Series 2 of Chewing Gum sees Michaela Coel nail the ‘two series and out’ trajectory of some of the best British sitcoms
“I’m not 17, I’m a grown-up woman. I just…regularly make childlike mistakes”
I belatedly came to Chewing Gum just now and watched both the first series and this second one in a single sitting each, their addictive nature and too-easily bingeable lengths giving me two fine nights in front of the TV.
Writer and creator Michaela Coel rarely let her imagination get in the way of the first six episodes but here, the expansion of Tracey’s world beyond her Tower Hamlets estate is quite simply fucking hilarious. Plus, the marvellous Sinéad Matthews appears in this series too. Continue reading “TV Review: Chewing Gum (Series 2)”
In the spirit of Black Lives Matters and an inspiration from Noma Dumezweni, I’m turning my attention to the TV shows, I haven’t gotten round to watching that I should have done by now, starting with Michaela Coel’s Chewing Gum
“Do you want a Fruit Pastille?”
Michaela Coel’s comedy show Chewing Gum was born out of her play Chewing Gum Dreams which played in the Shed at the National Theatre in 2014, a rare moment when a monologue like that could be programmed at a theatre like that. I didn’t catch it then and on the evidence of this first series, the loss is most definitely mine.
A proper British sitcom (6 episodes, no fuss), the show stars creator and writer Coel as Tracey, an East London shop assistant in her early 20s who is determined to cast off the shackles of her religious upbringing and learn about the world. Oh, and she really really really wants to get some. Continue reading “TV Review: Chewing Gum (Series 1)”
Constellations by Nick Payne (Royal Court Upstairs)
Love and Information by Caryl Churchill (Royal Court Downstairs)
This House by James Graham (National’s Cottesloe)
Nicholas Hytner for Timon of Athens (National’s Olivier)
Carrie Cracknell for A Doll’s House (Young Vic)
James Macdonald for Love and Information (Royal Court Downstairs)
Ian Rickson for Hamlet (Young Vic) Continue reading “The 2012 London Evening Standard Theatre Awards”
“I don’t know where you came from or who you belong to, but I do know that no-one wants to claim you, no-one wants you to belong to them”
‘As above, so below’ so the saying goes, but in this case the opposite is true as the Royal Court upstairs follows the Hampstead Theatre downstairs in putting on a play which deals with the death of a young British soldier and its impact on the family left behind. But where Nick Payne’s Lay Down Your Cross focused on the parent-child dynamic, Hayley Squires’ Vera Vera Vera looks at how contemporaries are affected – the siblings and cousins left to mourn their loved ones and reassess their own lives in the light of tragedy. This play continues the Young Writers Festival which started with Goodbye to all That and as she originally trained as an actor, this is Squires’ first full-length play.
She moves forward and back between two scenarios in present-day Kent: a pair of schoolkids make tentative steps to progressing their friendship into something more and three months later, a brother and sister prepare for the funeral of their younger brother, killed in combat in Afghanistan. Tom Piper’s design utilises the same central structure from Goodbye to all That which he also did, but this time around the edges are covered in grass and the Kentish countryside is suggested on the walls. Jo McInnes’ direction also harks back to that first production in keeping the cast visible on the staging area even when not involved in the scenes, but pushes it a little further by having some spiky non-verbal interactions between them during the scene changes – a little thing but most effective. Continue reading “Review: Vera Vera Vera, Royal Court”