Rafe Spall and Esther Smith impress in British comedy Trying, helped by the likes of Imelda Staunton and Cush Jumbo
Just a quickie for this, as I’ve only just started to actually have a look at what is on AppleTV since they decided to extend my free trial. Created and written by Andy Wolton, Trying is a rather sweet and very typically British sitcom that follows Jason and Nikki, a 30-something couple as they struggle to conceive naturally and decide that they would like to adopt. Led by Rafe Spall and Esther Smith, the show is lots of fun and is blessed with some wonderful supporting performances.
Forever skirting that comedy/drama line, Trying is unafraid of tackling some rather meaty issues. Infertility and what that does to a couple, the inequities of the adoption system, funding for ESOL classes… And even the simplest idea of how relationships grow and are tested by the act of self-reflection – how do you measure achievement when London property prices lock you into renting forever and opportunities to climb the job ladder are way too few and far between. Continue reading “TV Review: Trying (Apple TV)”
Papatango Theatre Company has announced the ten winning monologues from their Isolated But Open – Voices From Across The Shutdown initiative. Filmed performances of the monologues are available now for free on Papatango’s website (https://papatango.co.uk/isolated-but-open/), alongside the publication of each monologue as a free online PDF by Nick Hern Books.
The winning monologues were chosen from 2,063 submissions.
They are: Continue reading “News: Papatango announce winning monologues for Isolated But Open – Voices From Across The Shutdown”
Robert Icke adapts Ibsen to create a vividly powerful The Wild Duck at the Almeida – stunning work
“Henrik Ibsen wrote The Wild Duck in 1884”
The Wild Duck may be a nineteenth century play but this is most definitely at twenty-first century adaptation, Robert Icke continuing his astonishing strike-rate of Almeida successes with yet another. This time it is Ibsen under the microscope but a mark of Icke’s seemingly endless invention is that his approach here repeats little of what he’s done before.
So a scalpel-sharp play about truth and lies becomes refracted through the truth and lies in Ibsen’s own life, the parallels between his own illegitimate issue and Hedwig’s situation brought into the light. The first half sees this done through meta-theatrical interjections, house lights up and actors commenting on the action as much as acting itself. Continue reading “Review: The Wild Duck, Almeida Theatre”
The third series of Chris Lang’s Unforgotten is another corker, and not just because of Nicola Walker, honest!
“We’ve all done things of which we are ashamed”
The cold cases of Unforgotten have rightly proved a success for their alternative tale on crime drama, putting a real focus on the victims rather than the crimes, a neat corrective to the sometimes exploitative gaze that can characterise this genre. And this third series maintained that strong record (quick review of episodes 1 and 2 here)
A measure of the regard in which Unforgotten is held is the sheer quality of its cast. With James Fleet, Alex Jennings, Kevin McNally and Neil Morrissey as its lead quartet, it added Sasha Behar, Emma Fielding, Indra Ové and Amanda Root as their partners, and then threw in Siobhan Redmond and Sara Stewart as exes as well. Continue reading “TV Review: Unforgotten Series 3”
“You understand how the world turns on successfully practised duplicity? On cunning lies?”
I think Phil Willmott and I would be very good friends. Creator of two of my favourite musicals in recent months, joyous works both, and whilst I may not have entirely approved of F**king Men, I can see where he’s coming from as it were. So I was quite upset when Phil went and ruined our friendship by choosing Chekhov as his next project, why Phil why? Still, all is not lost as it is at least Chekhov once removed.
The Notebook of Trigorin is described as a ‘free adaptation’ of Anton Chekhov’s The Seagull by American playwright Tennessee Williams. It’s quite the moment for Williams rarities in London with one of his earlier plays Spring Storm at the National Theatre and this Notebook both being performed for the first time in the capital. It mostly follows the plot of Chekhov’s original, so Masha loves Constantine who loves Nina who loves Trigorin who is also loved by Arkadina. Williams’ conceit is to make Trigorin the focus of the play and with more than a hint of autobiographical detail, makes him a closeted homosexual. So the tangle of relationships, with the destructive mother/son dynamic between Arkadina and Constantine at its core, becomes centred around the self-possessed Trigorin who is in the midst of all the tragedy in the play, yet remains unscathed by it. Continue reading “Review: The Notebook of Trigorin, Finborough Theatre”