Watching Simon Pegg stride through Great Northern ODEON on a Sunday afternoon is more than a little strange.
This is a place where people come to see the movie stars – but today it looks like a celebrity has stepped right off the big screen.
Fans flock to grab photos with Pegg as he weaves from the box office towards the theatre; filling the walkspace with the clamour of shouts and snapping cameras.
Bumping into the star of Spaced, Shaun of the Dead and Hot Fuzz on Deansgate would be arresting at the best of times, but it’s even more extraordinary when you consider the context.
Pegg is in Manchester for a premiere he couldn’t originally attend, for a film that almost didn’t get shot, starring in a role that’s unrecognisable to anything he’s done before.
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“It felt like something I needed to put right…”
One of the big features on the bill this weekend at Manchester International Film Festival is Lost Transmissions – an independent movie starring Pegg and Juno Temple about music, creativity and psychosis.
Pegg made the movie in between stints on Hollywood blockbusters Star Trek and Mission:Impossible, and whilst his busy schedule had cast doubt on any potential appearance at the premiere, a last-minute scheduling change means that Pegg makes it to town just in time.
Lost Transmissions is a smaller kind of production than the star is used to nowadays, but he’s as visibly passionate about the project as much as any other he’s been involved with.
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Grappling with complex mental health issues, Lost Transmissions presented Pegg with am unfamiliar and particularly challenging role – but it also allowed him to break new ground by working with a female filmmaker.
“I hadn’t done a movie that has been directed by a woman in twenty years of making films,” Pegg tells us, sounding a little surprised by his own answer.
“That felt like something I needed to put right.”
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Pegg has long been a loud advocate for female representation in cinema, and when the opportunity came to work with Katharine O’Brien for her directorial debut, he was hungry to take it.
“It was the script [that attracted me to the project] first and foremost… and the fact that Katharine had sent me a script that was straight drama.
“I tend to get pigeon-holed as a comedy actor, which is my own fault.”
“At one point, it looked like it was going to get dropped…”
After realising they were both on the same page, Pegg and O’Brien began to throw some momentum behind Lost Transmissions, with excitement growing around its potential. However, schedule clashes meant the film was, for several months, left dangling by a thread.
“I was attached to the project for a very long time,” Pegg tells us.
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“At one point it looked like it was going to get dropped or I was going to have to drop out because of Mission: Impossible.
“But Katharine waited for me, thank goodness, and we got to make the film.”
“Making it was a really fun experience. It was a 20-day shoot, which is not what I’m used to compared to the bigger films, but she was so sure of what she wanted in terms of performance and the look of the movie.
“It’s really nice when you work with a director who knows what they’re doing.”
Lost Transmissions dives into territory few films have dared to explore and even fewer have managed to understand: The world of schizophrenia.
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Speaking about his role Pegg explains: “I play a guy called Theo Ross whose a music producer working in Los Angeles, a British guy, who has developed schizophrenia due to some bad acid he took in the nineties.
“In the movie, he decides to come off his medication because he’s worried it’s stifling him creatively, but of course that leads to him drifting back into the realm of schizophrenic delusion.
“It comes down to Juno Temple’s character trying to save Theo as he drifts off further and further into mania.”
“It’s easy to approximate madness in film; mental health issues seem to be one of the last kind of things that it’s ok to be flippant about…”
Pegg went to great lengths to embody the character during production – with the role of Theo so different to his usual roles.
“I researched it thoroughly; it didn’t feel like a role I could just guess,” Pegg says.
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“Schizophrenia is a very real, very specific condition. It gets mistaken a lot of the time for split personality, but schizophrenia isn’t like that at all. [It’s] more about people’s perception getting confused, the brain starts to make certain patterns and create delusional narratives which the person responds to.
“So, I really had to learn about that and meet schizophrenics, read about it, watch documentaries, and go into the film knowing what I was talking about.
“It’s easy to approximate madness in film, mental health issues seem to be one of the last kind of things that it’s ok to be flippant about. Acting crazy, you know, anyone can do that – but it’s not at all the way to approach it.
“You have to approach these things faithfully and give a genuine, authentic portrayal.”
Before Pegg heads off to host a Lost Transmissions Q&A alongside his director, he fills us in on his next chapter.
“I’ve got two Mission:Impossible films to make over the next two years,” he confirms.
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“And there’s something I’m developing at Stolen Picture – mine and Nick Frost’s production company.
Pegg’s features scrunch together as he searches his memory banks.
“It’s a show I’ve been developing for… eight years, I think. I’ve finally found a way to do it!”
Suddenly, a wide smile spreads across his face.
“But I can’t say anything about it yet… which is really frustrating.”
Now’s not the time for that, anyway. Today is all about the indie film that pulls Pegg from his self-confessed comedy “pigeon-hole”. And he’s proud of it.
Catch Lost Transmissions in cinemas during its wide release from 14 March. For more information on some of the fantastic films playing this week at MANIFF, head to their website.
Feature
Annie at Palace Theatre Manchester – a charming interpretation of an old classic | Review
Clementine Hall
For a musical built on nostalgia, this Annie that’s just arrived at the Palace Theatre in Manchester feels surprisingly lively – here’s our full review…
Annie is a show tied up with countless childhood memories. Whether you performed it in the school choir, watched the film starring Carol Burnett, or saw it on stage, we’ve all got our own memories of Annie since it first opened in 1977.
So to bring it to a modern theatre audience who no doubt feel some connection to the characters and score is no mean feat.
If you’ve seen any of the posters plastered around the city, you’ll see British drag queen ‘La Voix’ take centre stage as the slippery and gin-fuelled Miss Hannigan.
Images: Press shots (supplied)
This is obviously a strategic move to get bums on seats, and although La Voix is of course a ferocious and standout performer, the production is so much more than that.
They say never to work with children in showbiz, so leading a group of 10-year-old orphans in a snappy and perfectly choreographed rendition of‘It’s a Hard Knock Life’ is really a huge achievement in itself.
All the kids are wonderful, but Victoria Alsina, who plays the titular role, deserves particular credit. It’s a huge role for any actor, never mind a child, and she handles it with confidence, charm, and just the right amount of grit.
As expected, La Voix gets some of the biggest laughs of the night. Her Miss Hannigan leans heavily into the character’s chaos and bitterness, but never feels one-note. It’s a performance packed with quick-fire comedy, and the vocals are tight.
Images: Supplied
That said, Annie would be in trouble if it relied solely on stunt casting. Thankfully, it doesn’t.
The wider cast is consistently strong, the ensemble numbers are full of energy, and the costumes are nothing short of fabulous. The real challenge with Annie is making a story that’s approaching its 50th birthday feel fresh. This production doesn’t reinvent the wheel, but it doesn’t need to.
Instead, it focuses on delivering the songs people came for, giving the cast room to shine, and reminding audiences why the show has stuck around for so long.
La Voix might get people through the doors, but it’s the strength of the production as a whole that sends them home happy.
Review | Some of the most fun you can have at a theatre – Jeff Goldblum and The Mildred Snitzer Orchestra
Danny Jones
On Wednesday night, we did something we hadn’t done in a long time: we went to a concert almost completely blind and walked in without having heard a single second – because how many times in life are you going to get the chance to say you’ve seen Jeff Goldblum music live in Manchester?
We can comfortably say it wasn’t just one of our favourite shows of the year so far, but it might be one of the best decisions we’ve made, maybe ever…
Honestly, there’s not even a whiff of exaggeration in that statement; within minutes of the headline date starting, a long, hard day suddenly melted away in the smooth, sultry, stylish and unapologetically silly atmosphere created by Jeff Goldblum and the truly wonderful Mildred Snitzer Orchestra.
For starters, we were pleasantly surprised to see ‘Bonnie Scotland’s very own Liverpool-based singer-songwriter, Brooke Combe, opening up for the man himself, whose soulful, 1960s, 70s and Motown influences made for a perfect fit to warm up the crowd.
With the North West favourite – who we recently caught once again at NBHD Weekender late last month – even getting a perhaps initially hesitant and very possibly more Theatre-leaning audience inside the Palace to relax with some fun vocal exercises and Scottish banter, we were off to the races.
But in truth, this show turned out to be so much more than we were expecting – and by that we don’t mean when Brooke joined him on stage for a spell and had him try his first Irn-Bru…
In our heads, we were kind of expecting to see Goldblum, 73, playing his beloved piano as other members of the jazz band got to enjoy a few moments centre-stage as those who sat watching admired their sheer technical ability.
Where we actually landed was somewhere between a live and just the right amount of chaotic stream-of-consciousness stand-up show, interlaced with a series of effortlessly charming and loose bits of crowdwork as if he were compèring, and, of course, the incredibly cool musical arrangements.
It may not have been entirely free-form (it’s clear that a lot of time, effort and tireless rehearsal go into this shindig), but it did have the feeling that things were unfolding organically as the night went on, the perfect example being specifically for Manchester, with each local reference getting a rousing reception.
His latest LP is going down a treat with the critics in the early reviews, too, and having now heard a few samples, we’re not surprised.
As Jeff said at the top of the show, the best bit about this music is watching these marvellous musicians effectively jamming and playing call and response, not only with each other but you down below – not to mention with the man himself vamping over the top and enjoying plenty of solos on the keys.
Aside from crowd-pleasing arrangements of contemporary and well-known tracks like ‘Lover’ by Taylor Swift and even his own bittersweet and oh-so-gentle take on ‘Over The Rainbow’, it felt not just like an intro to some cult favourites from within the genre, but a serviceable broad-strokes education at times.
Personally, we’ve always liked to think of ourselves as open to anything, sonically, albeit fairly limited when it comes to jazz, but we left feeling like we knew more about the mechanics and flow of a jazz gig than ever; we’re now eager to learn more and dive deeper into the syllabus curated by this superfan.
One very special mention also has to go to session singer Khailah Johnson, who recently shone in the & Juliet production on Broadway and is now currently on tour with Jeff on his Night Blooms run.
Believe us, she’s not merely performing ‘beside’ anyone; when you have a voice and presence that’s so big and has such range that you generate enough star-power for people to genuinely forget that a Hollywood actor is there right next to you, you KNOW you’re beyond talented. Simply spellbinding.
The whole crew had a lovely, laid-back quality that was just infectious. (Credit: Lucy Elson-Whittaker)
And then we have the A-lister himself, who clearly doesn’t only have the gift of the jab and a natural penchant for pageantry, but looks so at home up there that we would happily trade ever seeing him in a film again if it meant we could have the next few decades watching him be the live showman that he is.
For anyone who feared Jeff Goldblum’s music career might just be a famous bloke indulging himself in a side project and cashing in on fandom simply because he can, fret not: this man has as much passion, love and aptitude for jazz and this particular side of showbiz as any role we’ve seen him play, if not more.
Whether it be playing movie trivia games with those in the stalls, thanking fans he bumped into at his hotel, or inviting people there for a special occasion backstage, he ticked almost every box you could have asked for, from the cabaret vibes and Jurassic Park puns to simply playing his socks off.
The new album that gives its name to this current slate of live shows is much more than a play on words. Be it the soft and warm hues of the coloured spotlights, the off-the-cuff comedy interludes, or even the pure giggle-fits in the audience, the Palace Theatre was bursting with joy, life and vibrancy.
We sincerely hope Jeff Goldblum has grown as fond of the city as he claims, and that we get to watch him play a Manchester venue every year.
Gareth Lloyd -
12th March 2020 
