Series 4 sees Jonathan Creek lose its way badly as chauvinism slides into misogyny amid Alan Davies and Julia Sawalha’s strange chemistry
“Now it’ll save your time and mine, I think, if I truncate”
I found series 4 of Jonathan Creek surprisingly difficult to watch. Even if the quality had started to taper off over the course of the previous three seasons, something critical had been lost at this point, far over and beyond the departure of original star Caroline Quentin. Her replacement was Julia Sawalha’s Carla, introduced in the 2001 Christmas special and though she shares a screwball-ish energy with Alan Davies’ duffle-coated protagonist, she’s been married off to Ade Edmondson’s svengali Brendan.
It’s an odd choice that unsettles the whole rhythm of the show, as it devotes way too much time to the uneasy relationship between the pair. And as David Renwick’s writing fully immerses itself in its worst male chauvinist excesses – just look at how women are presented in the first episode, from the prizewinner presented as a grotesque to Anna Francolini being done dirty as a ditzy assistant – the idea that the majority of female characters now have to throw themselves at Jonathan’s feet, is delusional nonsense. Continue reading “TV Review: Jonathan Creek, Series 4”
Elements of David Renwick’s writing starts to show signs of flagging as the magic starts to fade in Series 3 of Jonathan Creek
“What exactly does all this add up to?”
After a decent first couple of series, the third season of Jonathan Creek sees the show start to wobble a bit as the raft of impossible crimes sways from ingenious plotting to improbably convoluted. Episodes tackle disappearing aliens and a man who thinks he has sold his soul to the devil and it doesn’t always come off.
That said, there’s still some classic tales in here too. The revelation of ‘The Eyes of Tiresias’ is artfully done and ‘Miracle in Crooked Lane’ is properly, admirably fiendish even with its meta-theatrics. Alan Davies and Caroline Quentin both continue in good form but David Renwick’s writing doesn’t permit more than piecemeal character development which, three series in, leaves them a little flat. Continue reading “TV Review: Jonathan Creek, Series 3”
The second series of Jonathan Creek continues the good form of the first, even if the writing starts to verge on the misogynistic
“There’s always an explanation”
After the success of its first season, Series 2 of Jonathan Creek followed in short order in early 1998. And having firmly established its modus operandi of impossible crimes and simmering but awkward sexual chemistry between Akan Davies’ Jonathan and Caroline Quentin’s Maddy, it carries on ploughing that same furrow.
This series sees Stuart Milligan added to the mix as Adam Klein, replacing Anthony Head who got the job as Giles on Buffy and whilst he is a vividly entertaining character, his presence seems to allow writer David Renwick to indulge in some misogynistic touches over and above what might be ‘forgiven’ for being 20 years old, just look at the way Adam and indeed Jonathan treat the majority of the women in their life… Continue reading “TV Review: Jonathan Creek, Series 2”
I turn to a rewatch of Jonathan Creek to get me through Week 2 of Lockdown #2 and enjoy the freshness of the first series
“No one could have killed your husband and then left this room”
Starting in 1997 and memorably co-opting Saint-Saëns’ renowned ‘Danse Macabre’ for its theme tune, mystery crime thriller Jonathan Creek occupies a happy place in my TV memories, so I was a little hesitant at first in case it didn’t match up to how I remembered.
From cracking seemingly impenetrable alibis, to working out how to escape a nuclear bunker, to locked room mysteries of all sorts, it turns out David Renwick’s writing holds up rather well. The plotting is sufficiently twisty that it is nigh on impossible to figure out who and certainly howdunnit and I remembered none of the important details so it was like watching it anew. Continue reading “TV Review: Jonathan Creek, Series 1”
Tonight should have been the press night for Jack Absolute Flies Again, written by Richard Bean and Oliver Chris after Sheridan
For the National Theatre
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Jessie Buckley and Josh O’Connor headline a new production of Romeo and Juliet, while Callum Scott Howells and Rosie Sheehy star in Gary Owen’s Romeo and Julie, among other big news from the National Theatre
Simon Godwin returns to the National Theatre to direct Shakespeare’s ROMEO & JULIET following his critically-acclaimed productions of Antony and Cleopatra and Twelfth Night in the Olivier Theatre. Set in modern Italy in a world where Catholic and secular values clash, Jessie Buckley (Wild Rose, Judy) and Josh O’Connor (The Crown, God’s Own Country) play the two young lovers who strive to transcend a world of violence and corruption. Fisayo Akinade (The Antipodes, Barber Shop Chronicles) is cast as Mercutio. The production will open in the Olivier Theatre in August 2020.
Set and costume design by Soutra Gilmour, lighting design by Lucy Carter, composition by Michael Bruce and sound design by Christopher Shutt. Continue reading “News: new productions and casting updates for the National Theatre”
A quick round-up of the rest of September’s shows
Mary Said What She Said, aka how far I will go for Isabelle Huppert
The Provoked Wife, aka how far I will go for Alexandra Gilbreath
A Doll’s House, aka if we must have more Ibsen, at least it is like this
Falsettos, aka finding the right way, for me, to respond
The Comedy Grotto, aka a sneaky peak at Joseph Morpurgo
The Life I Lead, aka something really rather sweet
Blues in the Night, aka all hail Broadway-bound Sharon D Clarke (and Debbie Kurup, and Clive Rowe too)
Everybody’s Talking About Jamie, aka well why not go again Continue reading “September theatre round-up”
“I wish you didn’t have to be in pain”
Multiple Sclerosis affects over 100,000 people in the UK alone.
One of the accusations often levelled by detractors of musical theatre is that it is fanciful, frivolous stuff, unable of taking subjects seriously. And whilst the form undoubtedly can have its lighter moments, I’d challenge anyone to listen to this new song cycle inspired by women living with multiple sclerosis and remain unmoved. MS. A Song Cycle is the brainchild of lyricist Rory Sherman, who has worked with SimG Productions, musical supervisor Ellie Verkerk and 14 different teams of composers and performers to create a delicately but undeniably powerful collection of stories, that gain in that power from being sung so beautifully as they are here.
More than two to three times more women are affected than men
Continue reading “Album Review: MS. A Song Cycle”
“There must be no squeamishness over losses”
In the centenary year of the beginning of the First World War, many a theatre has programmed accordingly but few can lay as effective a tribute as the Theatre Royal Stratford East with their revival of Joan Littlewood’s Oh What A Lovely War which premiered here a little over 50 years ago. The play came in for some stick from that enlightened soul Michael Gove who denounced its political revisionism (and gave it a healthy dose of publicity to boot) but in the final moments of this emotionally exhausting show, only the most totally deluded of fools would have politics on their mind in the face of such unutterable loss of life, something that continues in battlefields today.
There is no denying that the show wears its politics clearly on its sleeve. Devised by Littlewood and Theatre Workshop in the 1960s, its depiction of the class lines within the armed forces speak firmly of its time, and it is interesting to see how the American efforts are viewed at a time before any “special relationships” had been forged. But truly at its heart is the experience of the ordinary soldier and Lez Brotherston’s design never lets us free of the unflinching barrage of information and imagery – projections simulate what life might have been life, a constantly scrolling panel of statistics keep the human cost at the front of our minds. Continue reading “Review: Oh What A Lovely War, Theatre Royal Stratford East”
“I know nothing and just pretend to know a great deal”
I think I might be falling out with Noël Coward, or rather producers’ insistence on frequently remounting the same plays of his, so I had to be persuaded to go and see this production of Relative Values
making a short tour to Richmond after a well-received run at Theatre Royal Bath. And it was nice to see a Coward play that I had never seen before, even if it was Trevor Nunn directing – running time is 2 hours 45 minutes and you do begin to feel it – even if it doesn’t really offer much new either in plot or characterisation.
Where it is strongest is in satirising the class hang-ups of post-war Britain as the stately home of Marshwood House tries to deal with the news of the impending nuptials of the son of the house to a flighty Hollywood actress. Not only that, it turns out the beloved maid has a particular connection to his wife-to-be that makes her position untenable. So in order to keep her companion, the Countess decides to elevate the reluctant Moxie from member of staff to family friend, something made more difficult by her sister’s reinvention of her past and the arrival of an old suitor who wants to stop the wedding.
The TV name-friendly cast also serve better than one might have expected. Patricia Hodge brings genuine depth and warmth to the typical battleaxe role, giving us a real sense of a woman struggling to come to terms with change but determined to do so, Caroline Quentin’s Moxie is a comic delight and stage debutant Rory Bremner also fares as the observant butler, full of bon mots as if it has all been seen before.
For the more theatrically inclined, Katherine Kingsley is a hoot as the would-be Hollywood star and Ben Mansfield as the man pursuing her and Stephen Boxer’s louche nephew Peter are both strong. But the ensemble are good across the board and there’s a tightly honed comic precision that keeps the show pointedly sharp and light on its feet, keeping away – for the most part – from too farcical a mood. It looks superb in Stephen Brimson Lewis’ swish design and one can well imagine it resurfacing soon in the West End.
Running time: 2 hours 45 minutes (with interval)
Booking until 13th July