“Everyone fucks everyone, eventually”
I wrote here about the first episode of Crashing, Phoebe Waller-Bridge’s sitcom for Channel 4, and though it didn’t really float my boat, I did persevere with the rest of the series. Truth be told though, it was just more of the same – I continued to like what I liked about it and similarly, what substantially rubbed me up the wrong way continued to bug me.
Namely, the thoroughly unlikeable nature of Waller-Bridge’s self-played lead Lulu, crashing into the lives of old friend Anthony and his fiancée Kate and doing her utmost to fuck up their relationship in order to act on their hitherto unexplored lifelong sexual tension. Not that characters have to be likeable to be good but I found nothing redeemable in Lulu, just a thoroughly obnoxious selfishness that turned me off pretty much the whole show. Continue reading “TV Review: Crashing Series 1, Channel 4”
“This has been going on for years…we never put it right, it just repeats.”
Mere mortals don’t stand a chance without a dynasty behind them… Moses Raine’s father is noted poet Craig and his sister is playwright and director Nina (who looked into my very soul with the peerless Tribes) and not only that, his mother, who has her own literary career, is the niece of Boris Pasternak who wrote Doctor Zhivago. And it is to the Russian connection that Moses has turned to write his new play Donkey Heart, directed by Nina, which opens at the Old Red Lion with one of the best casts you could hope to see in any intimate theatre, never mind one perched atop an Islington pub.
Casting director Emily Jones definitely deserves mention for gathering such an illustrious company on the fringe – such experience as Wendy Nottingham and Patrick Godfrey, the younger talents of Emily Bruni and James Musgrave and emerging with one of the performances of the year so far, Lisa Diveney, She plays Sasha, the 20-something daughter of a Moscow family, three generations of which are compressed into a small apartment, along with a British visitor Thomas, her brother’s mouthy girlfriend and her father’s PA whose been stung by her landlord. Continue reading “Review: Donkey Heart, Old Red Lion”
“It seems to be that yet we sleep, we dream”
The Michael Grandage Company move onto their fourth show, A Midsummer Night’s Dream, the first of two Shakespeares that will finish the season. And given the emphasis of the star wattage that formed the backbone of its publicity, it’s an interesting choice of play due to its ensemble nature and lack of any real star parts. So we get Sheridan Smith in the dual role of Hippolyta and Titania and David Walliams as Nick Bottom the weaver, alongside a company of others many of whom have appeared in previous MGC shows.
Grandage’s main conceit is to locate the play in 1960s England, making the magical forest into a festival-like world of hippies and free love, allowing an unambiguous focus on sex as the driving force of the play. It’s more like an Athena model version of sex than the untrammeled passion of the real thing though – the four lovers parade about the forest in various states of underwear-clad undress, Titania’s seductive ways lure Bottom into an off-stage bower, the hints of amour between the Rude Mechanicals left tantalisingly unexplored. Continue reading “Review: A Midsummer Night’s Dream, Noël Coward Theatre”