It is Caryl Churchill’s turn to get the Tristram Kenton treatment from the Guardian’s archive, and what an impressive array of talent that have understandably flocked to this most remarkable of playwrights:
Photos: Tristram Kenton
In which the rollercoaster of quality rockets sky-high again, Series 7 of Spooks ranks as one of my favourites
“I want my team to know why I acted the way I did”
The introduction of series-long plots didn’t necessarily work first time round for Spooks but in Series 7, the magic certainly happens to produce one of the best seasons across its decade-long life. Perhaps the reduced episode order from 10 to 8 helped to refine the effectiveness of the storytelling, recognising that it was Adam’s time to go definitely worked and finally made the right kind of room for Ros to rise, and giving Gemma Jones this material was an absolute masterstroke.
Undoing the silly fakeouts of Ros and Jo’s ‘deaths’ right from the off, the introduction of Richard Armitage’s Lucas North also works well, his time in Russian captivity casting a nice shade of doubt over his presence in the team, a marked difference to the alpha males of Tom and Adam. And the ongoing Sugarhorse mystery is skillfully wound throughout the whole season, coiling ever-tighter until the hammer blows of a properly fierce finale.
She’s just a distant memory at this point – Harry really is such a fuckboy. Continue reading “Lockdown TV Review: Spooks Series 7”
Flying against the wind with this I know, but the second series of Fleabag leaves me rather cold…
“I think you’ve played with my guinea pig long enough”
I’m not sure why I’ve never succumbed to the Fleabag love that has swept the nation. Whether onstage or on screen, Phoebe Waller-Bridge’s magnus opus has never quite done it for me but what do I know – the return of the show, to a West End theatre no less, sold out quickly and the column inches about this second series of the TV show have been mounting up.
And ever the contrarian, this follow-up hasn’t really tickled my fancy either. The one thing that I think it did brilliantly was in its use of the fourth wall, particularly how Andrew Scott’s hot vicar was able to see through it for the loneliness avoidance technique it was and for pure storytelling, I thought it worked very well in terms of humanising a character who has always been rather arch. Continue reading “TV Review: Fleabag Series 2”
“You’ve confused the story
And so once again, theatres lead where critics are not inclined to follow… After the divisiveness of the extraordinary Mr Burns at the Almeida, the Royal Court now turns its hand to something a little different in the form of Tim Crouch’s Adler & Gibb. A(nother) distinctly lukewarm reception from the print critics is hardly surprising but it does feel a shame that there isn’t more of a groundswell of support for the diversity of programming we’re so lucky to have here in London. In a West End where Coward revivals are two a penny and there are actually two Importance of Being Earnests queued up to go into theatres, I for one am grateful that these opportunities are being presented to me.
A New Jersey art student Louise gives a presentation about Janet Adler, a conceptual artist who retreated from the world with her partner Margaret Gibb and died a mysterious death. Onstage, an older woman is researching and rehearsing a role for a biopic film with a colleague before a location shoot. Around them, two children in headphones are stage-managing the show, incrementally increasing our understanding about just what it is that we’re watching. Continue reading “Review: Adler & Gibb, Royal Court”