The man in white
The man in the white suit trailer
This is Sean Foley’s take on a beloved film about a stagnant Britain where capital and labor join forces to stifle creativity. What was once a delectably subversive Ealing comedy has now devolved into a riotously frantic, squealing farce. It’s entertaining on its own terms, and Stephen Mangan gives a strong score, but it lacks the Ealing touch.
The premise remains the same, despite the fact that the action has been revised from 1951 to 1956: a lone scientist, Sidney Stratton, invents a synthetic substance that never wears out. It’s a well-received discovery that must be suppressed because it will cause business disruption and job losses. While the plot is based on the Alexander Mackendrick film, which was itself based on a Roger MacDougall stage play, the tone could not be more dissimilar. We have burning apparatus, fart jokes, and a skiffle number penned by Charlie Fink in which Sidney sings, “I’m trying to make the world a better place,” while standing on a table. Subtlety isn’t the name of the game here. Even the show’s topical jokes, such as one about breaking the law for the better benefit of the world, are constantly emphasized.
Johnny cash – man in white
The Man in the White Suit, a brand new stage adaptation of the classic 1950s film, has opened in London, with Sean Foley’s adaptation and direction having its world premiere at the Wyndham’s Theatre in September 2019. The play’s tickets are now on sale.
Sidney Stratton, a textile worker who discovers a groundbreaking new material that is resistant to dirt and wear, is played by Stephen Mangan. He makes a luminous suit out of the cloth, but factory owners and bigwigs try to suppress his innovation out of fear that it will damage their businesses. Daphne Birnley is played by Kara Tointon in the film.
The film was made by the great classic film studio Ealing Studios and was nominated for the best screenplay Oscar. It was written by John Dighton, Roger MacDougall, and director Alexander Mackendrick. Alex Guinness, Joan Greenwood, and Cecil Parker starred in the film. Below is a link to the film’s trailer.
Stephen Mangan returns to the stage after a successful run at The Harold Pinter Theatre in Harold Pinter’s play The Birthday Party in 2018. His other stage credits include a Tony Award nomination for his appearance in Alan Ayckbourn’s The Norman Conquests, which premiered at the Old Vic before moving to Broadway.
Johnny cash – man in white (tekst)
“I became a white man on March 16, 2017, at the Chandler Hotel. I cross a line and enter a club that will form my future reality. In 2017, I became a white man, the year that white male bodies have come to symbolize all that is wrong with America. As white supremacy and imperialism become the official look and strategy of the White House, I turn into a white man. As #MeToo takes over our social media feeds and women eventually speak out, I turn into a white male. As the vitriol aimed at transgender people grows more blatant, and as an administration tries to make transphobia official policy, I make my transition public. After a fruitful twenty-year career in American theater as a queer white woman, I became a white man. As white men march in Charlottesville to reaffirm America’s dominance, I turn into a white man. I transform into a white man and experience the overwhelming love and joy of inhabiting my whole being.”
The man in white
Alexander Mackendrick, 1951 “Are you familiar with the term ‘long chain molecule’?” Alec Guinness, a former Cambridge chemistry whiz kid now working as a lab dishwasher, steals time to work on his pet project: a fabric that never wears out or gets dirty – but the only person who believes in his insane idea is mill boss Cecil Parker’s sexily low-voiced daughter Joan Greenwood (“The suit. It seems to be wearing you”). After a few of those darned explosions, his theories actually work (the rhythmic gurgles, squirts, and drips of the hero’s lab apparatus were later recorded with added lyrics as “The White Suit Samba”), but he still has to deal with planned-obsolescence-lovers Capital (personified by ancient, vulture-like Ernest Thesiger of Bride of Frankenstein fame) and Labour (his landlady worries, “Will The unsung Mackendrick’s film is a British movie classic – and the pinnacle of the famous “Ealing Comedy” (The Ladykillers, Sweet Smell of Success). Approximate running time: 85 minutes on DCP.