Stage Beauty

"All the world's a stage," wrote the Bard, "and all the men and women merely players that strut and fret their hour upon the stage."

"Stage Beauty" is set in the world of seventeenth-century Restoration theatre, but the stage serves as a microcosm for life itself, and the roles played by the actors before the public mirror the roles they play in their private lives. The question is, do they create their roles, or do their roles create them?

Ned Kynaston (Billy Crudup) is an actor who takes on women's roles, since real women are not permitted to do so. He has been thoroughly trained and schooled in the then highly stylized technique of portraying women -- to such an extent that any trace of masculinity seems to have been drummed out of him.

His dresser Maria (Clare Danes) yearns to be an actress herself, but is prevented from doing so by the narrow conventions of Puritan England -- until Charles II is restored to the throne and decrees that, henceforth, real women shall play women's roles on the stage. A whole new world opens up for Maria, but it looks like curtains for Ned.

What happens next is pure anachronism: Ned and Maria are able to rise above the limitations and constraints of their era. Not only do they transcend their gender or sex roles, but they overcome their classical training and, in effect, engage in Method acting, a technique still three hundred years away in the far-distant future. When he teaches Maria how to break the mold and play Othello's Desdemona in a whole new, natural way, Ned becomes a seventeenth-century Stanislavsky.

But, by George, it works. Their performance of the celebrated death scene from "Othello" sends shock waves through an audience accustomed to pantomime and exaggerated gestures -- and it electrifies us as well.

Not since Joseph Fiennes and Gwyneth Paltrow in "Shakespeare in Love" have an actor and actress so shimmered and shone simultaneously on stage and screen. One hopes that Billy Crudup and Clare Danes will be remembered for their luminous performances at the 2005 Academy Awards.

This film came and went in the cinema I go to. I went to see it on the last day it was on (which really wasn't very long at all) and I absolutely loved it. I don't think this film got the praise that it deserved. Billy Crudup has the perfect face for a Stage Beauty - he is effeminate in costume, yet a stunning man without the visage he dons for his Desdemona. Claire Danes pulls off her part wonderfully, especially the scene after she 'rescues' Crudup from the tavern, and the final rehearsal scene for Othello. Rupert Everett plays a wonderfully divine King Charles (with his little spaniels) and Zoe Tapper plays the ex-orange seller to perfection. The comedy and more emotional scenes in the play combine brilliantly. Bravo to all involved in this truly great film. If you didn't get the chance to see it in the cinema, I certainly recommend you to go out and rent it!

'Without beauty, there's nothing. Who could love that?' (Ned Kynaston, Stage Beauty)

Don't expect an elegant historical romp from Stage Beauty; it's much more than that. Director Richard Eyre (Iris) and screenwriter Jeffrey Hatcher have loosely interpreted true events to deliver a passionate, romantic journey of gender-bending self-realisation set in the bawdy world of the British Restoration, circa 1660.

In a time when women are banned from acting on stage, King Charles II is on the throne, accompanied everywhere by his vulgar but merry mistress, Nell Gwnn. Meanwhile Ned Kynaston (Billy Crudup) is the most celebrated leading lady of his time. He is adored…by his audiences, by his lover and patron the Duke of Buckingham, and secretly loved by his dresser Maria (Claire Danes). But when aspiring actress Maria's illegal performance as Desdemona in Othello triggers royal permission for women to act on stage, Kynaston's fall from grace is swift.

This is an actors' film, where the talents of Danes and in particular, Crudup, shine. (Their remarkable relationship triggered an off-screen romance.) Crudup is taut as the bisexual Kynaston, trained to be a calamity and actress since early adolescence, and emotes powerfully as he struggles with his sexuality and identity in an unfriendly new political landscape. He is alternately a catty drag queen, angry young man and committed thespian, without ever straying beyond credibility. In contrast, Danes is luminous but unsure as Maria. A talented supporting cast includes Rupert Everett, providing comic relief as the languid King, while Ben Chaplin is sensual as the self-serving Duke.

Stage Beauty has been compared to Shakespeare in Love, but although it's less successful, it's far less contrived. Although Stage Beauty is a love story, you don't know how things will resolve. The pace is less brisk than in a more manufactured film, but it's also more realistic, enhanced by production design and costuming which depicts both the grit and the sumptuousness of the time.

While at first the on stage acting grates, it is deliberate. As Stage Beauty progresses, the acting technique evolves to resemble 19th Century Naturalism – not true to life, but faithful to the emotional journey of the characters. It's a special film that will take you on an emotional journey too.

**** out of ***** stars.

Stage Beauty is an unbelievably ambitious production, and with so many provocative themes running simultaneously it's definitely not boring. What I liked the most was the way the sexual ambiguity was portrayed - most of those scenes had a playful touch, so as not to get drearily heavy-handed, but I also felt a lot of the veering between seriousness and comedy was awkward where it should have been smooth. Rupert Everett's droll turn as the King was perfect, and Claire Danes has never been more passionate and radiant. Billy Crudup's role was the most difficult, of course, and he handled it commendably. My favorite scene is the one where the two of them are in bed, and she's asking, "who are you now?" (the man or the woman, based on the position) - a brilliant scene which depicts the ridiculousness of gender-stereotyping with wit and charm to spare.

We sat for the first few minutes wondering whether we'd come to the right film (expecting a formulaic period romp). And for a little while I was prepared to spend the rest of the evening apologising to my partner for the slowness and oddness of the film. But once our disbelief had been suspended and we'd got used to the cramped feeling of the film (more like a staged version than cinematic at times), we both loved it.

I agree that Claire Danes acted well (though the hyperventilation happened once too often) and Billy Crudup brought a complexity to the role that I rarely see in films. The reference to Shakespeare in Love is an affectionate comparison: I enjoyed the light snack of Gwinny, luvvies and Fiennes and have sat through the DVD time and again. But that film had a predictability that Stage Beauty lacked. We didn't know that Stage Beauty's 'love element' would ever work out.

I do not see the development of the relationship between Danes and Crudup as a conversion from gay to straight. Instead I see a problematic progress from an imposed gender identity (perpetuated through sexual fantasy by Buckingham) to an un"knowing" but more satisfying state, where it's being yourself (whatever that is) not performing a role that counts. I think that this is relevant to all of us as we perform the roles that we and those who've influenced our upbringing have created for ourselves. We can't easily escape them (and some are more hammy than others in their performance) but the knowledge that life is performative and complex is, for me, liberating.

And all that from a costume drama!