Les Misérables – The Staged Concert is released on digital download, along with a bonus featurette which is highly amusing
“Minutes into hours, and the hours into years”
Striding over the barricades to alleviate lockdown tedium, Les Misérables – The Staged Concert has now been released on digital download. The release will raise funds for performers, musicians and the NHS as well as incurring additional donations (an extra £5 for every purchase) from The Mackintosh Foundation which will go to the charity Acting for Others, the Musicians Union Coronavirus Hardship Fund and Captain Tom Moore’s Walk for the NHS fund
You can actually watch Bringing It Home – A Les Miz Stay at Home Special below but I thought I’d give you fair warning as it has its pros and cons. Continue reading “Lockdown review: Les Misérables – The Staged Concert”
The Half – Photographs of Actors Preparing for the Stage by Simon Annand
Just a quickie for this book as The Half – Photographs of Actors Preparing for the Stage by Simon Annand was released in 2008. But with an imminent new exhibition of these photos and a bargainous copy of the book popping up on Ebay, I thought I’d take the plunge.
And I’m glad I did as it is a proper work of art in its own right. Annand has been photographing actors for over 25 years and as such, has a veritable treasure trove of shots to share with us, resulting from the trusting relationships he has built up with so many, from the new kids on the block to veritable dames. Continue reading “Book review: The Half – Simon Annand”
“Time will tell, it always does”
Phew, the Doctor Who rewatch comes to an end with the most recent series, another that I hadn’t seen any of since it originally aired. And again it was one of highs and lows, a frustrating sense of pick and mix that never settles. So from the astonishing bravura of the (practically) solo performance in Heaven Sent to kid-friendly quirks of the sonic sunglasses and guitar playing, Capaldi took us from the sublime to the silly. Fortunately there was more of the former than the latter (although it is interesting that my memory had it the other way round).
Part of it comes down to knowing in advance how the hybrid arc plays out (disappointingly) and a little perspective makes Clara’s departure(s) a little less galling. This way, one can just enjoy the episodes for what they are, free from the weight of the attempted mythologising. The Doctor raging against the futility of war, the wisdom (or otherwise) of forgiveness, the repercussions of diving in to help others without thinking through the consequences…it is often excellent stuff. It’s also nice to see Who employ its first openly transgender actor (Bethany Black) and a deaf actor playing a deaf character (Sophie Stone). Continue reading “Countdown to new Who: Doctor Who Series 9”
“It is known that the Doctor requires companions”
Right – the first season that I haven’t rewatched any of at all. Things get a bit hectic here as once again, the series got split in two, accommodating the mid-season departure of Amy and Rory and the (re-)introduction of new companion Clara Oswald, plus a pair of specials respectively marking the 50th anniversary of Doctor Who and the end of Matt Smith’s tenure as Eleven. It all adds up to a bit of a bloated mess to be honest, though not without its high points.
Amy and Rory feel a little ill-served by their final five, the introduction of Mark Williams as Rory’s dad detracts from their screen-time (yet he doesn’t feature in their farewell?), though the return of the Weeping Angels gives their noirish NY-set exit episode some real heft. And though I admire Jenna Coleman’s confident take on Clara, she’s a hard companion to warm to without any contrasting humanity to go with her intelligence and intensity.
The ‘Impossible Girl’ arc didn’t really tick my box and the grandiosity of Moffatt’s writing for the finale of The Name of…, The Day of… and The Time of the Doctor doesn’t really help (I was curiously unmoved by all the fan-service second time round). Still, Gatiss knocks it out of the park with the superb Ice Warrior tale Cold War and bringing mother and daughter Dame Diana Rigg and Rachael Stirling together on screen for the first time. Continue reading “Countdown to new Who: Doctor Who Series 7”
“Demons run when a good man goes to war”
And here it is, the point at which I stopped loving new Doctor Who, even in a series that has two of the best episodes it has done, and the first series that I haven’t ever rewatched in its entirety. I do enjoy Matt Smith’s Eleven immensely but the writing across this season – which was split into two for transmission – was just fatally erratic for me. Alongside the innovative work from Neil Gaiman in The Doctor’s Wife and Steve Thompson in The Girl Who Waited, two contrasting but superlative pieces of writing, stories such as The Curse of the Black Spot and Night Terrors took the show to a less sophisticated place – (or do I really mean that I started to feel that this version of Doctor Who wasn’t necessarily aimed at me…?)
Even the big finales (for there were two, one for each half) fell a little flat. The premonition that the Doctor would “fall so much further” than ever before in A Good Man Goes to War raised expectations only to be dashed by an overloaded episode with little emotional heft aside from the River Song reveal, and The Wedding of River Song suffered from the general over-use of the characters dying-but-not-really-dying trope (poor Arthur Darvill…). That said, the high points of the series are so very good – the striking US-set opening double-bill, the Doctor finally meeting the TARDIS, and brain-scratching sci-fi with real heart. Frustratingly inconsistent. Continue reading “Countdown to new Who: Doctor Who Series 6”
“I’ve seen many things, my friend. But you’re right. Nothing’s quite as wonderful as the things you see”
So as David Tennant’s Ten regenerates into Matt Smith’s Eleven, Doctor Who also changed showrunner/lead writer/executive producer/oddjob man as Steven Moffat took over the reins from Russell T Davies. The pressure was on both to deliver – the relatively unknown Smith had low expectations, Moffat had sky-high ones due to his much-garlanded writing – and I don’t think you can argue that they didn’t. Smith revealed an impossibly ancient soul to his youthful frame with a Doctor unafraid to be as angrily dark as hyper-actively quirky. And Moffat constructed a complex series, introducing the depths of new companion Amy Pond slowly, and building to a multi-stranded timey-wimey finale that makes the head hurt just to think about it.
Elsewhere, the overused Daleks returned in multicoloured format, the Weeping Angels were much more successfully reprised in a stonking double-header, the Silurians also came back, and Arthur Darvill’s Rory grew in stature to become an effective second companion as opposed to a third wheel. Oh, and Helen McCrory stole the show, but then you knew I’d say that didn’t you 😉 Continue reading “Countdown to new Who: Doctor Who Series 5”
“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”
David Birrell, Sweeney Todd, Royal Exchange
Kenneth Branagh, Macbeth, Manchester International Festival, St Peter’s Church
Nigel Cooke, To Kill A Mockingbird, Royal Exchange
Paul Webster, Sugar Daddies, Oldham Coliseum
Jack Wilkinson, David Copperfield, Oldham Coliseum
Marianne Benedict, Chicago, Oldham Coliseum
Cush Jumbo, A Doll’s House, Royal Exchange
Gillian Kearney, Educating Rita, Library at The Lowry
Alex Kingston, Macbeth, Manchester International Festival, St Peter’s Church
Maxine Peake, Masque Of Anarchy, Manchester International Festival, Albert Hall
Shannon Tarbet, To Kill A Mockingbird, Royal Exchange Continue reading “The 2013 Manchester Theatre Awards nominations”
“Thou call’st thyself a hotter name than any is in hell”
One of the big ticket numbers in the Manchester International Festival this year has to be the return of Kenneth Branagh to Shakespeare, with him taking on the role of Macbeth in a production that was surrounded in secrecy and full of advisory warnings to the lucky few with tickets such as “don’t wear any dry-clean only outfits”, “you may not leave your seat once it has started” and possibly the toughest given its 2 hour interval-free running time, “no toilets in the venue”. That venue has now been revealed to be St Peter’s Church in Ancoats, a deconsecrated space used by the Hallé orchestra to rehearse in and whilst the toilets may be five minutes away at Murray’s Mill where tickets are collected from, any fears of emerging from the show drenched in mud and/or blood were left unfounded.
One can see straightaway though why the warnings have been made. The audience is placed in traverse either side of an earth-covered aisle and within moments of the start, a huge battle rages just inches from the audience with rain pouring, mud churning and sparks flying as swords clash. It’s an incredibly visceral start to a frequently breath-taking production – co-directed by Branagh and Rob Ashford – which successfully marries tradition with innovation, reinvigorating rather than reinventing Shakespeare’s timeless tale of the corrupting influence of power and ambition. Ashford’s eye for theatrical spectacle is combined with Branagh’s acute Shakespearean expertise and together, create something uniquely special. Continue reading “Review: Macbeth, St Peter’s Church Manchester”
“Sometimes we don’t see everything that’s going on”
A tale of how the supernatural can linger in the same house, Marchlands was an ITV drama originally broadcast in early 2011. Written by Stephen Greenhorn and set in Yorkshire, it follows the fortunes of three families who all live in the same house. In 1968, Ruth and Paul are mourning the death of their 8 year old daughter Alice but suffering from a serious lack of communication and stifled by living with his parents. In 1987, the Maynard family struggle to deal with young Amy’s invisible best friend whose arrival coincides with all sorts of strange happenings. And in 2010, Mark and Nisha return to the village of his childhood, but secrets from the past threaten their future and that of their unborn child.
Greenhorn’s writing cleverly sets up and slowly unravels a different set of mysteries in each of the strands, whilst also introducing overlapping elements which intertwine across the years. Jodie Whittaker’s Ruth, dismissed as a hysterical grieving mother, brings a tortured distress to her determination to find out the truth behind her daughter’s drowning; Dean Andrews and Alex Kingston pair up brilliantly as the 80s couple whose children are inexplicably caught up in Alice’s web; and Shelley Conn is convincing as the modern-day new mother, stressed from the demands of parenthood, the loneliness of her new home, the mysteries that her husband, the ever delectable Elliot Cowan, won’t reveal. And then there is Anne Reid, in scintillating form as a woman vital to all of the stories. Continue reading “DVD Review: Marchlands”