This TV adaptation of Philippa Gregory’s The White Queen proves rather schlockily enjoyable
“You live in a country that is divided”
Philippa Gregory’s novels have long been a pleasure for me, a guilty pleasure if I believed in such a thing, as her female-focused, historical fictions offer much trashy enjoyment. A miniseries of The White Queen was created in 2013 but though it aired on the BBC and garnered some award success, it proved to be a one-off (for five years at least).
The White Queen is an adaptation of her Cousins’ War series ((The White Queen, The Red Queen, and The Kingmaker’s Daughter) and uses the Wars of the Roses as its backdrop to explore the roles of some of the most powerful women in the country. Elizabeth Woodville, Margaret Beaufort, Anne Neville – all determined to parlay their dynastic power into a real shot at the English throne. Continue reading “TV Review: The White Queen”
“I can’t handle another book right now”
Quite the coup for the Rose Kingston this, not just in John Malkovich’s London debut as a director but in the English language premiere of Zach Helm’s 2006 play Good Canary. The two go hand in hand though, Malkovich having previously helmed its opening run in France (as Le Bon Canari) and then its subsequent production in Mexico (El Buen Canario), a clear affinity for the material bringing him back time and again.
The play is a hard-hitting, at times searing, examination of mental illness and how they intersect both with the creative process and the reality of being a woman in the contemporary USA. On top of the world after great notices for his first novel, Harry Lloyd’s Jack is mulling over a big bucks offer for the next but his wife Annie, Freya Mavor, is self-medicating her mental health with a hefty speed addiction and neither are clear what impact such a change might have on their lives. Continue reading “Review: Good Canary, Rose Theatre Kingston”
“If I get drunk, well I know I’m gonna be, I’m gonna be the man who gets drunk next to you”
The idea of a Proclaimers jukebox musical is not one that appealed when I first heard of it and so Sunshine on Leith was hardly on my list of films to see when Stephen Greenhorn’s musical was made into a film by Dexter Fletcher last year. But one of the lead actors George MacKay caught my attention in The Cement Garden a couple of months ago and reading in the programme that he had won awards for his performance, I decided to give it a whirl.
And as is often the case when expectations are low, I ended up absolutely adoring it. It may be jukebox in form but I’d wager most people – myself included – would be hard pressed to name more than two songs by the bespectacled brothers (who make a neat early cameo) and so there’s a real freshness to the score, a vibrancy that is essentially Scottish but ultimately universal in its celebration of the quirkiness of life and the emotions that govern us all. Continue reading “DVD Review: Sunshine on Leith”