Series 2 of Top Boy- Summerhouse is, quite frankly, exceptional
“I don’t wanna go to Ramsgate”
The first series of Top Boy surprised me at just how good it was, making a mockery of my earlier decision that it wasn’t my kind of thing. So I launched straight into the second series (now labelled Top Boy- Summerhouse on Netflix), unprepared for how harrowing it would get. It may have taken two years for it to be created but boy it was worth the wait.
Ronan Bennett’s series picks up one year later with Dushane’s (Ashley Walters_ status at the head of the Summerhouse estate as equally precarious and secure as ever, forever dependent on the next big drug delivery. But the Albanians have got their own plans, former besty Sully is setting up his own rival crew and the police have just dug up a body – eep! Continue reading “TV Review: Top Boy – Summerhouse (Series 2)”
Top Boy – Summerhouse easily makes a mockery of my previous decision that this wasn’t my type of thing.
“We’re gonna need some more time, and we’re gonna need some guns”
With the renewed vigour behind the Black Lives Matter movement and people’s determination (myself included) to do better at recognising black talent, it’s interesting to look back at the challenges they have faced. You’d imagine that Top Boy, a crime drama set in the heart of a fictional estate in Hackney, East London, would have been written by a black writer but as it turns out, Ronan Bennett is white and hails from Northern Ireland.
The series dates back to 2011 and I can’t speak to the realities of Channel 4’s commissioning process but it merits a raised eyebrow. Fortunately, Bennett’s assiduous research means that Top Boy (renamed Top Boy – Summerhouse on Netflix) does better than most at evoking the brutality and bullishness of gang life in the East End, where conventional notions of good and bad are cast aside in the name of survival by whatever means. Continue reading “TV Review: Top Boy – Summerhouse (Series 1)”
Based on a true story, the heart-rending Fisherman’s Friends is entirely sweet-natured good fun
‘It’s Bono, you pillock’.”
Despite being a fan of a Brit-flick, I don’t know if I’d’ve ventured to Fisherman’s Friends if it weren’t for the presence of a certain Mr Swainsbury in the cast. But I’m glad I did, as it proves a rather sweetly good-natured film that passes the time most amiably.
Based on the true story of The Fisherman’s Friends, a Cornish all-male a capella vocal group whose renditions of sea shanties scored them a record deal and a top 10 hit album, the film recounts how such a thing might have come about, as music executive Danny winds up in Port Isaac for a stag do and finds himself bewitched by the group, and the place, and a girl, natch. Continue reading “Film Review: Fisherman’s Friends (2019)”
“I feel now the future in the instant”
For one of Shakespeare’s most famous plays, Macbeth is not one that often appears on film screens but Justin Kurzel’s adaptation set that right in 2015 in blistering style. An utterly cinematic version that on paper should raise many a theatre fan’s hackles, its brooding sense of epic danger releases the film into a new dimension, one which may well irk a purist or three but on its own merits, is most darkly compelling.
Kurzel opts for a medieval Scottish setting, a land somewhere between the mythical and the mundane, using some striking Caledonian vistas for location work. The reality of life is shown by the Macbeths’ castle being little more than a collection of mud huts but sweeping shots of mountains and moorsides from cinematographer Adam Arkapaw pull us away into the ether and the red tinges of crimson flame and scarlet blood paint almost expressionistic frames that are just beautiful to behold. Continue reading “DVD Review: Macbeth (2015)”
“People lie Danny, they lie very well”
Well this was a disappointment wasn’t it, there’s no two ways about it. Tom Rob Smith’s London Spy started its five episode run most promisingly with its forthrightly modern gay love story – between emotionally reclusive Secret Service operative Alex and Danny, a shift worker and regular on the hard-partying Vauxhall gay clubbing scene. Edward Holcroft and Ben Whishaw made a powerfully effective couple, negotiating their differences beautifully and believably so that by the time Alex went missing, the substance of the emerging conspiracy theories actually meant something.
But as the plot wound vaguely into labyrinthine dead ends and red herrings, it became increasingly hard to get a handle not just on what was happening but what Smith was trying to say. And directed in would-be sepulchral (but actually just frustratingly dark) gloom by Jakob Verbruggen, the joys of recognising bits of my local Vauxhall soon wore off as you realised that such a stunning supporting cast as Adrian Lester, Clarke Peters and Harriet Walter were indeed being criminally underused or landed with heinous dialogue and what started off irresistibly disintegrated into implausibility. Continue reading “TV Review: London Spy”
“Then would I have his Harry, and he mine”
The Hollow Crown continues with Henry IV Part I, directed by Richard Eyre who also does the ensuing Part II (but not Henry V, though the productions are cross-cast). But where Rupert Goold’s Richard II embraced the form to create something more cinematic (although not to everyone’s tastes), this is an altogether more traditional affair and not necessarily the better for it.
What Eyre brings out is the father-son relationships. Tom Hiddleston’s carousing Prince Hal, partnered extremely well by David Dawson’s Poins in what was an excellent performance I thought, is movingly forced towards maturity on the battlefield, as King Henry, Jeremy Irons in impassive form and making the presence of what is admittedly quite a secondary character really stand out, laments the fecklessness of his heir. This is contrasted of course by the gumption of young Hotspur, Joe Armstrong oozing rugged charisma and forming the highlight of the whole thing for me, and in a lovely piece of casting, his real father, Alun Armstrong has been cast as his onscreen father which added poignancy to their moments. Continue reading “TV Review: The Hollow Crown, Henry IV Part I”
BEST ACTOR IN A PLAY
James Corden – One Man, Two Guvnors at the National, Lyttelton & Adelphi
Benedict Cumberbatch – Frankenstein at the National, Olivier
Jude Law – Anna Christie at the Donmar Warehouse
Kevin Spacey – Richard III at the Old Vic
David Tennant – Much Ado About Nothing at Wyndham’s
James Earl Jones – Driving Miss Daisy at Wyndham’s
BEST ACTRESS IN A PLAY
Vanessa Redgrave – Driving Miss Daisy at Wyndham’s
Eve Best – Much Ado About Nothing at Shakespeare’s Globe
Kristin Scott Thomas – Betrayal at the Comedy
Ruth Wilson – Anna Christie at the Donmar Warehouse
Samantha Spiro – Chicken Soup with Barley at the Royal Court Downstairs
Tamsin Greig – Jumpy at the Royal Court Downstairs Continue reading “2012 What’s On Stage Award nominations”
“If your oath is no proper oath at all, I’ll have to be taking your naked word for it and have you anyway”
Generally speaking I try to avoid reading anything about a show, especially reviews, before I’ve seen it and written about it as despite the best of intentions, one always ends up parroting certain views as one’s own and this blog is meant to be about my opinion on shows. But the internet and Twitter in particular makes that increasingly difficult these days and earlier this week I’d been notified of Billington’s 5 star review for the Guardian and the tantalising promise of a ‘glistening torso’ which meant my already-keen anticipation for the Donmar Warehouse’s Anna Christie increased just that little bit more!
As part of his farewell season, Michael Grandage is pulling out the big guns and this features the return of two big name alumni for the Donmar – Jude Law has been getting much of the attention, he was an excellent Hamlet in the Donmar’s West End season, but also Ruth Wilson, slightly less heralded though criminally so, as she is one of the brightest acting talents we have in this country, her Stella in A Streetcar Named Desire earning her an Olivier. Continue reading “Review: Anna Christie, Donmar Warehouse”