With major fluctuations in the force, Series 8 maintains a strong level for Spooks – you could argue it should have stopped here
“They think you’ve got Harry Pearce in the palm of you hand and you’re making moves”
Finally, after too many years of yoyo-ing between good series bad series, Spooks finally put together two strong instalments back to back. I think the shorter run (8 episodes) really does focus the writing which now goes all-in on the serial plot line running through the whole series, yet still finding time to blend in self-contained storylines here and there.
Big betrayals cut deep, harsh on a team barely recovered from Connie’s recent deception. Personnel changes rock the team equally hard, as Malcolm is (metaphorically) sacrificed to bring back Ruth, Jo is (literally) sacrificed for big business and Ros (understandably) goes in hard for Tobias Menzies. And Richard Armitage’s Lucas North gets his arse out – quality TV all round. Should Spooks have gone out all guns blazing here?
She’s back! There’s a measure of contrivance in Ruth’s return to the show, necessary to undo the finality of her previous departure and to extricate her from the cushy life in Cyprus which she’d established forself. So cheerio to handsome new partner (they weren’t married so it’s OK he got killed), sayonara to her step-child in all but name, and welcome back to sweet emotional lrepression with Harry. Continue reading “Lockdown TV Review: Spooks Series 8”
“You not need to know my bloody business, missus”
There’s much indeed to love about East is East, the 1996 Ayub Khan Din play that was later made into a successful film (albeit one I have yet to catch), not least in the return of the remarkable Jane Horrocks to the stage and another of Tom Scutt’s impressive sets, marking him as one of the most interesting designers working in UK theatre at the moment. The play itself came at what could be considered a watershed moment in cultural representations of British Asians but given what has happened in the 20 or so years that have passed since its writing, it is interesting to consider how it stacks up now against today’s society.
The tale is an autobiographical one – Khan Din was himself part of a large family from Salford with a white British mother and a Pakistani father and a thinly disguised version of this household is what he puts on stage. It’s 1971 and George’s overbearing paterfamilias is keen for his seven children to respect and revere their sub-continental heritage, especially at a time when East Pakistan was fighting for its independence. He’s appalled that his children consider themselves more British than Asian though and have no respect for the customs he would impose upon them, especially in the arranged marriages he tries to secure for the family. Continue reading “Review: East is East, Trafalgar Studios”
“I am a native of Wolverhampton”
Molière in the modern day via the Midlands? Tartuffe is Roxana Silbert’s first production as Artistic Director of Birmingham Rep and sees her bring a distinctly local flavour to this classic French comedy. Chris Campbell’s new version dispenses with the rhyming couplets and crowbars in a ton of local references and fourth wall breaking to create a highly comic atmosphere, but one which sacrifices any sense of subtlety or depth of character for the quickfire laughs which feel more reminiscent of a panto than anything else.
My main reason for booking, aside from a trip to see the new theatre, was to see Siân Brooke, too long absent from our stages, but the main draw in the case is Mark Williams as Tartuffe, the religious hypocrite who inveigles his way into the household of self-made man Orgon, with designs on both his wife and his daughter. Not everyone falls under his spell though and the situation quickly turns farcical as they try to expose Tartuffe for what he really is, with Aston Villa scarves, jokes about HS2 and funny walks aplenty. Continue reading “Review: Tartuffe, Birmingham Rep”