“Donna Noble has left the library. Donna Noble has been saved”
And here we are, my favourite series of Doctor Who. So much huge wonderfulness and even its less good moments are still more than halfway decent. Key to the series’ success is Catherine Tate’s Donna Noble – gobby and one-dimensional in her introductory episode the Christmas special The Runaway Bride, her character journey throughout this season is magisterially constructed, a true awakening of self (with thankfully no romantic inclinations towards our Time Lord) and one given unbearable poignancy due to its frustratingly tragic end.
It’s also one of the best constructed series in terms of its over-arching season arc, its warnings and clues layered meaningfully into several stories and building into a momentous and properly climactic finale, which lands just about the right level of grandiosity. There’s also the first companion-lite episode (the superbly creepy Midnight) to go with the Doctor-lite one (the achingly beautiful dystopian Turn Left); a typically brilliant Moffat double-header in Silence in the Library and Forest of the Dead with gorgeous work from Alex Kingston as the soon-to-be-hugely-significant River Song; and if the return of Rose undoes some of the emotional impact of the Series 2 finale, Billie Piper’s work is spikily powerful. These are episodes I can, and have, watched over and over again.
Continue reading “Countdown to new Who: Doctor Who Series 4”
There’s something perhaps a bit perverse in some of the strongest episodes of new Who emerging from the series which (arguably) had the weakest companion. Freema Agyeman was ill-served by writing that couldn’t let her be a companion in her own right, as opposed to the-one-in-Rose’s-shadow, and consequently never felt entirely comfortable in the TARDIS.
Series 3 has real highs and certain lows – the introduction of Doctor-lite episodes (to ease the production schedules) produced the inventive wonder that was Blink (and further proved Steven Moffat’s genius), the unashamed grab for the heartstrings was perfectly realised in the Human Nature / The Family of Blood double-header, and the re-introduction of one of the Doctor’s most enduring foes was well-judged. That said, we also had the inevitable return of the Daleks who already feel like they’re in danger of over-exposure.
Continue reading “Countdown to new Who: Doctor Who Series 3”
“They’re adults, they’re not stupid, they knew what this was”
There’s not too much more that can be added to the debate about Mike Bartlett’s Game that hasn’t been said elsewhere, aside from to note that I really rather liked it. Lowered expectations probably helped with this but also there’s also an appreciation for the way in which Bartlett seems to like to work. His concepts tend to either get developed into large-scale epic plays such 13 and Earthquakes in London or crystallised on the micro-level, producing works in miniature like Cock, Bull and Contractions.
Game very much falls into this latter category, coming in at under an hour, and on the face of it – as pointed out by many – lacking a huge amount of dramatic heft. Fitting into one of 2015’s earliest theatrical trends, Carly and Ashley have made a deal with the devil in order to secure decent housing for themselves – in return for accommodation and income, they’re targets in a live-action video game as punters pay for the opportunity to fire tranquilising darts at them as they go about their daily business. Continue reading “Review: Game, Almeida Theatre”
I realise I’m just adding (belatedly) to the plethora of 2015 features already published but so many of them trod the boringly familiar ground of forthcoming West End shows (and in the Evening Standard’s case, managed to recommend booking for three shows already sold out from their list of six). So I’ve cast my net a little wider and chosen a few random categories for just some of the shows I’m recommending and looking forward to in 2015.
Continue reading “Looking ahead to 2015”