The neglect of Stanley Tucci aside, The Children Act does a decent job of bringing Ian McEwan’s novel to the screen, with Emma Thompson on fine form
“I think it’s my choice
‘I’m afraid the law doesn’t agree'”
The first half of The Children Act is astounding. Family court judge Fiona Maye is utterly devoted to her career, deciding carefully but firmly on the most delicate of ruilngs. But the case of Adam Henry gives her cause, a 17 year old cancer victim whose Jehovah’s Witnesses’ beliefs are leading him to refuse the blood transfusion that could save his life.
As Maye, Emma Thompson makes you feel every inch of the emotional stoicism she has developed in order to rise through the judicial ranks so. There’s admiration sure but also a touch of apprehension – the brittleness with which she interacts with her devoted clerk (Jason Watkins) and the casual callousness with which she takes her long-suffering husband (Stanley Tucci) for granted. Continue reading “Film Review: The Children Act (2017)”
Ruth Wilson excels in the intriguing Mrs Wilson, a drama that couldn’t possibly be true…
“You know all you need to know”
Mrs Wilson begins with ‘the following is inspired by real events’ but the truth is even more than that, as main protagonist Alison Wilson is played by Ruth Wilson, who just happens to be her granddaughter. For the story is taken from the extraordinary revelations of her own family history and adapted into a three-part serial here, which is marvellously tense and beautifully filmed.
We begin on an ordinary day in the early 60s as Alison nips home from her job to make a lunch of cold cuts for her novelist husband Alec. He doesn’t make it down to the table though as he’s kicked the bucket and instantly, hints of mystery abound as she hides his wallet and makes a surreptitious phone call. What she doesn’t expect is the knock on the door a few days later from a woman who claim to be his wife. Continue reading “TV Review: Mrs Wilson”
The best TV show you haven’t heard about? Harlots just might be it!
“When the time comes, I hope your quim splits”
I suppose that it is good that we have so many more options for good television to be made these days. The flipside to that is that it can be harder to keep track of it all. Harlots is fricking fantastic, a hugely enjoyable and high quality drama but airing on ITV Encore (and Hulu in the US), it has languished in the doldrums of the unfairly unheralded.
A glance at the castlist shows you how much of a waste this is. Samantha Morton and Lesley Manville at the head, Jessica Brown Findlay, Hugh Skinner and Dorothy Atkinson among the supporting, Fenella Woolgar, Danny Sapani and Kate Fleetwood popping up now and again too. This is luxury stuff and yet criminally few know about it. Continue reading “TV Review: Harlots Series 1”
“We can get him online”
After watching The Nether at the Royal Court, a chat with a colleague about other plays that effectively depict the internet threw up Enda Walsh’s Chatroom which played at the National Theatre a few years back (and featured both Doctor Who (Matt Smith) and Spiderman (Andrew Garfield) in its cast. It was slightly before my time of insane theatre-going so I was glad to see that I could catch a film version, adapted by Walsh himself and directed by Japanese maestro Hideo Nakata.
The story concerns five teenagers in various states of unhappiness who find succour in online chatrooms. Disillusioned model Eva, anti-depressant taker Jim, unhappy daughter Emily and inappropriately flirtatious Mo are swept up by highly-functioning sociopath and self-harmer William in a room he’s created called Chelsea Teens! At first they just talk smack about those they don’t like but William soon manipulates them into acting on their feelings, with devastating consequences. Continue reading “DVD Review: Chatroom (2010)”
“What’s an agnostic?”
Last up in the set of rehearsed readings for the International Playwrights Season was the play Pagans by Ukrainian Anna Yablonskaya. This reading was overlaid with great sadness when it was revealed that the playwright was killed in the Moscow Domodedovo Airport bombing on 24th January 2011 on her way to collect a prize for the screenplay of this very play. It had been scheduled well before her tragic death and the decision was never in doubt to continue with it as a beautiful tribute to her life and work.
Directed by Simon Godwin and translated from the Russian in which she wrote by Rory Mullarkey, Pagans follows the impact of the return of Natalya Stepanovna, long-estranged from her son Oleg, on his family, in particular his over-worked wife Marina and awkward university-dropout daughter Kristina, and other people in their life. They are all non-believers but she is fervently religious and though they are initially sceptical of her desire to bring Jesus into their lives to save them, they soon find out that the Lord (or is it Natalya) works in mysterious ways. Continue reading “Not-a-review: Pagans, Royal Court”
“The triple pillar of the world transformed into a strumpet’s fool”
After playing the role herself in 1974 for the RSC, Janet Suzman returns to Antony and Cleopatra but this time as its director and has pulled off one of the canniest casting coups of the year in persuading Kim Cattrall to return to the city of her birth to head up the cast alongside Jeffery Kissoon at the Liverpool Playhouse. The ultimate tale of the trouble caused when the personal and the political are so inextricably entwined as Cleopatra and Mark Antony tumble into a passionate affair regardless of the fact that their infatuation threatens to destroy the world around them.
Feisty yet graceful, powerful yet passionate, Cattrall’s portrayal is simply superb. A highly intelligent woman, one can see the calculations behind her eyes as she weighs up each decision that will affect her so hugely but she also plays the comedy well and her touching vulnerability when seized by thoughts of love is beautiful: the recollection of their salad days is exceptional. Kissoon’s Antony is clearly a relic of a passing age, moody and tinged with madness from the outset. His battles come from his uncertainty at his place in this world as much as they do from his doomed affair and so he is a more shambolic leader. Continue reading “Review: Antony & Cleopatra, Liverpool Playhouse”