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• CREATIVE KIT SPOTLIGHT SPOTLIGHTCARMAN THEVERGE MOVIE

The film features a number of car chases – which, Sher groans, are an absolute nightmare onstage. And, I think, too literal.” The atmosphere this time will be more dreamily fluid, locations suggested by a few key details not a whole elaborate set: “I can put an answering machine, then a bed appears, and I can just cut from one to the other quickly and simply.”

Sher hopes this will help the show move rapidly through different scenes and locations, using a “theatrical energy, not a film energy… The first time we did, it was much too technical and complicated. It won’t be so Joan Collins on a bad day ….” It’s more about the women themselves than about their hair and their clothes. “It remains a ‘period piece’ – we’ll be having answering machines and phone booths – it’s less literally faithful than it was in the original production. “We’re not trying to pretend they’re Spanish,” says Sher. The 1980s Madrid context remains, but the accents, thankfully, are gone. Attempting to recreate Almodóvar’s distinctively colour-saturated aesthetic, the gaudy design featured dodgy Eighties-pastiche powersuits and hairdos the patchy use of Spanish accents was even dodgier.

CREATIVE KIT SPOTLIGHT SPOTLIGHTCARMAN THEVERGE MOVIE

Looking back, it seems the Broadway version tumbled into many of them: over-complicated sets actually slowed down attempts to recreate lightning-fast filmic cuts, while too many my-moment-in-the-spotlight songs for its stars padded a brisk 90-minute movie till it ran at two-and-a-half hours. We find the cast, who are all British, get the material – that’s always our first test!”Įven so, there are obvious pitfalls in adapting such stylised, self-consciously filmic work for the stage. “And British audiences have a natural feel for Pedro, they’ve always loved his work here. “I think European audiences have a different sense of irony and sophistication,” says Sher. Greig’s presence, they predict, will help win audience’s hearts – but they’re also hopeful that Brits will be more open in approaching an adaptation of a European arthouse movie than their New York counterparts. There are literally three people on the planet who can do that with that kind of skill and speed.” “She lands the total truth of the comedy and then flips it in one second the pain. “Tamsin has an enormously brilliant feel for mixing the comic height of the material and the unbelievable pathos and humanity of Pedro,” says Sher, likening her to Carmen Maura, who played Pepa in the movie. Greig’s been involved from the first UK workshop, and the three men can’t praise her highly enough.