Sometimes their blossoming bond feels a little too neat and implausible: McCarten clearly loves both artists too much to shade in the darkness and narcissism that biographers have found in Warhol, or to delve too deeply into the torment in Basquiat's psyche that led him to cover his canvases in graves and skulls. There's something satisfying about the way that Bettany and Pope go from mutual suspicion, eyeing each other up like rival alley cats, to cosying up together against the inhospitable world. Basquiat's signature scrawls deck the theatre's walls. It starts in a hubbub of Eighties music mash-ups, Madonna and hip hop crashing together, against projections of New York streets on designer Anna Fleischle's evocative, towering set. And Young Vic artistic director Kwame Kwei-Armah's production is just as crowd pleasing. It's packed with gossipy insights – from Basquiat's sexual relationship with Madonna to Warhol's fight to conceal his homosexuality from journalists – and quaint moments of humour, like when Warhol is unable to resist whipping out a hoover at Basquiat's filthy flat. The authenticity-obsessed Basquiat cajoles Warhol into picking up a paintbrush after decades of screenprinting, while Warhol persuades Basquiat to indulge his fixation with the empty visual trappings of American capitalism.Īnthony McCarten's play is a fantastically enjoyable exercise in giving the audience what they want. Together, they debate the purpose of art and create tentative artworks together. Jeremy Pope plays Basquiat as his more cerebral, thoughtful foil: he's got a profound faith in the power of his paintbrush, is unable to understand Warhol's flippancy, and is endlessly eloquent even though he's constantly half-stoned. Warhol is recovering after being shot in the chest by a fan, hiding his nervousness behind an omnipresent camera and a brittle sense of humour. It's a compellingly detailed sketch of an artist whose image can feel almost as blandly iconic as the Marilyn Monroe screenprints he created. Paul Bettany's entertainingly neurotic, affecting performance as Warhol is a joy. What follows is as flashy and crowd pleasing as any rumble in the jungle, as these two famous artists bare their knuckles and souls over a collaboration in the artist's studio. “Painters are like boxers: both smear their blood on the canvas.” That's what artists’ agent Bruno says, as he sets up the premise of this arty drama by arranging a big showdown between his two most prized painters: Jean-Michel Basquiat and Andy Warhol. Have a tip for us? Want to discuss a possible story? Please send an email to Bankhurst is a news writer for IGN who is ready to throw his money at Disney for Disney+ and never leave the app.Jeremy Pope and Paul Bettany in ‘The Collaboration' (Marc Brenner) This news was announced during The Walt Disney Company Investor Day 2019 presentation that also showed off Disney+ in action on the TV app and Mobile app.ĭisney+ will, once again, launch on November 12, 2019, for $6.99/month or $69.99/year and subscribers will be able to download all the content for offline use once the app launches later this year. In its first year and beyond, Disney+ will add Frozen 2 and a documentary on making the film, a Toy Story's Bo Peep short, WandaVision starring Elizabeth Olsen and Paul Bettany, The Falcon and The Winter Soldier starring Anthony Mackie and Sebastian Stan, a Loki series starring Tom Hiddleston, a series based on Rogue One: A Star Wars Story's Cassian Andor starring Diego Luna and Alan Tudyk, High School Musical: The Musical: The Series, and so much more. In addition to original programming, Disney+ will be the home to Captain Marvel, the entire Disney Signature Collection, most Pixar films and all Pixar shorts, most Star Wars films, Disney live-action movies such as Mary Poppins and Alice in Wonderland, over 250 hours of National Geographic content, Disney Channel tv series and original movies, the streaming rights to The Simpsons, and so much more.
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