Anna Maxwell Martin shines in funny new sitcom Motherland
“It’s better now I’ve got this nanny…”
Between Father Ted and The IT Crowd (I’ve never seen Black Books), Graham Linehan has quite the sitcom-that-I-love pedigree so I’ve been keen to see what his latest Motherland would bring, after an entertaining pilot aired last year.
Written with Sharon Horgan, Helen Linehan and Holly Walsh, the show follows Anna Maxwell Martin’s perma-harassed Julia as she struggles to deal with her mother declining to help out with childcare and the school run. As she’s caught between the hyper-efficiency of the Alpha mums and the schlubby friendliness available at the opposite end of the scale, it’s a highly entertaining take on working parenthood. Continue reading “TV Review: Motherland (Series 1)”
You go away for a week, hoping they’ll put any exciting news on hold but no, there were headlines aplenty…
Michelle Terry being revealed as Emma Rice’s successor as Artistic Director of the Globe. I think this is a brave and inspired choice, for Terry is a deeply intelligent actor (Tribes, Light Shining in Buckinghamshire, Cleansed) and a superb Shakespearean at that (A Midsummer Night’s Dream, As You Like It, The Comedy of Errors).
Rice seemed to consider Shakespeare a puzzle that needed unlocking for (new) audiences but you were left wondering if there was a touch of square peg round hole syndrome in the way the plays were manhandled. It is tempting to think that Terry will be a smoother fit whilst maintaining a sense of adventurousness (she played Henry V after all) although this is, of course, pure conjecture. Still, exciting times ahead. Continue reading “Round-up of news, treats and other interesting things”
“Oh for…fucking internet”
On the first day of Christmas, Black Mirror gave to me…a politician fucking a pig.
Can Charlie Brooker ever have conceived that four years after The National Anthem aired, the theme of his first episode of Black Mirror would actually come horrifically to life as Lord Ashcroft’s biography of David Cameron alluded to unsavoury acts with a pig’s head. Continue reading “12 Days of Christmas – Black Mirror 1:1”
“Being deaf isn’t being broken”
The middle session of Women Centre Stage: Power Play Festival saw our first trip into the Hampstead’s main house for PRIDE and Prejudice. Opening with What I Was Told I Could Be And What I’ve Become, a collection of new worldviews from Graeae’s female writers. Directed by Jenny Sealey, six scenes played out with increasingly intermingled with each other, different experiences of life as disabled women coalescing into a theatrical roar.
Full list of playlets
Boys on Bikes by Karen Featherstone starring Phillipa Cole,
Klutz by Amy Bethan Evans starring Kellan Frankland,
Kids by Jackie Hagan starring Ali Briggs,
Days of Our Lives by Rosaleen McDonagh starring Taharah Azam
Statuesque by Rebekkah Bowsher starring Nickie Wildin
Single by Matilda Ibini starring Vilma Jackson
Continue reading “Review: Women Centre Stage: Power Play Festival – PRIDE and Prejudice”
“We underestimated her”
The first series of Line of Duty was well-received by critics and audiences alike, hence a second series of Jed Mercurio’s police show being commissioned. With the centre of the anti-corruption team AC-12’s investigation DCI Gates having reached a conclusion of sorts, their attentions are turned onto Keeley Hawes’ DI Lindsay Denton, the sole survivor of an ambush on a witness protection scheme that leaves three police officers dead. Suspicions are aroused by some suspect decision-making on her part but it’s soon evident that there’s much more to the case, not least in the tendrils that connect it to the past.
Series 1 was very good but Series 2 seriously raises the bar, firstly by engaging in some Spooks-level business in casting the excellent Jessica Raine and well…spoilers, but secondly in getting from Hawes the performance of a lifetime in a masterpiece of a character. Denton is so multi-faceted that she’d beat a hall of mirrors at its own game and from her manipulative use of HR to her way with noisy neighbours to the shocking abuse she suffers in custody to the machinations of her superiors, the slipperiness of this woman is merciless and magisterial in its execution, its inscrutable nature utterly compelling. Continue reading “TV Review: Line of Duty Series 2”
“For man is a giddy thing, and this is my conclusion”
Transferring into the Noël Coward theatre, Iqbal Khan sets his RSC production of Much Ado About Nothing in modern-day Delhi, as a fitting counterpart to the African-dictator-led take on Julius Caesar which is now touring the UK after its London run. It’s a lengthy take on the play which does little by way of apparent editing, which is mighty impressive given the strength of the vision here, but it turns out the commonalities with contemporary India make this a great (arranged) marriage which is full of interesting scene readings which make this an intellectual, as well as visceral, pleasure.
I found lots of to love, but particularly what had been done with the watch scenes, normally something tolerated with gritted teeth. Here, they are a group of social misfits, almost Napoleon Dynamite-inspired and it really really works, mainly because of the straightness of the bat with which the actors play it. We’re always laughing with, and not at them and they’re never played as stupid – in fact, something rather touching emerges from their determination of purpose. Niraj Chag’s music is also something wondrous to behold. Vivid, sensuous, powerful, it richly enhances the whole production and the six musicians who play throughout the show get a well-deserved bow at the end. Continue reading “Review: Much Ado About Nothing, Noël Coward Theatre”
“Everyone lived perfectly happily round here together before you young ones try to integrate and confuse things”
First things first, Ultz’s staging upstairs at the Royal Court for The Westbridge is a piece of craziness. Most of the seating is in the centre with chairs pointing in all different directions and stages around the edge of the theatre. I found it highly frustrating as the structure of the show with its mutliple short scenes meant there was constant moving around in our seats and much huffing and puffing from a midweek matinee audience who generally weren’t up for it.
The play itself is very Royal Court Upstairs and I can totally see the logic in premiering it in Peckham as part of their Theatre Local initiative. I have to admit to turning down the chance to see it there several times as I was sure I didn’t want to see it. But I let people’s recommendations sway me and I’m glad I did, but I really do wish I’d seen it with a Peckham audience to see how it connected to a non-traditional audience (assuming it wasn’t full of regular Royal Court visitors going on the cheap!) Continue reading “Review: The Westbridge, Royal Court”
“Some patterns are more difficult to find than others”
I’m nothing if not contrary: I refused endless invitations to see The History Boys despite many people raving about it, I’m just odd like that sometimes. But when someone who really ought to have known better(!) tried to prejudge my response to Complicite’s A Disappearing Number, I was resolved to enjoy it no matter what! After touring India, it is returning to London for a limited engagement after a well-received run in 2008. And fortunately, I really did find it to be contemplative, moving and ultimately most beautiful.
It is incredibly hard to describe just what the show is about as it is impossible to do it justice. On the face of it, it is two love stories: in the modern day, bookish maths lecturer Ruth and stockbroker Al are desperate to start a family as they’ve both turned 40, and then in the 1910s we see the developing relationship between father of modern mathematics G.H Hardy and prodigious Indian maths genius Srinivasa Ramanujan. But it is so much more as well, with a staging of breathtaking invention that works in elements of movement, vocal effects, chanting, Asian dance, and a slick technological aesthetic with some outstanding projection work, beautiful lighting effects and a smoothly everchanging backdrop that seamlessly changes from blackboard to whiteboard to screen to wall and much more besides. Continue reading “Review: A Disappearing Number, Complicite at the Novello Theatre”