Series 3 of The Crown sees new actors in across the board but Olivia Colman is sadly no Claire Foy. Helena Bonham Carters rock though
“Sometimes duty requires one to put personal feelings…
Doing little to dispel rumours that she isn’t a Time Lord, The Crown takes its cues from Doctor Who as Series 3 sees the Queen regenerate from Claire Foy to Olivia Colman. And not just that, the whole cast of main players has been replaced as this new company will take us through the next couple of series. It’s a clever move, considering the spain of history that the show takes but it is also a little sad to lose such excellent performances as Vanessa Kirby’s Princess Margaret, Victoria Hamilton’s Queen Mum, Alex Jennings and Lia Williams as Edward and Wallis and of course, Foy’s exceptional work.
Series 3 then, takes us from 1964 to 1977, featuring such notable events as the Aberfan tragedy, the moon landing and the arrival of Camilla in Charles’ life. And with its many millions and pick of the white acting talent in this country, it remains eminently watchable. That said, something has shifted for me and it just doesn’t feel as effective as the first two seasons. A large element of this is the way series creator and main writer Peter Morgan has structured the show, choosing to maintain a massive ensemble of recurring characters but keeping the focus, and turnover, of episodes relentlessly tight. Continue reading “TV Review: The Crown Series 3”
The Crown returns with Olivia Colman and Tobias Menzies at the helm, and Helena Bonham Carter stealing the show
“Everyone at the Post Office is delighted with the new profile”
Gotta get those hits…who knows how far behind I am, given I’m 9 hours ahead of the UK at the moment, but I thought I’d jot down my initial thoughts on the first three episodes of series 3 of The Crown (all written by Peter Morgan and directed by Benjamin Caron), as Netflix kindly offered them up as holiday entertainment. (And since I’m away, I’ve been a little insulated from all the Prince Andrew drama, which from over here almost feels like a random bit of guerilla marketing).
- I wonder if I have a little hangover from just how good Claire Foy was, but I’m 100% feeling Olivia Colman in the role yet. She doesn’t seem quite as subsumed into the character, in the way that Foy’s every minutely detailed movement seemed to be. That said, there’s some scorching moments when Jason Watkins’ Harold Wilson dares to suggest her response to the Aberfan tragedy is lacking.
- The excellent Tobias Menzies hasn’t really had enough screen time yet to have his Prince Philip make an impact, though I’ve every faith.
- The casting of Helena Bonham Carter as Princess Margaret is inspired, the extravagance of the character is perfectly suited to her but she’s bringing a real depth at the same time.
- And I have to say I miss Matthew Goode’s hugely erotic insouciance as Antony Armstrong-Jones, Ben Daniels’ much more wearied take hasn’t quite ticked my boxes yet.
Elsewhere, the headlong rush through the years means that we’re doomed to the smallest contributions from some excellent actors – Samuel West’s Anthony Blunt and Angus Wright’s MI5 bod were gone too soon, though I live in hope of more from Penny Downie’s Duchess of Gloucester, Aden Gillett as Richard Crossman and Sinéad Matthews as Marcia Williams (seriously, her accent is a thing of pure beauty).
And given the budget is allegedly in the many millions, it certainly looks a treat once again. From glistening palatial lushness to agonisingly destroyed villages, these are fully realised worlds no matter how short a space of time we end up spending in them. Caron’s direction also makes room for a more uncomplicated cinematic as well though, choosing iconic visual to close out each episode – the regal silhouette, juxtapositions of Margarets old and new, the children playing. This is a Crown that has lost none of its lustre.
Photo: Sophie Mutevelian
Despite some considerable talent involved, I vote to leave Brexit: The Uncivil War
“It says here you basically ran the Leave campaign and yet I doubt most people have ever heard of you”
It is difficult to watch Brexit: The Uncivil War because it is hard to locate a raison d’être for telling this story as a drama rather than a documentary. Given how close it is to the present day and the way in which so much has still yet to unfold in the way the UK eventually disentangles from the EU, making the choice to start creating art around it feels an odd choice.
I’ve long been a fan of James Graham, like any rational person, and the way he has been able to dig deep and really explore so many of the issues afflicting contemporary society has been brilliantly in evidence. But it is hard not to feel that Brexit is a mis-step in the way that it seeks to reinterpret the roles of the key dramatis personae in this whole sorry shebang. Continue reading “TV Review: Brexit: The Uncivil War”
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”
National treasure Matthew Kelly and West End superstar Josefina Gabrielle are to star in the brand-new stage adaptation of The Box of Delights, possibly the creepiest children’s tv show ever and one which is indeliby etched on my psyche. This original production is the first time Poet Laureate John Masefield’s festive classic has been reimagined for the stage, and will be brought to life by an ensemble cast in the gloriously Christmassy surroundings of Wilton’s Music Hall.
Joining Kelly and Gabrielle as part of the stellar cast will be Mark Extance, Safiyya Ingar, Tom Kanji, Samuel Simmonds, Rosalind Steele and Alistair Toovey.
Continue reading “Round-up of news and treats and other interesting things”
“One girl, against the happiness of the whole village. Can you not see it has to be done?”
The Papatango prize has unearthed some fascinating new writing over the last few years, Luke Owen’s Unscorched, Louise Monaghan’s Pack and Dawn King’s Foxfinder to name just a few, and it is to the last play there that this year’s winner bears some thematic similarity. Mining a vein of dystopian folklore clearly gets you far in this competition and Matt Grinter’s Orca proves itself an interesting winner.
Directed by Alice Hamilton at the Southwark Playhouse, Orca works best as a skin-crawling pseudo-thriller, the ominous weight of something terribly wrong weighing down this community. On a remote island, an isolated village goes through the same ritual they’ve carried out for years – selecting a young girl to enact a mock sacrifice to disperse the orca pods who decimate the fishing stocks on which the community relies so heavily. Continue reading “Review: Orca, Southwark Playhouse”
“What on earth is a soul?”
As the development of artificial intelligence advances ever closer to Skynet territory, so too does the complexity of the ethical questions around it. And it is these moral tensions that Simon Vinnicombe’s new play R and D focuses on – as science creates robots seem ever more human, capable even of independent thought, where do we draw the line? Or is it already too late, is Judgement Day already written in the future history books?
R and D begins innocuously, as these things always do. Scientist David offers to cheer his widowed writer brother Lewis up by offering him a £3 million job (as you do), merely spending time with a woman called April and reporting on their relationship. Trick is, she’s one of the most sophisticated robots ever constructed and through her interactions with the emotionally compromised Lewis, the bounds of technological progress are messily, murkily exceeded. Continue reading “Review: R and D, Hampstead Downstairs”
“245 women silks ever, out of tens of thousands”
I do love a legal drama and so too does Peter Moffat. I’m forever grateful for him for the Helen McCrory-starring joy that was North Square and I’ve recently caught up with the two series of Criminal Justice that he was responsible for, so it was only natural that I should be a big fan of Silk. But as the time pressures of a busy theatre schedule rarely let go, it wasn’t something I had time to watch live and it was only with its arrival on Netflix that I was able to catch up with it. The show focuses on a single chambers with two leading lights both hoping to be appointed Queen’s Counsel, “taking silk” as it were, and dealing with the pressures of life at the Bar.
Casting Maxine Peake and Rupert Penry-Jones as the rivals Martha Costello and Clive Reader works extremely well – her fierce intelligence and emotional counterbalance being perfectly portrayed by the ever-strong Peake and Penry-Jones making Reader something of an arrogant buffoon yet one with some redeeming qualities as he competes and consoles, seduces and shines his way through life. Over the six episodes, the focus is mainly on Martha and her dilemmas as she finds herself pregnant at a time of huge professional significance, but the series as a whole makes for a modern and exciting version of a legal drama. Continue reading “DVD Review: Silk, Series 1”
There are so many short films out there featuring so many actors that I like that I found it impossible choose my favourites…so here’s a second set for your delectations, there may well be more to come!
The main reason I started looking at short films was after having been sent this little beauty which was a finalist in the 2010 Electric Shorts competition. I Do stars both Julian Ovenden and Aden Gillett so it should be clear why someone thought it relevant to my interests, but it is actually a really well put together little film by Duncan Cargill. It looks good, it is sexy and fresh and wittily clever all within less than three minutes. If you only watch one of these films, I’d make it this one! Continue reading “Short film reviews #2”
George Bernard Shaw’s 1906 medical ethics drama The Doctor’s Dilemma had a lot to live up to as the last time I was in the Lyttelton at the National Theatre was for the superlative The Last of the Haussmans, one of my favourite plays of the year so far, but though it didn’t quite scale those heights for me, it did emerge as a most satisfying night at the theatre. Shaw’s play centres on the newly ennobled Sir Colenso Ridgeon, a doctor who has discovered a new cure for tuberculosis but only has limited space on his trial. When the beautiful Jennifer Dubedat pleads for the inclusion of her talented artist husband, he is torn as his penniless colleague Dr Blenkinsop is also suffering from the disease and so Ridgeon and his colleagues gather to assess and discuss who is the worthier candidate for treatment.
Peter McKintosh’s set design is an effective triumph and ingenious to the extent that it garnered a round of applause at one point (although it will be slightly less surprising to those that saw this play). It possesses the requisite austere grandeur in all its incarnations of artists’ garrets, Richmond eateries, Bond Street art galleries and Harley Street salons into which Nadia Fall places her talented cast. Genevieve O’Reilly brings a stunning self-possessed statuesque dignity to Jennifer, almost too reserved until the devastating turbulence of the final act reveals all she has been concealing, Tom Burke dances across the stage with a quicksilver lightness as the manipulative Dubedat whose artistic talent has to be weighed against his problematic morals and Aden Gillett (who should always wear a full beard, always) is magnificent as Sir Colenso, pondering the titular dilemma with an aptly detached manner as befits his finely aristocratic bearing. Continue reading “Review: The Doctor’s Dilemma, National Theatre”