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TV Review: The Spanish Princess, Series 2

Laura Carmichael emerges as a late MVP in the second instalment of Philippa Gregory’s The Spanish Princess

“Maybe we could have some lemon cake”

Based on the Philippa Gregory novels The Constant Princess and The King’s Curse, The Spanish Princess was split into two chunks of eight episodes by Starz, a decision which might have made sense for them but didn’t quite come off dramatically. Losing heavy hitters Henry VII and Margaret Beaufort leaves something of a vacuum which is never really replaced as we enter the final straits of Henry VIII and Catherine of Aragon’s marriage.

I’m not someone who gets particularly hung up on notions of historical accuracy, particularly with accounts of events of 500 years ago. And when you’re talking about about a Gregory-inspired version which races through 14 years in 8 episodes. that goes double. What is more of an issue here is the fact that Charlotte Hope’s portrayal of Catherine doesn’t really change, physically or emotionally, so that she feels the same as a teenager as she does the 40 year old we end with. Continue reading “TV Review: The Spanish Princess, Series 2”

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TV Review: The Spanish Princess, Series 1

Series 1 of Philippa Gregory’s The Spanish Princess introduces Elliot Cowan and Harriet Walter to the mix with great success

“I won’t be passed around Europe like a colection plate”

Following on from The White Princess, The Spanish Princess is based on the Philippa Gregory novels The Constant Princess and The King’s Curse, and the first instalment of eight episodes tackles the arrival of Catherine of Aragon to England to meet the man she has been betrothed to since they were both children, Arthur, heir apparent to Henry VII.

The biggest problem, aside from the weather and the racism (members of her court had Moorish and descent), is that the epistolary courtship that had so wooed her teenage heart, was actually written by his younger brother Henry…plot twist. But when Arthur died young, it meant that the plan for peace between England and Spain could still be found in another marriage. Continue reading “TV Review: The Spanish Princess, Series 1”

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TV Review: Jonathan Creek, Series 3

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”

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News: National Theatre at Home final phase

The National Theatre has announced a further five productions that will be streamed as a part of the National Theatre at Home series. Established in April to bring culture and entertainment to audiences around the world during this unprecedented period, National Theatre at Home has so far seen 10 productions streamed via the NT’s YouTube channel, with over 12 million views to date. These will be the final titles to be shared for free via YouTube in this period. However, future digital activity to connect with audiences in the UK and beyond is planned, with further details to be announced soon. 

The productions will be broadcast each Thursday at 7pm BST for free and will then be available on demand for seven days. Titles added to the programme today include A Midsummer Night’s Dream from the Bridge Theatre, alongside Small Island, Les Blancs, The Deep Blue Sea and Amadeus from the National Theatre.  Continue reading “News: National Theatre at Home final phase”

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News: the Lyric Hammersmith add A Doll’s House to the streaming collection

A free screening of the critically acclaimed A Doll’s House, adapted by the award winning Tanika Gupta and directed by Artistic Director Rachel O’Riordan will be available for one day only via the Lyric’s YouTube from 2.30pm until midnight on Wednesday 20 May, 2020.

Artistic Director Rachel O’Riordan said:

‘A Doll’s House was the first production I programmed and directed as the new Artistic Director of the Lyric Hammersmith Theatre, it embodies everything I want the Lyric to be for our audience – world-class theatre, a reimagined classic text, showcasing exceptional talent and celebrating our 125 year old theatre. I’m delighted that we’re able to share this recording for free so that more people can enjoy this production within our beautiful theatre. Alongside our work onstage at the heart of the Lyric is supporting emerging talent from all backgrounds and I’m very much looking forward to personally hosting a series of masterclasses to continue this engagement and support.’

A Doll’s House opened at the Lyric in September 2019, the production was filmed at the end of the run and will be available for one day only from 2.30pm until midnight on Wednesday 20 May on the Lyric’s YouTube channel. Continue reading “News: the Lyric Hammersmith add A Doll’s House to the streaming collection”

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10 of my top moments of the decade

Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!)

© James Bellorini

Extraordinary Public Acts for a National Theatre

The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions.  A truly joyous and momentous occasion. 

Honourable mention: this year’s musical take on As You Like It proved just as heart-swellingly beautiful over at the Queen’s Theatre Hornchurch. Continue reading “10 of my top moments of the decade”

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September theatre round-up

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”

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TV Review: Peaky Blinders Series 5

Series 5 of Peaky Blinders plots a particularly dark path for Tommy Shelby but leaves a little too much up in the air – spoilers abound

“It was a consequence of good intentions”

Getting Elliot Cowan into the new series of Peaky Blinders made my heart sing, getting him to play a closeted gay journalist was just gilding the lily, so naturally he didn’t make it past the end of the first episodes. Such are the ways that this show breaks your heart.

As the race through the years carries on apace, we’re now in the time of the Wall Street Crash of 1929 and the rise of fascism with the arrival of Oswald Mosley, and these two points are the main drivers of this fifth series. The recalibration of the family business to cover their losses, and Tommy’s burgeoning political career serving his increasingly varied ambition. Continue reading “TV Review: Peaky Blinders Series 5”

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Not-a-review: Shipwreck, Almeida Theatre

Who wants a play about Trump? Not me. Shipwreck proves a crashing bore at the Almeida

“From across the room I saw the President, torchlight playing across his visage.
And the violins began, and the low rumble of the timpani.
I screamed. I ran.”

My fault really. On a day when the people were descending on London to march, my attempt to escape people talking/moaning about politics was kyboshed by picking a play which featured little else but people talking/moaning about politics. Anne Washburn’s Shipwreck just wasn’t the one for me, though it is cool she has two shows in town (even if it is the wrong one that got the transfer).

Running time: 3 hours (with interval)
Photo: Marc Brenner
Shipwreck is booking at the Almeida until 30th March

 

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Review: Julius Caesar, Crucible

“Why, saw you anything more wonderful?”

 Robert Hastie’s opening salvo as the new Artistic Director of Sheffield Theatres might not immediately quicken the pulse as we’ve hardly been lacking for productions of Julius Caesar. But it is soon apparent that this is a canny director at work, making his mark on the Crucible Theatre and how its space is used, on our notions of how Shakespeare is traditionally interpreted, establishing what looks like exciting times ahead for Sheffield.

With designer Ben Stones, Hastie opens out the stage into a space of transformative and unpredictable power – the modern political arena is evoked with its UN-style chambers and mod-cons but it is just as much the powder-keg of changeable public opinion. And the way in which the two intersect, feed into each other, thus feels as informed by hatemongering Sun or Daily Mail headline-grabbing antics as it does by the words of a sixteenth century writer. Continue reading “Review: Julius Caesar, Crucible”