The Secret of Crickley Hall is a disappointing ghost story that not even Suranne Jones can rescue
“Hands up who wants to move out of here
‘Hands up who wants to know where Cam is?'”
You know how it is. You nod off while you’re watching your son at the playground and then he disappears. And then 11 months later you move to the north and find yourself in a haunted mansion where his spirit starts talking to you. Such is the world of The Secret of Crickley Hall, which flits between affecting family drama and haunted house hokum as it follows its parallel timestreams.
Adapted by Joe Ahearne from James Herbert’s novel (airing on the BBC on 2012), the current-day trials of the relocated Caleigh family run alongside the experience of the group of orphans who were evacuated there in 1943. At the heart of the story lies Eve, wracked with guilt over the disappearance of her son Cam, the conviction that she has some kind of sixth sense leaving her susceptible to the torrid history of her new home. Continue reading “TV Review: The Secret of Crickley Hall (2012)”
The best TV show you haven’t heard about? Harlots just might be it!
“When the time comes, I hope your quim splits”
I suppose that it is good that we have so many more options for good television to be made these days. The flipside to that is that it can be harder to keep track of it all. Harlots is fricking fantastic, a hugely enjoyable and high quality drama but airing on ITV Encore (and Hulu in the US), it has languished in the doldrums of the unfairly unheralded.
A glance at the castlist shows you how much of a waste this is. Samantha Morton and Lesley Manville at the head, Jessica Brown Findlay, Hugh Skinner and Dorothy Atkinson among the supporting, Fenella Woolgar, Danny Sapani and Kate Fleetwood popping up now and again too. This is luxury stuff and yet criminally few know about it. Continue reading “TV Review: Harlots Series 1”
“Demons run when a good man goes to war”
And here it is, the point at which I stopped loving new Doctor Who, even in a series that has two of the best episodes it has done, and the first series that I haven’t ever rewatched in its entirety. I do enjoy Matt Smith’s Eleven immensely but the writing across this season – which was split into two for transmission – was just fatally erratic for me. Alongside the innovative work from Neil Gaiman in The Doctor’s Wife and Steve Thompson in The Girl Who Waited, two contrasting but superlative pieces of writing, stories such as The Curse of the Black Spot and Night Terrors took the show to a less sophisticated place – (or do I really mean that I started to feel that this version of Doctor Who wasn’t necessarily aimed at me…?)
Even the big finales (for there were two, one for each half) fell a little flat. The premonition that the Doctor would “fall so much further” than ever before in A Good Man Goes to War raised expectations only to be dashed by an overloaded episode with little emotional heft aside from the River Song reveal, and The Wedding of River Song suffered from the general over-use of the characters dying-but-not-really-dying trope (poor Arthur Darvill…). That said, the high points of the series are so very good – the striking US-set opening double-bill, the Doctor finally meeting the TARDIS, and brain-scratching sci-fi with real heart. Frustratingly inconsistent. Continue reading “Countdown to new Who: Doctor Who Series 6”
“Do you believe that there is a demi-monde?”
It is hard to credit that the first series of Penny Dreadful managed to encompass something as sublime as Eva Green’s magisterial lead performance as the haunted Vanessa Ives as well as one of the worst accents ever committed to celluloid (or whatever it is these days) in the form of Billie Piper’s Northern Irish brogue which, without due care, could well ignite some Troubles of its own. The transatlantic Showtime/Sky Atlantic co-production aired this summer and was conceived and written by John Logan and with an executive producer credit for Sam Mendes, it is no surprise that it is a quality product, albeit not without its issues.
Penny dreadfuls were a British 19th-century invention, sensationalist fiction with often lurid subject matter, and Logan has drawn on these alongside more well-known tales from the time from authors such as Mary Shelley, Bram Stoker and Oscar Wilde. So the show is set in 1891 London in a world heavy with the supernatural where noted explorer Sir Malcolm Murray is searching for his kidnapped daughter Mina. He is assisted by a motley crew – Green’s prepossessed Vanessa, Josh Hartnett’s sharp-shooting Ethan, Danny Sapani’s enigmatic Sembene, Harry Treadaway’s tortured Victor – but they soon find that (to borrow a phrase), the night is dark and full of terrors (and unexpected gayness).
I won’t say much more about the story as it is full of clever little reveals within the overarching narrative and I loved these ah-ha moments, Logan balances them well against his primary storytelling and the general feel of Gothic horror is maintained brilliantly. As with anything to do with the supernatural, it is more effective in suggesting what lies in the shadows (thus the séance of episode 2 is way creepier than the possession of episode 7) but that said, the make-up and effects are highly superior and the composition of Xani Giminez’s cinematography is just beautiful as the Dublin locations are utilised to their full advantage.
Continue reading “DVD Review: Penny Dreadful (Series 1)”
“Is this the way to Macclesfield?”
Books like Alan Garner’s The Weirdstone of Brisingamen and The Owl Service and Susan Cooper’s The Dark Is Rising series were huge favourites of mine when I was a wee laddie, so I quite most intrigued to hear that a radio adaptation had been made of the former for Radio 4. Peter Thomson’s dramatization condenses the novel down to a highly atmospheric hour as this children’s fantasy tale winds its way around the ancient mysteries hidden on Alderley Edge. The story starts with Colin and Susan, young siblings who are sent to stay with old family friends in Cheshire whilst their parents are away, and who soon find themselves sucked into a mystical battle between the forces of good and evil who are all hunting for the Weirdstone which has gone missing and which looks strangely like the jewel at the heart of Susan’s favourite bracelet.
Thomson has the tale narrated by an older version of Colin, a technique I’m not normally a fan of but one which works extremely well here, especially as he is played by Robert Powell whose sonorous tones are soothingly ideal for the purpose. And Jane Morgan’s production is inspired in its use of music (by Mia Soteriou) and special effects (by Wilfredo Acosta) to quickly establish the necessary atmosphere of ancient mystery and peril. She’s cast her play astutely too: Trevor Cooper’s booming guardian Gowther is brilliant, Philip Voss’ voice epitomises weary wisdom and Monica Dolan is a perfect choice for the wicked Selina Place. And with Hugo Docking and Fern Deacon full of youthful energy and wonder as Colin and Susan, it’s a rather wonderful hour of radio entertainment. Continue reading “Radio Review: The Weirdstone of Brisingamen + Gracey and Me”
“Electra, you need to calm down”
This version of Electra by Nick Payne which is currently playing at the Gate Theatre is brand new, but it does bear some resemblance to the production Elektra, which played, for free, at the Young Vic last summer. That version was by Anne Carson was a co-production with Headlong but is now being labelled the workshop production of this one, as it was also directed by Carrie Cracknell and featured the same creative team around her here, indeed one of the actresses involved has travelled too though Cath Whitefield has been promoted from the chorus to the title role.
Based on Sophocles’ Ancient Greek myth, the story centres on Electra, seething with rage at the murder of her father Agamemnon at the hand of her mother Clytemnestra, who in turn was avenging his sacrifice of another of their daughters, Iphigenia, to appease the gods for a prevailing wind. Electra ships off her younger brother to safety but remains with her mother and new lover, silently plotting for the chance to take the ultimate revenge in the memory of her father and praying for a brother she has not seen for ten years. Continue reading “Review: Electra, Gate Theatre”
“Small dogs in packs and pairs, doing what small dogs do”
Set in an all-girls boarding school in the 1990s, EV Crowe’s Kin is the last show of 2010 to show upstairs at the Royal Court. Crowe’s writing was also featured in Clean Break’s Charged at the Soho Theatre with the short play Doris Day about the challenges for modern policewomen but this show looks at what could happen when young girls are cooped together in the claustrophobic atmosphere of boarding school, away from familial guidance.
It focuses on two girls Mimi and Janey who have a complex friendship which is further complicated by another girl Nina accusing Janey of bullying. And so rivalries, burgeoning sexualities, precociousness and fraught emotions bubble up. The narrative is non-linear here though, a complicating factor which adds nothing and actually detracts from things as it all adds up to very little, fragments of scenes threatening to come to chilling life but hardly any actually achieving that and given the short running time combined with this structure, I didn’t feel like Crowe’s writing actually said anything and left me unmoved and completely indifferent to what I had just seen. Continue reading “Review: Kin, Royal Court”