AKA the one that doesn’t work and the one that you should avoid if you’re feeling angsty about the current situation – approach Spooks Series 6 with caution
“The only option will be national quarantine and burial pits”
Series 6 is one of the trickier ones to watch right now so be warned – it opens with a two-parter called ‘The Virus’ which makes for a eerily chilling watch. It’s also a curious season as whilst the introduction of a series-long storyline – Iran seeking to gain nuclear capability – for the first time seems like it should work no problem, the reality doesn’t hang together quite as well as it ought.
The major level conspiracy theory takes too long to click into gear, and never really reaches the high-stakes territory it needs to hit home hard. The ‘mole in MI-5’ thread doesn’t pay off convincingly, recruiting another journalist off the street tests the patience (sorry Ben) and where one fake-out death of a major character might be permitted, two in the space of three episodes feels lazy. A major disappointment following the highs of Series 5.
Absolute zero, it’s as if she never existed. Fucking Harry. Continue reading “Lockdown TV Review: Spooks Series 6”
Louise Jameson in The Diva Drag at The Hope
Lydia Larson in Skin A Cat at The Bunker
Sarah Ridgeway in Fury at Soho Theatre
Jenna Russell in Grey Gardens at Southwark Playhouse
Best Supporting Female
Lynette Clarke in Karagula at The Styx
Joanna Hickman in Ragtime at Charing Cross Theatre
Sasha Waddell in After October at The Finborough
Fiston Barek in The Rolling Stone at The Orange Tree
Phil Dunster in Pink Mist at The Bush
Paul Keating in Kenny Morgan at The Arcola
John Ramm in Sheppey at The Orange Tree Continue reading “2017 Offie Award Finalists”
“I haven’t got long Mum, tell me something nice”
Whilst sitting through Paul Andrew Williams’ play Ticking, I was constantly reminded of a Madonna lyric, ‘time goes by, so slowly’. Though under 90 minutes in length and played out in real-time, Williams’ self-directed drama stretches time unforgivably in a way not seen since the Donmar’s interminable Moonlight – had it been easier to leave my seat without walking right across the stage in this bijou studio, I would have done so.
Simon is on death row in a Chinese prison, having been found guilty of murder, and has one last hour to spend with his parents. But he’s no tear-stained victim, he’s a thoroughly obnoxious rich kid and has opted to use this time to work through his long-held problems with his mother and particularly his father, shattering the illusions of the past but also any inkling whatsoever that this is a character we should care anything for (as of course we’re meant to do once the twist eventually unfolds). Continue reading “Review: Ticking, Trafalgar Studios 2”