Don't bother, they're here
“You must be famished coming all the way from Wigan”
I’ve been a big fan of Mike Leigh’s film work, since discovering it in the last decade or so, and loved his last film Mr Turner. So news of his return to period drama, albeit through his idiosyncratic process, in Peterloo was a plus for me. The reality though is an epic that proved a real slog for me, even boring by the end. Continue reading “Film Review: Peterloo (2018)”
“Rationality went down the drain donkey’s years ago and hasn’t been seen since”
Thing about blogging is you can’t hide from the past, or your past opinions, so the fact that the first time I saw Harold Pinter’s Moonlight was one of the most torturous hours I’d spent in a theatre up until then is no secret. So the fact that it was included along with Night School in the double bill that makes up Pinter Four gave me significant – Pinteresque even… pause.
But that was seven years ago, people change, as do tastes, and the luxury casting of the Pinter at the Pinter season made it an attractive enough proposition to revisit. And am I a now Moonlight convert? Not exactly, but it did prove a less painful experience, even if it does still maintain a power to elongate time which is exacerbated by its coolly distant demeanour. Continue reading “Review: Pinter Four, Harold Pinter Theatre”
“We do it through the most outrageous storytelling in the world, not statistics”
A lot of the chat around Mike Bartlett’s new series Press, as written by journalists at least, was around how the show fails to represent life at a contemporary newspaper in an accurate manner. So I hasten to remind us all, as if it were really necessary, that Press is a drama and not a documentary, and that dramatic license and a real, and frankly essential, thing.
Soapbox done, this six parter is an interesting if simplistic look at duelling newsroom as it follows the teams at Sun-a-like The Post and Guardian-a-like The Herald as they follow stories, set the news agenda and battle for the very soul of journalism. It’s all highly watchable in a popcorn-munching kind of way but – perhaps ironically given my first paragraph – the shadow of the real world occasionally looms a little too large. Continue reading “TV Review: Press (BBC1)”
“The king’s name is a tower of strength”
The Hollow Crown reaches its climax with a solid and occasionally very strong Richard III which once again shimmers with quality and hints of artistic innovation. And for all the lauding of Benedict Cumberbatch’s starring role, it is pleasing to see Dominic Cooke and Ben Power give Sophie Okonedo’s excoriating Margaret of Anjou her due as one of the real pleasures of running these plays together is to trace her complete arc (for she’s the only character to appear in them all) and root her enmity – alongside that of so many others – in something most palpable.
Cooke’s direction also benefits from loosening its representational restraints, Richard III’s monologues and asides make this a different type of play and Cooke responds with a series of interesting choices (though the surfeit of nervy finger-tapping was a touch too much for me) making great use of both gloomy interiors and hauntingly effective exteriors. Playing so many scenes in woodlands was an inspired decision as it leant a real eeriness to proceedings, whether Margaret or Richard bursting from the bushes to disrupt the private mourning of Elizabeth or Anne. Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 3. Richard III”
“I was a woeful looker-on”
On a night when the real drama was unfolding in Stockholm’s Globen arena and the main internecine conflict was between the juries of music professionals and the public vote as revealed by the new counting mechanism, the BBC’s decision to schedule The Hollow Crown against the Eurovision Song Contest didn’t work for me. Last week’s Henry VI Part 1 was a great reintroduction into these quality adaptations as it started the new series but the follow-up doesn’t quite match the same level.
Part of the issue lies in the seemingly accepted wisdom that the Henry VI plays are problems that need solving – I’ve still not managed to see a conventional production of the trilogy to use as a benchmark – and so the plays are often abandoned to the mercies of the vision of writers and directors. Such is the case with The Wars of the Roses: 1. Henry VI Part 2, chopped down and frantically paced, there’s a whole lot of fury but just not enough feeling (though if you’re a fan of battlefields and decapitated heads, you might fare better than I did). Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 1. Henry VI Part 2”
“We’re living in extraordinary times Virginia”
I think Rachel Freck and I would be very good friends, given the exquisite job she did in casting BBC1 miniseries Life in Squares very much according to my preferences. Phoebe Fox and Eve Best, Lydia Leonard and Al Weaver, James Norton and Rupert Penry-Jones and Elliot Cowan, plus bonus Deborah Findlay and Emily Bruni amongst many more – the stuff of my dreams. So I was already very well-inclined towards this retelling of the travails of the Bloomsbury set, written by Amanda Coe and directed by Simon Kaisjer, before it had even started.
Fortunately it also delivered well over its three hour-long episodes, giving us costume drama with a bit of a difference (and a smattering of raunch as its publicity campaign unnecessarily blurted). Kaisjer’s vision was less opulent fantasy than lived-in reality, albeit through an artistic filter, and so handheld camerawork mixed with everyday costumes to achieve this more rooted ethos. And Coe’s script putting one of the lesser celebrated of the set – Vanessa Bell née Stephens – at the heart of the narrative gave the narrative the freedom to stretch out across multiple timeframe, remaining fresh all the while. Continue reading “TV Review: Life in Squares”
Best Actor
Rob Edwards, in Duet For One and Separation, at the Octagon Theatre, Bolton
Michael Hugo, in Around The World In 80 Days, at the Royal Exchange
Harry McEntire, in Billy Liar, at the Royal Exchange
Dan Parr, in Britannia Waves The Rules, at the Royal Exchange
Michael Shelford, in Early One Morning, at the Octagon Theatre, Bolton
Best Actress
Clare Foster, in Duet For One and Separation, at the Octagon Theatre, Bolton
Natalie Grady, in Hobson’s Choice, at the Octagon Theatre, Bolton
Suranne Jones, in Orlando, at the Royal Exchange
Maxine Peake, in Hamlet, at the Royal Exchange
Lauren Samuels, in Love Story, at the Octagon Theatre, Bolton Continue reading “The 2014 Manchester Theatre Awards nominations”
“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”
| Winner | Runner-up | Other nominees | |
|---|---|---|---|
| Best Actress in a Play | Marianne Jean-Baptiste, The Amen Corner | Michelle Terry, A Midsummer Night's Dream (Globe) | Lucy Ellinson, Grounded Stella Gonet/Fenella Woolgar, Handbagged Lesley Manville, Ghosts (Almeida) Shuna Snow, Iron |
| Best Actor in a Play | Philip Duguid-McQuillan & Jamie Samuel, Jumpers for Goalposts | Al Weaver, The Pride | Brian Cox, The Weir Hugo Koolschijn, Scenes from a Marriage (Toneelgroep Amsterdam) Benedict Wong, Chimerica |
| Best Supporting Actress in a Play | Linda Bassett, Roots | Deborah Findlay, Coriolanus | Anna Calder-Marshall, The Herd Isabella Laughland, The Same Deep Water As Me Hadewych Minis, Scenes from a Marriage (Toneelgroep Amsterdam) Cecilia Noble, The Amen Corner |
| Best Supporting Actor in a Play | Pearce Quigley, A Midsummer Night's Dream (Globe) | Roeland Fernhout, Scenes from a Marriage (Toneelgroep Amsterdam) | Richard McCabe, The Audience Jeff Rawle, Handbagged Andy Rush, Jumpers for Goalposts Alexander Vlahos, Macbeth (MIF) |
| Best Actress in a Musical | Rosalie Craig, The Light Princess | Cynthia Erivo, The Color Purple | Zrinka Cvitešić, Once the musical Anita Dobson, Carnival of the Animals Scarlett Strallen, A Chorus Line Charlotte Wakefield, The Sound of Music |
| Best Actor in a Musical | Kyle Scatliff, Scottsboro Boys | Declan Bennett, Once the musical | David Birrell, Sweeney Todd Nick Hendrix, The Light Princess Matt Smith, American Psycho Michael Xavier, The Sound of Music |
| Best Supporting Actress in a Musical | Leigh Zimmerman, A Chorus Line | Nicola Hughes, The Color Purple | Amy Booth-Steel, The Light Princess Katie Brayben, American Psycho Cassidy Janson, Candide Sophia Nomvete, The Color Purple |
| Best Supporting Actor in a Musical | Kit Orton, The Hired Man | Michael Matus, The Sound of Music | Ben Aldridge, American Psycho Christian Dante White, Scottsboro Boys Kane Oliver Parry, The Light Princess Gary Wood, A Chorus Line |