“The Black bird has landed”
It’s only taken me, ooh, a couple of years to get round to watching Cilla, a 2014 ITV miniseries written by Jeff Pope, in which time the small matter of Cilla Black’s passing has made it a more poignant piece. My main reason for watching though, its arrival on Netflix aside, was to finally catch up with Sheridan Smith’s portrayal of the Liverpudlian light entertainment behemoth, back in the days when she was just a Scouse lass called Priscilla White.
Pope’s script definitely has a touch of the rose-tinted about it but there’s no denying the amazing energy of Liverpool’s music scene in the 1960s that comes across in the first two episodes. Though she has a job as a typist – her mother proudly proclaims “the first in the family to be considered suitable for office work” – Cilla dreams of being a singer and is making quite the name for herself on the club circuit, building a following through club performances with upcoming bands such as a quartet called The Beatles. Continue reading “TV Review: Cilla”
“We will make amends ere long”
After The Faction’s Romeo and Juliet that stretched out beyond the three hour mark, here’s a version of A Midsummer Night’s Dream that is similarly lengthy – I’m really hoping this isn’t the emergence of a trend because it does no good to anyone in all honesty. Notions of textual fidelity are all well and good but they can also lack dramatic focus – the ever-evolving mutability of Shakespeare’s text is one of its key strengths and it is a mark of directorial nous to be able to harness that potential and deliver it onstage (and if it is going to be long, then it needs not to feel long).
But here, for every innovation that Nick Bagnall comes up with for his production at the Everyman in Liverpool – and there are many of them – there’s an overcooked scene that drags unbearably. It makes for an occasionally difficult piece of theatre but one that also has imaginatively exciting moments too. Ashley Martin-Davis’ design also embodies this conflict in its amorphous undefinability, no particular time or place evoked but rather a vaguely futuristic, dark carnival-esque atmosphere for an unfamiliar Athens and a strange forest of scattered white paper that is a great idea but not quite pulled off. Continue reading “Review: A Midsummer Night’s Dream, Liverpool Everyman”