With the loss of its original core cast and the destabilising presence of Martine McCutcheon, Series 4 of Spooks struggles to find its feet
“You’re up against the British state…who do you think is going to win that particular battle?”
This season of Spooks struggles quite badly amidst all the upheaval of Series 3 in which in the entire original team departed Thames House. Tom’s identikit replacement Adam does well enough but somehow, something goes terribly wrong with the introduction of his wife and fellow spy Fiona (Olga Sosnovska). They sadly lack chemistry and their domestic drama just doesn’t translate well into the business of saving the country on a weekly basis.
The tone is set by the randomly chaotic energy of Martine McCutcheon’s guest spot in the opener two-parter and from then on, as we cover people smuggling, the rise of far right political movements, cultists and the ethics of releasing terrorist suspects, the series jerks along rather, Raza Jaffrey’s Danny-a-like isn’t given anywhere near enough to do and the snaffling of Miranda Raison’s Jo off the street is as bizarre an advert for recruitment as any.
It’s a pretty low-key series for Ruth – hints of her passion for Harry come through whether in romantic feeling or rebelling against him a bit. She comes into her own in the final episode with the revelation of a step-brother who killed himself but has never been mentioned before putting her in the line of fire but all in all she deserves better. Continue reading “Lockdown TV Review: Spooks Series 4”
It’s all change at Thames House as Series 3 of Spooks sees the original core team leave the security service one way or another
“We cannot have another Tom Quinn”
I’d forgotten just monumental this series of Spooks was, as first Matthew MacFadyen’s Tom took his leave after getting a conscience, then Keeley Hawes’ Zoe was shunted off to Chile to evade justice and then David Oyelowo’s Danny shuffled off this mortal coil thanks to bloody Fiona and an annoyed Iraqi terrorist. Rupert Penry-Jones was drafted in as Adam, a friendly MI6 type who fits the Tom mould perfectly, though we could have done without his wife (more of that anon).
But even besides all the personnel shifting, the writing is shit-hot in this season, especially when the focus is on the morality of security service actions. Targeted assassinations on North Sea ferries, honeytrapping members of the Turkish mafia, these are meaty issues with some real consequences for all concerned.
Now firmly established in the team, attention turns to her trying to get some, in the most Ruth-like possible way, ie stalking someone illegally and sharing a carbonara with a traitorous ex-colleague, this is prime Ruth territory. Continue reading “Lockdown TV Review: Spooks Series 3”
Now this is more like it, Series 2 of Spooks settles into the classic feel that works so well
“This ridiculous James Bondery…do we need it?”
With this second season, Spooks really gets into its stride I think, recognising that it is an ensemble show at heart (and a rolling ensemble at that, although it’s a shame new recruit Sam doesn’t get more to do) and nailing the variation in tone and style of episodes which largely remain self-contained. Also, Nicola Walker finally arrives as Ruth, which is good news for the audience, Harry and the nation.
Topics-wise, we touch on hacker kids, Irish republicanism, Islamic radicalisation and Anglo-American relations among others. But it is ‘I Spy Apocalypse’, written by Howard Brenton and brilliantly directed by Justin Chadwick with a smothering sense of claustrophobia that really gets the pulse racing as a fire drill for a terrorist incident gets very dark very quickly – it’s possibly one of the best ever episodes of Spooks.
Praise the Lord – analyst Ruth Evershed finally arrives in Episode 2 in all her long cardigans and flowing skirts and though initially viewed with suspicion coming from GCHQ as she does, she soon wins over the team with her knowledge of Greek mythology, Russian crucifixion practices and much more besides. Continue reading “Lockdown TV Review: Spooks Series 2”
The latest venue to announce the opening of their digital archive in order to satisfy our theatrical cravings is the Hampstead Theatre who, in partnership with The Guardian will re-release the live stream recordings of Mike Bartlett’s Wild, Beth Steel’s Wonderland and Howard Brenton’s Drawing the Line for free.
Available to watch on theguardian.com and hampsteadtheatre.com, the three productions will be made available, on demand, over three consecutive weeks as part of the theatre’s #HampsteadTheatreAtHome series and the first of these – Wild – is available now. And once you’ve watched it, take a look at the ways you can support the Hampstead Theatre here. Continue reading “News: #HampsteadTheatreAtHome launches this week”
I had already started a rewatch of Spooks earlier this year as part of a planned Nicola Walker retrospective but as it turns out, I’ll have to use that Britbox subscription for something else!
“When will you tell her that your real name is Tom Quinn and that you are a spy”
It is interesting to look at back at much-loved shows and be reminded of how not everything is always how you remember. So much of Spooks has aged remarkably well – not least its choice of subjects that have remained terrifyingly evergreen – that it is easy to forget that this opening season of 6 episodes sees them still searching for that house style.
It is undoubtedly a bit shonky in look and feel, the slick Thames House set isn’t yet in place and the focus on the lead team at the expense of too many nameless supporting bods gives the personal dynamics a somewhat off-balance feel as we delve into too much of the personal lives of Tom, Zoe and Danny.
But airing in May 2002 in the immediate post 9/11 climate gives its geopolitics real currency. And the threats they face – homegrown far-right movements, fears over immigration, the push for Kurdish self-government, US abortion rights, Russian spies being murdered on British soil… – are compelling throughout. And any show that has Jenny Agutter and Nicholas Farrell dry-humping in a corridor has to be a winner right?!
To be honest, I’d forgotten Ruth wasn’t a member of the team from the start, so these six episodes pass by with an outrageous lack of Nicola Walker. Continue reading “Lockdown TV Review: Spooks Series 1”
“Open your eyes, what do you see?”
It may well have had much to do with the fact that I was knackered after the previous six but I have to admit that the seventh final session of the Women Centre Stage: Power Play Festival was probably my least favourite of the day. The 24 Hour Plays | Making Headlines programme saw writers respond to headlines of the moment to create rapid response plays – none of which really lived up to the quality of the programmed works that had preceded them.
There were lots of interesting ideas floating around – Rebecca Lenkiewicz and director Anna Ledwich’s scorching take-down of Vogue’s declaration that the cleavage is out of fashion probably worked the best, interleaved with a young woman’s desperate search for adequate healthcare and the inadequacy of male responses to a serious discussion about breasts. And Charlene James’ kidnap drama with a twist gave Maggie Steed a cracking part to play, directed by Alice Hamilton. Continue reading “Review: Women Centre Stage: Power Play Festival – 24 Hour Plays | Making Headlines”
“If you marry me you’ll never be a candidate for the Vatican”
Originally seen at Shakespeare’s Globe in 2006 and 2007 as In Extremis, Howard Brenton’s newly retitled Eternal Love marks the 21st birthday year of English Touring Theatre and the first instalment in a three-year-long project to tour quality drama across the country. On a personal note, it also saw my first ever visit to Cambridge (too brief for my liking, I look forward to a return) and the Cambridge Arts Theatre (very friendly, I like the fact I found the bar before I found the box office!).
The retitling offers a further clue to its subject matter in a subtitle The Story of Abelard and Heloise but in some ways, this feels a little bit of a misnomer. For though the enduring love story between the medieval theologian Peter Abelard and his fearsomely intelligent student Heloise is a central part of the play, Brenton also focuses on the key philosophical debate of the time, as intense rival Bernard of Clairvaux declares his determination to defeat this heretical foe and maintain the doctrine of absolute faith. Continue reading “Review: Eternal Love, Cambridge Arts Theatre”
“When blood is spilt, disputes between people, nations, religions become all but impossible to solve”
A complete Brucie bonus to start off the year was the unexpected announcement that Howard Brenton’s new play Drawing the Line – a sell-out success at the Hampstead – would have its final performance live-streamed on t’internet. I hadn’t booked for the show as something had to give over Christmas and New Year and so the chance to catch up with it for free, albeit on the screen of my laptop, was one I was glad to take.
The play is set in the final days of the empire, as the British are beating a hasty retreat from the subcontinent but are determined to partition the land, and its diverse people, into India and Pakistan. The job of, quite literally, drawing the line falls to archetypal Englishman and judge Cyril Radcliffe who is shipped off to somewhere he has never been before, to accomplish what turns out to be a fiendishly complex assignment. Continue reading “Review: Drawing the Line, Hampstead Theatre via livestreaming”
“We’ve got two hours to show the vast range of work the National has done over the last 50 years by staging scenes from some of the most memorable shows – there are more than 800 to choose from”
Celebrating a notable half-century of the South Bank institution, National Theatre – Fifty Years on Stage proved a remarkable evening of theatre, gratefully captured on film so that its reach could indeed be closer to national than the capacity of the Oliver would allow. And Nicholas Hytner did a fine job of representing the illustrious past, showcasing 30 or so productions, mainly through live performance but also with some choice trips to the video archive.
The snippets of archive footage were delightful – from Robert Stephens, Maggie Smith and Olivier carousing in The Recruiting Officer and Smith with Anthony Nicholls in Hay Fever to Fiona Shaw’s incredible Richard II and Ian McKellen’s exceptional Richard III. And always alive to the connections to the past, we opened with the first scene of Hamlet featuring Sir Derek Jacobi as the ghost, revisiting the play in which he played Laertes in the very first production on this stage, And we end in a similarly ghostly manner, as the voices of Adrian Lester and Rory Kinnear giving us Othello give way to a recording of Laurence Olivier and Frank Finlay from 1965
Of the live performances, I loved Joan Plowright returning to Joan of Arc to spinetingling effect, the same with Judi Dench’s Cleopatra. Dench has a superb night in all, reprising her highly affecting rendition of A Little Night Music’s ‘Send in the Clowns’ too. And also doing it for the dames, Helen Mirren scorches in Mourning Becomes Electra, opposite Tim Pigott-Smith. And the tidbits of ‘productions we’ll never see’ were a constant delight. Kobna Holdbrook-Smith and Benedict Cumberbatch enlivening Rosencrantz and Guildenstern are Dead no end, Ralph Fiennes and Charles Edwards teasing what they could do with Pravda, Andrew Scott and Dominic Cooper promising the world with a near-perfect slice of Angels in America. I also really enjoyed the dream cast of Arcadia, Anna Maxwell Martin and Jonathan Bailey making Stoppardian magic with Rory Kinnear and Olivia Vinall, you just wish that we could somehow get longer with all of them.
Perhaps inevitably, there’s a slight whiff of the largely male, pale and stale to proceedings. Tripping from Coward to Pinter to Ayckbourn is a natural reflection of the way things were but there’s a slight danger in perpetuating that state of affairs. There’s of course a thrill in seeing Jacobi and Michael Gambon’s excerpt of No Man’s Land but you have to hope that the future (100 Years on Stage?) is able to showcase a wider range of dramatic talent to reflect a truly national theatre.
“My nature may be flawed but I struggle to overcome it”
Is there anything more annoying than someone else having the same good idea as you at more or less the same time. Given the length of time it must take to actually commission a new version of a play and bring it to the stage, who knows when or whether these two coincided but either way, London now has its second new adaptation of Strindberg’s The Dance of Death in six months. Conor McPherson refreshed the play as part of the Donmar’s residency at the Trafalgar Studios 2 but here at the Gate Theatre, Howard Brenton has taken a slightly different tack, incorporating the lesser seen second part to create Dances of Death.
The play, as with much of Strindberg’s work, is a barrel of laughs. Edgar and Alice live on a remote Swedish island which is dominated by a military barracks but though they have been married for nearly 30 years, their relationship has deteriorated into a bitterly toxic mess as their disappointments in each other and the world around them has poisoned them to the point where it is this very hatred that sustains them. So much so, that the arrival of Kurt, a figure from their past, merely offers a new dimension to their war games as opposed to a potential exit strategy. It is vicious, bitter stuff, and in the intimacy of the Gate, ought to be near-unbearable. Continue reading “Review: Dances of Death, Gate Theatre”