Billie Piper and Lucy Prebble reunite and collaborate to great success with the sharply funny I Hate Suzie
“I’m sorry the world’s seen your dick, but also – fuck off, slightly”
Lucy Prebble and Billie Piper’s creative relationship has covered TV (Secret Diary of a Call Girl, the first season at least) and theatre (the excellent The Effect) and was recently reignited with Sky series I Hate Suzie. Drawing something of personal history, the show follows a former teen pop star turned sci-fi actress as she deals with a phone hacking incident which leaves problematic intimate photos of her scattered on the internet.
The eight episodes cycle through, and are titled after, stages of trauma – Shock, Denial, Fear, Shame, Bargaining, Guilt, Anger, and Acceptance – representing the indubitably self-centered Suzie’s processing of her experience. And it is a highly entertaining, linear journey, one which Suzie barrelling forward with an interesting lack of recurring characters – even her family members only get the one episode in which to appear, such is the pace of the high-maintenance that she is alternately trying to salvage and sabotage. Continue reading “TV Review: I Hate Suzie”
Some excellent acting makes The Son, Florian Zeller’s latest West End hit, worth a trip to the Duke of York’s Theatre
“Sometimes I feel I’m not made for this life”
British theatre’s determination to adopt Florian Zeller as one of its own continues unabated as the Kiln Theatre’s production of The Son transfers into the Duke of York’s for the autumn. It completes a loose trilogy of family plays (The Father, The Mother) though it is decidedly less tricksy than either of its predecessors.
The subject at hand here is mental health and in some ways, the directness feels like the right choice. A child of a broken home, Nicolas is a troubled soul – his mum Anne is unable to cope on her own, his dad Pierre’s attentions are split with his new family, and no-one seems to really clock how deep his depression runs. Continue reading “Review: The Son, Duke of York’s”
Too short a run and too short a play? I just about make it to God of Carnage at the Theatre Royal Bath
“Are we ever interested in anything but ourselves?”
A criminally short run for Theatre Royal Bath’s production of God of Carnage, especially since it has er’ from Downton and ‘im from The Royle Family and ‘her from Sherlock and *swoon* Nigel Lindsay in it. I was barely able to fit it into the diary but a sweeping trip to the West Country at the weekend meant I got in just before the final show.
Yasmine Reza’s ferociously savage take on middle class mores was seen in the West End a decade ago and appears to have lost none of its bite. As two well-to-do families come together to discuss a playground incident between their children, the thin veneer of respectability as they tiptoe around the delicacy of the situation is soon ripped away and a real ugliness revealed. Continue reading “Review: God of Carnage, Theatre Royal Bath”
“The murderer is never the one you initially suspect”
A real treat here for fans of Agatha Christie as Crooked House is one of the few novels of hers that has yet to be adapted for the screen. With a screenplay by Julian Fellowes, Tim Rose Price and Gilles Paquet-Brenner, the latter of whom also directs, a curious release strategy sees it materialise on Channel 5 in the UK despite it being blessed with the kind of castings and high production values that you’d’ve thought would be destined for the cinema.
The story begins as so many of them do, with a murder. This time it is wealthy 80-some tycoon Aristide Leonides who kicks the bucket and the finger of suspicion doesn’t know where to point as it could any one of the disillusioned family members who also lived in the sumptuous family pile. His grand-daughter secures the services of a private investigator to look into the case discreetly and thus the mystery begins.
Is it Glenn Close’s mole-murdering Lady Edith, the sister of Leonides first wife? Christina Hendricks’ much younger second wife Brenda who stands to inherit everything? His hapless elder son or his hapless younger son or maybe one of their wives, a pair of crackingly vibrant performances from Gillian Anderson and Amanda Abbington respectively. And what secrets do Jenny Galloway’s nanny or Honor Kneafley’s 12 year old Josephine have up their sleeve?
Pleasingly, Max Irons’ investigator isn’t a Poirot or Marple-like savant and so the focus is allowed to rest on the unfurling of characters with murky motivations and a real sense of unease that percolates through the whole story. Sebastian Winterø’s cinematography plays into this with constantly interesting angles and Simon Bowles’ luscious production design is extraordinarily detailed in the way different rooms reflect their inhabitants.
Last but by no means least, there’s no denying the thrill that comes from a genuine shock of an ending that is brilliantly brutal, both in its reveal and its finality. Its darkness is possibly one of the reasons Crooked House hasn’t been filmed before but I love the fact that it is also one of Christie’s two favourites of her novels (the other being Ordeal By Innocence which was scheduled to be this year’s BBC/Sarah Phelps adaptation but which remains in limbo due to allegations made against one of its cast members).
“Are you one of those? They’re everywhere in Brighton aren’t they.
‘Yeah, not so many in Halifax though, cos of the weather’”
I really enjoyed the opening half of new BBC police drama Cuffs and so whacked up a review of those four episodes whilst they were still watchable on the iPlayer. The show has now finished its run, 8 episodes being the default setting for a ‘long’ series here in the UK, and whilst it may have lost a little of the fast-paced energy that characterised its arrival, its bevy of boisterous characters ensured I was fully engaged right through to the end of the last episode.
With such a large ensemble making up the South Sussex team, Cuffs did sometimes struggle in giving each of them a fair crack of the whip. For me, it was Amanda Abbington’s Jo who got the shortest end of the stick, too much of her screen-time, especially early on, being taken up with the fallout of her illicit affair instead of showing her as the more than capable police officer we finally saw in the latter episodes. Continue reading “TV Review: Cuffs Episodes 5-8”
“All we can do is hang on”
Rather incredibly, given the number of crime dramas there are, Cuffs is actually the BBC’s first police procedural since 2007’s Holby Blue (according to Wikipedia at least), but a rather good one it is too. Creator Julie Gearey has set the show in Brighton and its environs, the territory of the South Sussex Police service, and the first four episodes (which entertained me on a train journey back from Amsterdam) started Cuffs off so strongly that I wanted to recommend it now whilst you can still catch them all on the iPlayer.
The opening episodes are jam-packed with incident, the first part alone crammed child abduction, stolen JCBs, stabbings and a racist released from prison to give a strong sense of the relentless pace of life in the force but the writing has been particularly strong in demonstrating the peculiar demands of modern policing. Traditional boundaries of respect have been torn down so we see the police punched, spat on, and kicked in the face and also having to deal with rubberneckers filming accident scenes on their phone, and members of the public chancing their arm with harassment claims. Continue reading “TV Review: Cuffs Episodes 1-4”
“What would you do differently next time Badger?”
The first thing that strikes you as you enter the Royal Court’s upstairs space for God Bless The Child is the complete immersiveness of Chloe Lamford’s set design. It may sound clichéd but it really does feel like you’re stepping into a primary school classroom and the level of detail is so pitch-perfect, it isn’t long before you utterly forget where you are and get swept up in reading the various school projects on the wall and admiring the crayon-colouring of the flags of the world. It’s a great start to what emerges as a slyly subversive play that shows you’re never too young to be a revolutionary.
As with Vivienne Franzmann and Mogadishu, Molly Davies brings a wealth of teaching experience to her playwriting after many years in the job and in shows in the little details of its characters. The enthusiasm with which Ony Uhiara’s youthful Ms Newsome seizes on new teaching initiative Badger Do Best, the cautious eye on finances that Nikki Amuka-Bird’s head Ms Evitt maintains, the seen-it-all pragmatism of old-school teaching assistant Mrs Bradley, perfectly cast in Julie Hesmondhalgh. And as government-appointed educational Svengali, Amanda Abbington’s Sali Rayner has a chilling evangelical zeal.
Continue reading “Review: God Bless The Child, Royal Court”
Best Comedy Series
The Big Bang Theory (CBS)
Broad City (Comedy Central)
Orange Is the New Black (Netflix)
Silicon Valley (HBO)
Best Drama Series
The Americans (FX)
Breaking Bad (AMC)
Game of Thrones (HBO)
The Good Wife (CBS)
Masters of Sex (Showtime)
True Detective (HBO) Continue reading “4th Critics’ Choice Television Awards nominees”
Just a quickie to cover this reading of a new play. The Pitch Your Play initiative run by Masterclass offers the opportunity for young writers aged 17-30 to showcase their new and unpublished work in front of an audience. Simon Cotton has had a busy time of it recently as part of Action to the Word’s A Clockwork Orange but he’s also made room to write The Undone Years, a play which looks at the immediate aftermath of the First World War on British family life.
I’m not going to review, this post is mainly for completeness of my theatre trips, but I did think that it was an interesting approach to looking at the enduring effects of war on the day-to-day living, not only on those who survived the battlefield but those who were left behind. And how whole aspects of life had to be reconfigured in light of the huge shadow of the war – how important can one make one’s individual concerns in light of such loss.