Full of shocks that actually mean something, Series 5 of Spooks is one of its absolute best
“The British people will accept anything if you serve it up with a picture of Will Young in the shower”
A cracking series of Spooks that starts off with a series of bangs, robbing Colin of his life and Juliet Shaw of her ability to walk, the introduction of Ros Myers to the team is an invigorating success, particularly as she inspires Jo to become more badass too. This incarnation of the team really does click well, responding smoothly to the enforced changes in personnel, though newly single father Adam’s mental health crisis too often feels like a plot device rather than a genuine exploration of PTSD.
Subject-wise, the relevance level remains high, particularly pertinent when it comes to national crises with panic buying and over-stuffed hospitals feeling all too real. The role of fundamentalist zealots is shared equally between Christian and Islamic believers over the series and even if the finale underwhelms somewhat, the eco-terrorism theme hasn’t become any less significant.
I’m still not over it, the defenestration of Ruth Evershed. Having finally made it to a date with Harry, which went about as well as could be expected, she runs up against a murderous Oliver Mace conspiracy and ends up having to fake her own death to protect Harry and ends up fleeing the country. An ignominious end for the heart of the team. Continue reading “Lockdown TV Review: Spooks Series 5”
It’s like the Superbowl, but for fans of musical theatre. Book your tickets at the Turbine Theatre here.
Jet Set Go! (3rd-5th February)
This show about a transatlantic cabin crew has been bopping around since 2008 so its interesting to see how it gets refreshed more than a decade late. Appearing in it this time round will be Siubhan Harrison, Lizzy Connolly, Michael Mather, Tyrone Huntley and Simon Bailey.
Jet Set Go! is directed by & Juliet’s Luke Sheppard with music, book and lyrics by Adrian Mole’s Pippa Cleary and Jake Brunger. Continue reading “News: casting for MTFestUK 2020”
This is not a review of The Assassination of Katie Hopkins at Theatr Clwyd because the performance I was booked in for was cancelled. This may or may not be connected to the fact that I’ve inadvertently been referring to it as The Assassination of Katie Holmes for the past couple of weeks.
“Is it possible that some people just aren’t supposed to be married”
Joseph Millson having a threesome and Jane Asher swearing are the main high points in Dan Mazer’s I Give It A Year, a film that could do with a whole lot more. The sheen on Nat and Josh’s whirlwind marriage has worn off a little, leaving them facing serious questions as they approach their one year anniversary. With former loves reappearing, new current attractions popping up and friends and family placing bets on whether they’ll make it to the landmark 12 months, the odds seem unlikely.
Which adds up to the film’s major problem, a distinct lack of any real dramatic imperative in hoping that Nat and Josh stay together. Rose Byrne does her best with a thanklessly constructed part who seems solely designed to frustrate Rafe Spall’s hangdog novelistic intentions but as the film opens with a fast-forward through the heady days of early romance, we’re not left with anything to convince us that we should be rooting for them to actually make it to a year, hell, even the end of the film! Continue reading “DVD Review: I Give It A Year”
“A woman playing a woman, where’s the trick in that”
Any film with Clare Higgins yelling ‘give me back my merkin’ is surely destined for stone cold classic status but 2004’s Stage Beauty seems to have slipped from people’s minds whereas I always remembered it as a film I really enjoyed, more so that Shakespeare in Love. Much will depend on your opinion of Claire Danes but this tale of the rapidly changing world of the theatre during Charles II’s reign proved much more enjoyable than Shakespeare in Love ever did, and offers a fascinating, even-handed look at how both the men and women of the stage were affected by the decision to ban the former from playing the latter.
Billy Crudup’s Ned Kynaston has become one of the top actors in town, specialising in female characters like Othello’s Desdemona in which he frequently steals the show and aided by his faithful dresser Maria, played by Danes. She has a burning desire to act on the stage herself but since the Puritans outlawed such a thing in professional theatres, she’s limited to appearing in grubby pub theatres on the fringe (plus ça change…). The thespian desires of Charles’ ambitious mistress Nell Gwynn seem set to change that completely though, along with the fortunes of all concerned. Continue reading “DVD Review: Stage Beauty”
“I heard the voice of God…and it was the voice of an obscene child”
Whilst the mere mention of Amadeus, for most people, will instantly call to mind something like
for a Europop-obsessed child of the 80s as I was, this was the only Amadeus in my world
Continue reading “Review: Amadeus, Chichester Festival Theatre”
George Bernard Shaw’s 1906 medical ethics drama The Doctor’s Dilemma had a lot to live up to as the last time I was in the Lyttelton at the National Theatre was for the superlative The Last of the Haussmans, one of my favourite plays of the year so far, but though it didn’t quite scale those heights for me, it did emerge as a most satisfying night at the theatre. Shaw’s play centres on the newly ennobled Sir Colenso Ridgeon, a doctor who has discovered a new cure for tuberculosis but only has limited space on his trial. When the beautiful Jennifer Dubedat pleads for the inclusion of her talented artist husband, he is torn as his penniless colleague Dr Blenkinsop is also suffering from the disease and so Ridgeon and his colleagues gather to assess and discuss who is the worthier candidate for treatment.
Peter McKintosh’s set design is an effective triumph and ingenious to the extent that it garnered a round of applause at one point (although it will be slightly less surprising to those that saw this play). It possesses the requisite austere grandeur in all its incarnations of artists’ garrets, Richmond eateries, Bond Street art galleries and Harley Street salons into which Nadia Fall places her talented cast. Genevieve O’Reilly brings a stunning self-possessed statuesque dignity to Jennifer, almost too reserved until the devastating turbulence of the final act reveals all she has been concealing, Tom Burke dances across the stage with a quicksilver lightness as the manipulative Dubedat whose artistic talent has to be weighed against his problematic morals and Aden Gillett (who should always wear a full beard, always) is magnificent as Sir Colenso, pondering the titular dilemma with an aptly detached manner as befits his finely aristocratic bearing. Continue reading “Review: The Doctor’s Dilemma, National Theatre”
“The weight of this sad time we must obey. Speak what we feel, not what we ought to say”
So what ought I say? Well, this is actually my first time seeing King Lear, it was never a play I studied at school, college or university and it was never been one that I’ve ever really wanted to see. Consequently, I’ve managed to avoid it and its story but when Sir Derek Jacobi was announced in the role in a Donmar Warehouse production directed once again by Michael Grandage, the lure of seeing this play, oft regarded as one of Shakespeare’s greatest works, finally proved too great and so I booked for the first of three previews and it was well I decided when I did as this has become one of the hot tickets of the winter.
It was actually a genuine pleasure seeing such a play without knowing the plot, I was gripped in a way I’ve rarely been whilst watching Shakespeare as an adult and this tale of murder, malice, love, families, avarice, maiming, madness, deceit, remorse and so much death surprised me time and time again with its examination of human frailties. For those of you (and I don’t imagine there are many) who don’t know the plot, Lear is the aged King of Britain who chooses to abdicate and divide his kingdom into three to share amongst his daughters. But when the youngest refuses to make a public declaration of love and the Earl of Kent defends her, both are banished from the kingdom, leaving the older two daughters to inherit with their husbands and thus the seeds of treachery and revenge are planted as their ambition grows, throwing Lear’s world into chaos and threatening his very sanity. Continue reading “Review: King Lear, Donmar Warehouse”