Mandela: Long Walk to Freedom

MANDELA: LONG WALK TO FREEDOM Idris Elba and Naomie Harris lift a solid biopic of the late, great Nelson

Idris Elba and Naomie Harris lift a solid biopic of the late, great Nelson

It took the last 16 years of Nelson Mandela’s life, almost to the day, to bring his autobiography to the screen. South African producer Anant Singh eventually handed Mandela: Long Walk to Freedom to British director Justin Chadwick and screenwriter William Nicholson to make a film for international audiences. The iconic weight of a violent rebel who became a living saint can’t wholly be thrown off in this authorised (though freely made) biopic. It does, though, remind you that Nelson Mandela was very far from Mother Teresa.

The Butler

Forest Whitaker headlines a painful, poignant and victorious benchmark movie

As a movie it’s a little too neat and a little too worthy but as a benchmark The Butler is a triumph with a strong cast. Director Lee Daniels doesn’t get arty with this story of racial divide and American unrest. Roughly based on the real-life story of Eugene Allen, Daniels' approach is straightforward and highly emotive. There’s plenty for the crowd here, and, like Joseph Gordon-Levitt’s Don Jon, the fact that The Butler is accessible across almost every demographic will get its message through to those who need to see it - those who maybe wouldn't see it if it were, say, art house. In some ways, the softer Butler is a filmic preparation for the agony of 12 Years A Slave.

In a tempered, credible performance, Forest Whitaker leads as Cecil Gaines, a southern African-American raised on a cotton plantation run by Thomas Westfall (Alex Pettyfer) and his mother Annabeth Westfall (Vanessa Redgrave). There, Cecil's father (an excellent performance by David Banner) has to watch on as his wife (Mariah Carey) is habitually raped and abused. Cecil eventually runs away and, starving, breaks a window to get to some cake. In a time when white people could kill black people on a whim, Cecil is discovered by a black clerk Maynard (Clarence Williams III) who teaches him the nuances of serving ignorant white people in a time of segregation. Cecil learns to survive amid the life-crushing racism of the era.

When Maynard turns down a job in Washington DC, he puts Cecil up for it. Serving in a posh hotel soon leads to a call from the White House where scary Freddie Fallows (Colman Domingo), a White House maître d’, subjects Cecil to a tough interview.

Robin Williams, James Marsden, Minka Kelly, Liev Schreiber, James DuMont, Nelsan Ellis, Jesse Williams and Colin Walker appear as famous figures from the past, all of whom cross paths with Cecil. Alan Rickman as Ronald Reagan and Jane Fonda as Nancy Reagan are particularly impressive while John Cusack's impersonation of Richard Nixon may take a few moments to sink in. Once you see the prosthetic nose, however… Other strong performances come from Cecil’s family: Oprah Winfrey as Gloria, his wife, making her first return to the screen in many years, is superb in her comic and dramatic timing. David Oyelowo has a surefooted presence as Louis, the eldest son, and an adorable Elijah Kelly almost steals the show as Charlie, the youngest brother. Cuba Gooding Jr, Lenny Kravitz and Terrence Howard (pictured above right with Winfrey) are excellent as Cecil’s serving White House colleagues. A discovery performance comes from Yaya Alafia, as Louis' revolutionary girlfriend with attitude (and armpit hair).

Based on the article “A Butler Served Well By This Election”, The Butler is a film that needed to be made. A crowd-pleaser that educates and illuminates, it may condense history and glide over the rough patches. But it is not a documentary: its strength lies in the road it paves. Like Mandela: Long Walk To Freedom (released early next year), The Butler isn’t a work of art but it is a film that everyone needs to see. Etched with tears and laughs, this is appealing historical entertainment at its most important.

Overleaf: watch the trailer for The Butler

Nut, National Theatre Shed

New play about feeling alone and trying to reach out is full of indescribable sadness

One of the best kept secrets about contemporary theatre is that audiences rather like short plays. Of course, there’s nothing wrong with epic classics, but sometimes it makes a change to witness a playwright who has something to say and manages to say it with economy in 90 minutes or less. New writing’s master of this trend is Debbie Tucker Green, whose plays don’t linger too long on stage, nor do they burden you with an interval. Her latest, Nut, is typically short, just 70 minutes — but is it any good?

The Scottsboro Boys, Young Vic

THE SCOTTSBORO BOYS, YOUNG VIC The eagerly awaited UK premiere of Kander and Ebb's edgy musical about injustices in 1930s Alabama, staged by Tony-winner Susan Stroman

Eagerly awaited UK premiere of Kander and Ebb's edgy musical about injustices in 1930s Alabama

Forever breaking into song and dance, musicals are fun, fun, fun. They are primarily what folks go to for uplifting entertainment, are they not? Actually, many of the best aren't anything like that simplistic. Opening at the Young Vic last night, The Scottsboro Boys is no mere barrel of vacuous laughs, though it is comical and buoyant along the way.

Kara Walker, Camden Arts Centre

KARA WALKER, CAMDEN ARTS CENTRE The African American artist who calls herself a negress and powerfully addresses the horror of slavery

The African American artist who calls herself a negress and powerfully addresses the horror of slavery

American ladies, in the 18th and 19th centuries, passed their time in fashionable pursuits such as embroidering samplers and cutting out portraits of family and friends. Harking back to those days, Kara Walker has covered three walls of the Camden Arts Centre with a panoramic installation of cut-paper silhouettes, which she calls Auntie Walker’s Wall Samplers (main picture and below right: Auntie Walker’s Wall Sampler for Savages).

LFF 2013: Mystery Road

LFF 2013: MYSTERY ROAD Ivan Sen's smouldering evocation of some shameful Australian history

Ivan Sen's smouldering evocation of some shameful Australian history

Awful crimes are being committed in an Australian outback town: young girls murdered, and dumped in culverts. But what makes it worse for Aboriginal detective Jay Swan (Aaron Pedersen), newly returned to his small hometown from the city, is the barely coded and bare-faced racism he encounters, from his cop colleagues most of all; the sense that these girls, because they’re Aboriginal too, don’t matter.

Adult Supervision, Park Theatre

Class and race collide in a new play set on the night of Obama's 2008 election victory

It's often a sign of a good drama when, as it concludes, you find it hard to tell which character you dislike most. And so it is with Adult Supervision - all the way through, first-time playwright Sarah Rutherford skilfully manipulates your allegiances, causing your sympathies to shift and shift again until there is no one left to be redeemed.

CD: Miley Cyrus - Bangerz

CD: MILEY CYRUS - BANGERZ What could possibly live up to the hype?

What could possibly live up to the hype?

I am increasingly finding it almost impossible to express just how bored I am by Miley Cyrus. I mean, seriously, are we really in such a fix that this guff is a serious talking point? A second-generation celebrity and former child star seems to be going off the rails a bit? OH REALLY, GOSH, THIS HAS NEVER HAPPENED BEFORE, PLEASE TELL ME MORE. A young female celebrity is flashing her parts? SWEET BABY JESUS ON A BORIS BIKE THIS IS AMAZING. A white pop star is crassly adopting the tropes of black culture? WOW NO WAY, YOU'RE LITERALLY SHITTING ME.

Ronny Chieng, Soho Theatre

Refreshingly original material from Australian newcomer

Newcomer Ronny Chieng doesn't waste any time trying to get the audience on his side. He outlines his interesting ethnic background – born in Malaysia to Chinese parents, several years spent in the United States and Singapore, and he did a law degree in Australia - but that mix is distilled into his Chinese ethnicity and its innate superiority to anything Western.

He says he's tried reclaiming the word 'chink', in the style of black rappers and the n-word

Matt Okine, Soho Theatre

MATT OKINE, SOHO THEATRE Australian comedy newcomer makes a confident debut

Australian newcomer makes a confident debut

Australian stand-up Matt Okine made his UK debut at the Edinburgh Fringe last month and earned himself a best newcomer nomination in the Edinburgh Comedy Awards, to add to his best newcomer award at 2012's Melbourne Comedy Festival (jointly won with Ronny Chieng). He's certainly an assured performer, even if his observational humour relies too heavily on the everyday in Being Black & Chicken & S#%t.