, relatable.
Kitty, Kingsley, Nick, Peter (special hearts to him) all added so much as well.
Benedict Samuel strikes a perfect note as Skeet. We don't get to know him too well, great, we don't need to, he does not do a lot of talking, great,we don't need him to, he barely changes his outfit, he barely combs his hair, good he needs to be somehow out of reach, a representation of something mysterious to lust after then when he does need to show fire in his dialogue, his body language, to demonstrate to us the awful reality of his situation, and what it is causing him to feel, he rises to the occasion with just the right mix of anguish, helplessness and grief.
Suddenly he is very accessible.
We feel for him.
I felt for Skeet more than I ever felt for Count Vronsky and that's saying something :) Thanks to all concerned with this production, great work, really. Hope lots more people watch it.