Despite a fabulous returning cast, Series 2 of The Split is classy-looking tosh. Very watchable but tosh all the same.
“The last thing we need is for any more salacious details to come out”
Much like Series 1, the second season of Abi Morgan’s The Split treads a line between legal drama and deluxe soap opera and more often than not, it is less of a balancing act and more of a case of elements of the former sprinkled into a heavy dose of the latter.
Which in many ways in just fine. Getting to see the likes of Nicola Walker, Deborah Findlay and Anna Chancellor strutting in expensive contemporary costumery is a blessing in itself and the production values of this show never dip below the glossy magazine standards it has set itself. Continue reading “TV Review: The Split Series 2”
If female-fronted lawyer shows are your bag (and why wouldn’t they be!), the twin joys of The Split and The Good Fight have marvellous to behold
“Kill all the lawyers”
If I’m completely honest, Abi Morgan’s The Split did leave me a tad disappointed as it veered away from its legal beginnings to something considerably more soapy over its six episodes. The personal lives of the Defoe clan well and truly took over at the expense of any of the cases they were looking after and even if that family includes Nicola Walker, Annabel Scholey and Deborah Findlay, it’s still a bit of a shame that it ended up so schlocky. Continue reading “TV Review: The Split Series 1 / The Good Fight Series 2”
All hail the return of Nicola Walker to our TV screens in new Abi Morgan drama The Split
“Divorce shouldn’t be easy”
Just a quickie to cover the first episode of this new legal drama which looks extremely promising, not least because of a swooningly wonderful cast. The aforementioned Nicola Walker, Annabel Scholey and Fiona Button as sisters, the ever-marvellous Deborah Findlay as their fearsome mother, people like Stephen Tompkinson and Meera Syal as clients, hunky Dutchmen like Barry Atsma looming on the sidelines, and the likes of Rudi Dharmalingam and Kobna Holdbrook-Smith also on the fringes.
Photograph: Mark Johnson/BBC/Sister Pictures
“I know what fucking surf and turf is”
It is always fascinating to revisit the early work of writers who have gone on to bigger things and Tiny Dynamite offers that chance with Abi Morgan, screenwriter of such hits as Shame, The Iron Lady and Suffragette. This play, revived by David Loumgair for Time Productions, is somewhat of a challenge in the forthrightly enigmatic way in which it has been written and a set of creative decisions that show a pleasing affinity for taking risk.
As ever, not all of though decisions pay off. But when they do, Tiny Dynamite is full of small surprises. Anna Reid’s design introduces water onto the small stage of the Old Red Lion to powerful effect, especially when combined with the electric effect of Zoe Spurr’s lighting. And the gender-swapping of one of the three characters demonstrates the kind of active commitment to redressing gender inequality that remains all too rare in the theatre industry. Continue reading “Review: Tiny Dynamite, Old Red Lion”
There’s all sorts of big productions arriving in the months to come (Long Day’s Journey Into Night, the return of Amadeus, PATTI LUPONE!) but I’m using this spot to highlight some of the shows on the London fringe and around the UK (and Amsterdam…) that have piqued my interest and which I hope to get to review.
So in no particular order… Continue reading “20 shows to look forward to in 2018”
“We’re all shattered underneath really, aren’t we”
The second part of Nicola Walker’s cross-channel takeover of crime drama has been BBC1’s River. An altogether different prospect to ITV’s Unforgotten, Abi Morgan’s six-parter is aesthetically closer to the Nordic noir of which TV audiences seem unendingly enamoured but still manages to find its unique niche in a crowded marketplace. The Scandi feel is enhanced by the genuine casting coup of Stellan Skarsgård as DI John River but what marks out River are the people around him.
Chief among these is Walker’s Stevie, DS Stevenson, who we meet straightaway and instantly get a feel for their closeness of their professional relationship as they tackle crime on the streets of London. But what is brilliantly done is the shift from buddy cop show to something altogether darker as [major spoiler alert] we find out at the end of episode 1 that Stevie is dead, murdered recently, and River is in fact imagining her presence at his side, even to the extent of regularly conversing with her. Continue reading “TV Review: River”
“You want me to respect the law? Then make the law respectable”
Directed by Sarah Gavron and written by Abi Morgan, Suffragette offers a rather striking perspective on the women’s suffrage movement, inventing a working class character and following her political awakening at a key moment in the fight for women’s rights. Carey Mulligan’s Maud Watts is a dutiful wife and mother, working long, thankless hours at a Bethnal Green laundry whose chance encounter with a riotous group of suffragettes slowly rouses something within her.
This is where Morgan and Gavron’s approach pays dividends, in seeing the movement through working class eyes away from the privilege and relative freedom of the leaders. Even on a shop-floor full of much-put-upon women, suffragette is spat as a dirty word and in the close-knit neighbourhoods too, the leap that Maud has to make to merely stand up for what she believes is right is that much more difficult, more life-changingly dramatic and Mulligan is truly superb in tracing this transformation. Continue reading “Film Review: Suffragette”
“If there’s a seam, tell her it’s usually where the anus was.”
An early play from Abi Morgan, Splendour premiered at Edinburgh in 2000 but is only now receiving its London debut at the Donmar Warehouse as part of a season of works by living playwrights. Directed by Robert Hastie who works such wonders on the all-male My Night With Reg, it also marks a nice rebalance with its all-female cast delivering four sensational performances as Morgan replays a single scene four times to allow us into the mind of each of the characters.
They’re in an unidentified dictatorship – perhaps redolent of somewhere in Eastern Europe, perhaps not – and as we come to realise, it is in its final days. And in the presidential palace, beautifully realised by Peter McKintosh, the president’s wife and her best friend are waiting increasingly apprehensively with a photojournalist and her interpreter. As time restarts and replays, Morgan expertly layers up a gripping story whilst exploring the fascinating inner lives of these women. Continue reading “Review: Splendour, Donmar Warehouse”
“Intimacy to you is one thing, to me another”
Regular sex without all the encumbrances of marriage, that’s the deal on the table at the beginning of The Mistress Contract, Abi Morgan’s adaptation of a memoir of the same name by an American couple known anonymously as She and He. They’re both still alive, 88 and 93, and have kept recordings of the thirty plus years of their arrangement under which She provides He with “mistress services – all sexual acts as requested” in exchange for a regular income and a lush home in West California.
But far from an exploitative relationship, She and He are both middle-aged, highly educated, intellectuals – who’ve known each other since grad school – who are entering this contract with eyes wide open. And as we see thirty years fly by in five scenes which gently elide into each other, they debate her staunch feminism, the gender politics that shapes their sexual behaviour, the social conditioning that governs their emotional interdependence. For an intimacy does grow between them, a unique connection forged. Continue reading “Review: The Mistress Contract, Royal Court”
“There are going to be moments like this where I have to know you can jump when I ask you to jump”
Abi Morgan’s writing has recently has quite the prolific burst: high-profile films such as Shame and The Iron Lady and the well-regarded BBC drama The Hour and the forthcoming adaptation of Birdsong have kept her profile sky high. But she started her writing career in the theatre and following on from 27 for the National Theatre of Scotland and a short piece that formed part of Headlong’s Decade, is the achingly delicate Lovesong which is playing at the Lyric Hammersmith as part of a UK tour.
A co-production with Frantic Assembly, Lovesong follows one British couple who we see at the beginning of their life together as they emigrate to the US and also much later on in their old age. But rather than opting for a straight narrative about this marriage, Morgan flits between past and present: memories are revisited and stories recollected by Billy and Maggie of their earlier lives as William and Margaret, the joys of early marriage, the struggles of trying to conceive and the disillusionments that creeps into everyday life and how they have all accumulated and translated into the relationship that they now have. Continue reading “Review: Lovesong, Lyric Hammersmith”