I can’t help but think Humans might have run its course as a uniquely intelligent and British sci-fi drama
“…the coming together of man and machine. You can change the course of history…”
I’ve enjoyed where Humans has taken us thus far, and the beginning of a third series seemed promising. But as I got to the end of this season and twist after twist pointed at where the story might well continue, it felt like I might have reached my expiration date with the show.
The human/synth baby that Mattie is carrying, Niska’s transformation into ur-Niska, V’s survival…it’s hard not to feel that any of these feel far less interesting than where Humans are trod thus far in its carefully balanced but uniquely British brand of sci-fi. Continue reading “TV Review: Humans Series 3”
“Any of our group would walk out with a German, a Hindu or a Belgian.
‘Oh no, not a Belgian'”
The centenary of the First World War will doubtless be marked in many a way in the nation’s theatre so the Southwark Playhouse have wisely got in early with this triple bill of lesser known plays which focuses on those left behind. What The Women Did features three works which delve into the experiences of not just the mothers, wives and girlfriends, but all the women who got on with the job of making society continue in such horrific circumstances, showing the difficulties faced in day-to-day living.
Gwen John’s Luck of War explores the unfortunate awkwardness, that must have been more common than is ever acknowledged, experienced by Ann Hemingway as her presumed dead husband turns up on the doorstep on crutches. It’s awkward because assuming herself a widow, she has remarried and thus is now a bigamist. Victoria Gee’s brummie bolshiness is of course thrown by the situation, but the short play wraps up a little too tweely to really have an impact. Continue reading “Review: What The Women Did, Southwark Playhouse”
“Fios agad am facal”
The Outer Hebrides have an austere challenging beauty about them and so too does Iain Finlay Macleod’s play Somersaults, relishing in an inscrutable quality which equally entertains and frustrates. After premiering in Edinburgh last year, director Russell Bolam has brought it to the intimate surroundings of the Finborough where its mix of English and Gaelic makes a fascinating exploration into where language and cultural heritage intersect in our lives.
Born on the Isle of Lewis (as was Macleod), David Carlyle’s James has since gotten it all. A lucrative dotcom business, a swanky pad in Hampstead, he even managed to marry the prettiest girl at university, but this has all come at a price – he’s become disconnected from his birthplace and increasingly so, from the language he spoke as a child, Scots Gaelic. And when his carefully constructed new life crashes down around him, it seems the ideal time to re-establish those links with home and the heart. Continue reading “Review: Somersaults, Finborough Theatre”
“A play’s a world in itself”
Timberlake Wertenbaker’s 1988 play Our Country’s Good achieved the status of a mnodern classic, making it into the NT’s list of the top 100 plays of the twentieth century. Which truth be told was the main reason that Mr @pcchan1981 and I made the journey over to the Rose Theatre in Kingston to go and see it. This production is by the Original Theatre Company with Anvil Arts and will be touring the country extensively over the coming months.
The play is set in a newly colonised Australia in 1788, where a ship full of transported convicts accompanied by a troupe of soldiers are forced together in this foreign land to forge a new society. Based on a true story, it tells of a benevolent governor who looked beyond the contemporary standpoint on crime and punishment to a more modern view of rehabilitation and used the power of theatre to try and offer an alternative to the unruly mob, much to the displeasure of his officers. Continue reading “Review: Our Country’s Good, Rose Theatre Kingston”