The TV adaptation of Philippa Gregory’s historical novel restarts a little unsteadily with The White Princess
“The England we once knew has gone”
For whatever reason, it took four years for the Philippa Gregory TV adaptations to restart with The White Princess following on from The White Queen. And it is a series saved by the introduction of Michelle Fairley and Essie Davis as the feuding mothers of Henry VII and Elizabeth of York, intent on relitigating the Wars of the Roses even as the marriage of their children was meant to have ended it.
A pre-Killing Eve Jodie Comer and Jacob Collins-Levy take on the roles of the couple forced together in the name of their country. With years of enmity between their houses and any number of horrific, murderous actions committed by them or in their names, it does require a fair bit of remembering your history lessons (or the first series) as so much is carried over. It does make you wonder a little why only one cast member (Caroline Goodall) was carried over from The White Queen. Continue reading “TV Review: The White Princess”
“Whate’er you think, good words, I think, were best”
Given the ubiquity of productions of Shakespeare’s works in so many of our theatres, and in particular of certain works within the canon, one might assume that those that remain neglected remain so for a very good reason. But director Phil Willmott and the Union Theatre clearly do not agree and after the successful run last year of Double Falsehood, its disputed authorship notwithstanding, they have now turned to a play that was definitely by Shakespeare, but remains very rarely produced in the modern day – King John. They say things come in threes and after having seen Prince John in The Lion in Winter and in the RSC’s The Heart of Robin Hood, it seems apt to seen him all grown up in this play, even if it might as well have been three different people for all the continuity of character!
The play is focused on questions of legitimacy as John acceded to the throne at the expense of his nephew Arthur to control the Angevin Empire whose borders stretched far into France due to the land originally held by his mother Eleanor of Aquitaine. But he is not a natural-born leader like his father Henry II or brother Richard the Lionheart and his already tenuous hold on his kingdom is further threatened when the King of France throws his support behind young Arthur and demands his abdication. Thus John is driven to increasingly desperate action as battles rage, noblemen’s loyalties waver and to cap it all off, the Pope is displeased and is considering excommunicating him. Continue reading “Review: King John, Union Theatre”