“Donna Noble has left the library. Donna Noble has been saved”
And here we are, my favourite series of Doctor Who. So much huge wonderfulness and even its less good moments are still more than halfway decent. Key to the series’ success is Catherine Tate’s Donna Noble – gobby and one-dimensional in her introductory episode the Christmas special The Runaway Bride, her character journey throughout this season is magisterially constructed, a true awakening of self (with thankfully no romantic inclinations towards our Time Lord) and one given unbearable poignancy due to its frustratingly tragic end.
It’s also one of the best constructed series in terms of its over-arching season arc, its warnings and clues layered meaningfully into several stories and building into a momentous and properly climactic finale, which lands just about the right level of grandiosity. There’s also the first companion-lite episode (the superbly creepy Midnight) to go with the Doctor-lite one (the achingly beautiful dystopian Turn Left); a typically brilliant Moffat double-header in Silence in the Library and Forest of the Dead with gorgeous work from Alex Kingston as the soon-to-be-hugely-significant River Song; and if the return of Rose undoes some of the emotional impact of the Series 2 finale, Billie Piper’s work is spikily powerful. These are episodes I can, and have, watched over and over again.
Continue reading “Countdown to new Who: Doctor Who Series 4”
“So what are you doing about sex just now?”
As a young gay, reading Alan Hollinghurst novels felt like the height of sophistication, and whether true or not, there was an air of exclusivity about those of us who knew him (at least in the circles I moved in). So his ‘breakthrough’ with winning the Man Booker Prize for The Line of Beauty was a validation tinged with disappointment that I now had to share that something special. His journey into the mainstream was completed with the requisite television adaptation, but with Andrew Davies at the helm for BBC2, it did feel like the right hands were on the tiller.
Hollinghurst’s story centres on a five year period in the life of Nick Guest, a fresh-faced Oxford graduate who moves to London in the summer of 1983. His offer to house-sit for the family of a university friend leads into an odyssey of personal and sexual discovery as he becomes a full-on lodger, thrust into the world of Tory politicians and old money, around which he fits furtive encounters with men as he explores his sexuality in a world in where homosexuality is far from being widely accepted in public. Thus the two main strands overlap and complement each other: Nick is given a window into the privileged lives of the wealthy upper classes in the Thatcherite boom years and in which he is allowed to play his own supporting part, but in the shadow of the emerging AIDS crisis, he discovers just how barely tolerated gay life is and just how hypocritical this society can be. Continue reading “DVD Review: The Line of Beauty”
“Female punctuation forbids me to say more”
Not a huge amount of travelling for me this weekend but I’ve still got a big pile of DVDs to work my way through and so this Sunday evening, I sat down to this filmed version, by Heritage Theatre, of RB Sheridan’s The Rivals from the 2004 Bristol Old Vic production. It’s a rather popular play, we’ve seen a wickedly anarchic and amusing Celia Imrie-starring version at the Southwark Playhouse and a more traditional but impeccably acted version from Peter Hall in London in the last couple of years, so I was intrigued to see what this Rachel Kavanaugh-directed interpretation brought to the table.
It is an unfussy, uncluttered production – Peter MacKintosh’s evocative design making great use of perspective – which feels incredibly inclusive, even through the medium of film. Kavanaugh has her actors including the audience as an extra participant in all conversations so it feels we are constantly being confided in and party to all the gossip. It also helps that it is very well filmed, the quality is sharp and clear, there’s little unnecessary camera trickery or shots panning out to the audience, instead it focuses on a simple but strong representation of the action on stage, with key close-ups in all the right places: probably one of the best filmed theatre DVDs I’ve watched in that respect. Continue reading “DVD Review: The Rivals , Bristol Old Vic”