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”
Simon Stone creates a beautifully warm Britflick in the gentle Sutton Hoo drama The Dig
“Don’t let Ipswich Museum take your glory”
If you had to guess which particular avant-garde theatre director was responsible for The Dig, I’m pretty sure no-one would plump for Simon Stone. But after blistering takes on the likes of Medea, Yerma and The Wild Duck, UK historico-fiction is where we’ve ended up and what a rather lovely thing it is.
Written by Moira Buffini from John Preston’s novel, The Dig takes the true story of the Sutton Hoo excavation, when a self-taught archaeologist unearthed an Anglo-Saxon burial mound, and builds a world of classic English emotional restraint around it, even as amazing treasure is revealed. Continue reading “Film Review: The Dig (2021)”
The neglect of Stanley Tucci aside, The Children Act does a decent job of bringing Ian McEwan’s novel to the screen, with Emma Thompson on fine form
“I think it’s my choice
‘I’m afraid the law doesn’t agree'”
The first half of The Children Act is astounding. Family court judge Fiona Maye is utterly devoted to her career, deciding carefully but firmly on the most delicate of ruilngs. But the case of Adam Henry gives her cause, a 17 year old cancer victim whose Jehovah’s Witnesses’ beliefs are leading him to refuse the blood transfusion that could save his life.
As Maye, Emma Thompson makes you feel every inch of the emotional stoicism she has developed in order to rise through the judicial ranks so. There’s admiration sure but also a touch of apprehension – the brittleness with which she interacts with her devoted clerk (Jason Watkins) and the casual callousness with which she takes her long-suffering husband (Stanley Tucci) for granted. Continue reading “Film Review: The Children Act (2017)”
Mike Bartlett’s Press has a fantastic company and big ambitions but is probably best enjoyed as feisty entertainment than an accurate portrayal of the world of journalism
“We do it through the most outrageous storytelling in the world, not statistics”
A lot of the chat around Mike Bartlett’s new series Press, as written by journalists at least, was around how the show fails to represent life at a contemporary newspaper in an accurate manner. So I hasten to remind us all, as if it were really necessary, that Press is a drama and not a documentary, and that dramatic license and a real, and frankly essential, thing.
Soapbox done, this six parter is an interesting if simplistic look at duelling newsroom as it follows the teams at Sun-a-like The Post and Guardian-a-like The Herald as they follow stories, set the news agenda and battle for the very soul of journalism. It’s all highly watchable in a popcorn-munching kind of way but – perhaps ironically given my first paragraph – the shadow of the real world occasionally looms a little too large. Continue reading “TV Review: Press (BBC1)”
My mood on seeing this show…
An ensemble cast of some of Britain’s hottest talent will portray the determined and passionate characters behind the daily news at two fictional, competing newspapers in Mike Bartlett’s (Doctor Foster, King Charles III) drama series, Press, on BBC One. Continue reading “Cast of Mike Bartlett’s new TV show Press announced”
“Of course I have disposable income, I rent in Zone 4”
It’s black and white – no means no. That should be enough right? Except all too often, sadly it isn’t, and the many different ways in which this is true form the bedrock of Consent, Nina Raine’s new play for the National Theatre, co-produced with Out of Joint. From the multitude of ways in which consent can be exploited by the legal profession in the public sphere, to the brutal, personal intimacy of how it impacts on a disintegrating marriage, Raine plays interestingly and intelligently with shades of grey.
Barristers Ed and Tim are on opposing sides of a rape case and there’s little love lost between them personally either, as the perennially single Tim is a long-term friend of his wife Kitty, who is trying to set him up with another pal, actress Zara (played by the wonderful Daisy Haggard). And as Ed and Tim do battle around the finer points of Gayle’s case – she alleges she was raped on the day of her sister’s funeral – with their focus on legally outmanoeuvring the other rather than on the victim, a twist that puts all their private lives under the microscope shifts their perspective entirely. Continue reading “Review: Consent, National Theatre”
“Before I met you I was a civilised woman”
Based on the novel of the same name by Louise Doughty, psychodrama Apple Tree Yard has proved itself most watercooler-worthy with its twisting plot, classy cast and yes, controversial moments making it a hit thriller for the BBC. The story revolves around Yvonne Carmichael – celebrated scientist, mother of two, wife to Gary – who, when a chance encounter at work leads to an unexpected quickie with a literal tall dark and handsome stranger, finds her entire world tipped upside down by the consequences that follow.
Written by Amanda Coe and directed by Jessica Hobbs, the first episode plays out as a rather marvellous exploration of a 40-something woman rediscovering her sexuality and having the kind of illicit affair that makes you write naff diary entries (as Yvonne does…). But by the end of the first hour, the drama takes the first of several hard turns as [spoiler alert] she is brutally raped by a colleague. The use of rape as a dramatic device is one which should always be interrogated but here, coming from the text as it does and its devastating impact detailed as painstakingly as it was in episode 2, it felt appropriately handled and never gratuitous. Continue reading “TV Review: Apple Tree Yard”
“Perhaps the greatest risk any of us will ever take is to be seen as we really are”
Who knew what the world needed was a live-action version of Cinderella directed by Kenneth Branagh. It oughtn’t be as good as it is but somehow the fusion of Disney magic and folktale wonder comes together most effectively, thoroughly traditional in its outlook yet somehow still feeling fresh. Chris Weitz’s screenplay is based on Charles Perrault’s Cendrillon but both he and Branagh take lots of inspiration from the Disney version of the story too and the resulting confection is really rather bibbity-bobbity-beguiling.
There’s a cleverness too about what it does in spinning new details like giving us a reason that her step-family don’t recognise her at the ball and weaving much humour into the magic spells that get her to said ball. Ella herself is well pitched by Lily James, not quite too perfect to be true but still hugely appealing. It’s no wonder Richard Madden’s Prince Charming tumbles instantly for her (and she for him, those breeches…those boots!) and their chemistry is palpable, one can see why Branagh has cast them as Juliet and Romeo in his upcoming theatre residency in London. Continue reading “DVD Review: Cinderella”
“Are you a giraffe?”
Birthday Girl is a rather odd little thing, a 2001 film from Jez Butterworth (he of Jerusalem) that seemed to slip under the radar somewhat. It’s not brilliant but by the same token it isn’t terrible either and plenty worse films have made bigger waves. Ben Chaplin’s John is hapless in St Albans (is there anything else you can be there? ;-)), having no luck in love and so resorting to getting himself a Russian mail-order bride called Nadia. She turns up in the form of Nicole Kidman, who else, and though she can’t speak a word of English, she indulges his S&M fantasies and so job’s, it would seem, a good’un.
But it’s no happily ever after, Nadia’s two rough cousins soon turn up on the doorstep (played by Frenchmen Vincent Cassel and Mathieu Kassovitz, assumedly because the Russians were out on the day they were casting?) and John’s job as a bank clerk turns out to be rather important. Their unpredictable violence pulls John deep into a morass of deception and criminality but after the mid-film twists take place, the movie runs out of energy and trundles towards a rather uninspired ending that no amount of random Brit cameos (Ben Miller, Reece Shearsmith) can rescue. Continue reading “DVD Review: Birthday Girl”