Starring Stephen Graham and Daniel Mays, Sky Comedy’s Code 404 treads an uneasy line between comedy, sci-fi and police procedural
“What’s with the birdbath?”
Created by Tom Miller, Sam Myer and Daniel Peak, Code 404 has a concept that feels like it ought to work but in its execution, somewhat misses the mark. Set (very loosely) in a near-future London, this is a world where technological advances have progressed so far as to be able to bring people back from the dead. So when DI John Major is killed in the line of duty, it doesn’t necessarily mean the end…
Problem is, the procedure is still experimental. So Daniel Mays’ John is more than a bit glitchy. And given that it took nearly a year to execute, his partner – Stephen Graham’s DI Roy Carver – has moved on and moved in with John’s widow – now wife again – played by the excellent Anna Maxwell Martin. And as they try to solve the case of John’s not-murder, all sorts of uncomfortable truths threaten to bubble to the surface. Continue reading “TV Review: Code 404”
The Donmar West End production of Constellations launches its first two casts in Sheila Atim & Ivanno Jeremiah and Peter Capaldi & Zoë Wanamaker at the Vaudeville Theatre
“One drink. And if you never want to see me again you never have to see me again.”
With the Donmar currently getting a lick of paint, Michael Longhurst has decided to revive his production of Nick Payne’s Constellations with a pandemic-friendly attention-grabbing model that fits neatly with Payne’s exploration of the multiverse. Four different casts take on the two-hander over the run, pushing it variously in terms of age, sexuality and race.
As if there was any doubting this is a show I like, you can read my reviews from upstairs at the Royal Court to its West End transfer to its bow on Broadway to the UK tour which also popped into the West End. And it is a real pleasure to be able to delve back into its playful structure which tracks the infinite possibilities of the relationship between quantum physicist Marianne and beekeeper Roland. Continue reading “Reviews: Constellations, Vaudeville Theatre”
The National Theatre announces new programming and launches a major new campaign for its future, National Theatre Together
The National Theatre has announced its programming until the start of next year with productions on all three South Bank stages as well as three major UK tours, two productions on Broadway, a return to cinemas, and a new feature film to be broadcast on television this autumn. In the week the theatre reopened for audiences again, six new productions were announced, and five productions halted by the pandemic were confirmed to return to the South Bank.
It has also announced the public launch of National Theatre Together, a new campaign with people at its heart, highlighting the importance of creativity and collaboration with theatre-makers and communities, for young people and audiences. The campaign cements the NT’s commitment to the people of this country and will raise vital funds for the theatre’s ambitious recovery post-pandemic. Continue reading “News: The National Theatre announces 2021-22 programming and launches National Theatre Together”
Series 3 of Motherland returns to give us more of the excellent parental shenanigans, led by the peerless Anna Maxwell Martin
“Another glass of dry white wine”
Despite losing Sharon Horgan from the writing team (she’s still onboard as a producer), the third series of Motherland remains in the safe hands of Holly Walsh, Helen Serafinowicz and Barunka O’Shaughnessy, who regale us with yet more tales of middle-class school gate shenanigans, led by brilliant performances from Anna Maxwell Martin, Diane Morgan, Paul Ready and Lucy Punch.
This time round, we deal with nits, school trips and catchment areas on the lighter side plus a touch of racism, cancer and divorce adding the requisite darker note that has been this series’ hallmark, making it more than just another featherlight comedy. The tightness of the core ensemble means that so much of it works so well but a real joy comes now with the well-judged reappearance of recurring characters. Continue reading “TV Review: Motherland Series 3”
Constellations returns to the West End and how! One of my favourite plays, with four different casts?! Amazing stuff.
“One drink. And if you never want to see me again you never have to see me again.”
This summer Nick Payne’s beautiful and heartbreaking romance Constellations is revived in the West End with a twist: four different casts take turns to journey through the multiverse exploring the infinite possibilities of a relationship; each refracting the play afresh. Starring Sheila Atim and Ivanno Jeremiah (18th June – 1st August), Peter Capaldi and Zoë Wanamaker (23rd June – 24th July), Omari Douglas and Russell Tovey (30th July – 11th September), and Anna Maxwell Martin and Chris O’Dowd (6th August – 12th September).
It’s a play I’ve followed as much as I can since it premiered upstairs at the Royal Court. From its West End transfer to its bow on Broadway, from the UK tour which also popped into the West End to the Southwark Playhouse production which never happened (very in keeping with the play!), plus there’s the new radio production which I’ve got lined up to listen to very soon. Safe to say I am handling my expectations very well and am in no way over-excited and chomping at the bit to book in to see the same show at least 4 times in less than 3 months…! See you there?
Less reviews, more notifications that a wonderful radio version of Nick Payne’s Constellations is now available to listen to on Radio 3, starring Gugu Mbatha-Raw and George Mackay. It’s well worth your time but be warned, it could well lead to expensive splurges to see the four forthcoming West End casts of Sheila Atim and Ivanno Jeremiah, Peter Capaldi and Zoë Wanamaker, Omari Douglas and Russell Tovey, and Anna Maxwell Martin and Chris O’Dowd.
Sasha Yevtushenko also directs a production of Elegy as part of this double bill, a play which I don’t remember half as fondly, despite a strong cast at the Donmar Warehouse. Here again, Juliet Stevenson, Deborah Findlay and Marilyn Nnadebe elevate the production to must-listen levels but it just isn’t as gut-wrenchingly affecting a piece of writing in the end.
Last up is Giles Terera’s The Meaning of Zong, the debut play for this talented performer which is now receiving its premiere on radio. It’s an extraordinary dramatisation of a shocking piece of British history that very few of us will know about, one which is vital to add to the discourse that has emerged since last summer and a play that must be put on major stages as soon as we can.
The Bletchley Circle – San Francisco sees half the original crew decamp to the US and you really, really wish that they hadn’t
“People don’t just walk in here and solve crimes”
The injection of dollars has revived the fortunes of many of a TV show but as with the case of Torchwood, it can come at quite the cost. Financed as a British and Canadian co-production The Bletchley Circle – San Francisco came as a spin-off of The Bletchley Circle but as it lost half its cast on the trip over the ocean, it also lost more than half the magic that made it work.
The series follows Millie (Rachael Stirling) and Jean (Julie Graham) as they decamp to San Francisco when a couple of murders there follow the pattern of the killing of one of their former colleagues Claire. Naturally, they fall in with a pair of former US codebreakers Iris (Crystal Balint) and Hailey (Chanelle Peloso) to try and crack the case the best way they know how. Continue reading “TV Review: The Bletchley Circle – San Francisco”
Hattie Morahan makes a more than able replacement for Anna Maxwell Martin in Series 2 of The Bletchley Circle
“Well ladies, let’s get cracking”
Series 2 of The Bletchley Circle at least has one more episode in it than the first, as it takes the form of two two-part stories but as it is the last season, it is also tinged with sadness. It is also a little curiously structured as Anna Maxwell Martin’s Susan departs after the first story, allowing Hattie Morahan’s Alice Merren – who appears as the protagonist of the opening mystery – to step up and replace her in the group for their final case.
Alice just happens to be another former colleague from Bletchley Park who, as the series opens, is awaiting trial for killing her old flame from those Bletchley days. Julie Graham’s Jean is sure she must be innocent and so reconvenes Lucy, Millie and a reluctant Susan to try and prove her innocence and solve the mysterious connections to a place called Porton Down… Continue reading “TV Review: The Bletchley Circle Series 2”
Rachael Stirling and Anna Maxwell Martin are fantastic in Series 1 of The Bletchley Circle, which I’ve finally gotten round to watching
“You really think that just by listening to the wireless, you can tell the police where to look for a murder victim”
I don’t really know how I have left it this late to finally watch The Bletchley Circle, just nine years since series 1 first aired in the UK. It is tailor-made for my interests too: Rachael Stirling, Anna Maxwell Martin, women in wartime(ish), oh and Rachael Stirling 😍 and with the show being on one of my streaming services, I finally took the plunge. This miniseries was written by Guy Burt and directed by Andy De Emmony, with Julie Graham and Sophie Rundle rounding out the lead cast.
And but of course, I loved it. An all-too-brief three episodes take us through the crime-solving exploits of four women who worked as codebreakers at Bletchley Park but now, in 1952, find their talents ignored by a resumption of traditional societal values. As a serial killer murders young women across London and the police fail to take their warnings sufficiently seriously, the foursome start to delve into the investigation themselves despite the intense danger that emerges. Continue reading “TV Review: The Bletchley Circle Series 1”
The National Theatre has today announced that two new filmed productions have been added to its streaming service National Theatre at Home: the Young Vic’s Cat on a Hot Tin Roof and the National Theatre and Out of Joint’s co-production Consent. Continue reading “News: National Theatre adds Cat on a Hot Tin Roof and Consent to streaming platform”