Don’t read on if you haven’t finished Series 4 of Unforgotten for major spoilers are within
“We are who we are – I don’t think you can ever really change that”
It’s a good job that Series 4 of Unforgotten aired as spring arrives in the air and the promise of easements is finally taking some of the sting out of lockdown life. For had it been on in the endless depths of the last few dark months, I don’t think I could have coped. Indeed, I’m not sure I can still really cope now even with it being 23 degrees outside.
They killed Nicola Walker! Again! I’ve barely recovered from how they did Ruth dirty, but given the way that episode 5 ended and the way people were talking at the beginning of episode 6, the writing was on the wall. And so as Sunny finally cracked the case and unwound the puzzle of Matthew Walsh’s death and the four young police officers intimately involved with it, DCI Cassie Stuart breathed her last. Continue reading “TV Review: Unforgotten, Series 4”
I wanted to like Mike Leigh’s Peterloo, I really did…
“You must be famished coming all the way from Wigan”
I’ve been a big fan of Mike Leigh’s film work, since discovering it in the last decade or so, and loved his last film Mr Turner. So news of his return to period drama, albeit through his idiosyncratic process, in Peterloo was a plus for me. The reality though is an epic that proved a real slog for me, even boring by the end. Continue reading “Film Review: Peterloo (2018)”
“Come, you spirits that tend on mortal thoughts, unsex me here”
Gregory Doran’s production of Macbeth for the RSC played at the Swan in 1999 before transferring to the Roundhouse and then touring internationally with its stars Antony Sher and Harriet Walter. And given its success, the show was filmed for television at the London venue, using the subterranean tunnels there as well as the stage to make the most of the location.
It’s a highly atmospheric, contemporary take on the play that may lack a little specificity but soars on the strengths of its leads. Sher makes an unexpectedly convincing soldier, on the brink of madness from the outset and Walter makes possibly the best Lady Macbeth I’ve ever seen, from her quivering anticipation whilst bathing to the chilling eroticism with which she controls her husband, it’s an extraordinary performance. Continue reading “DVD Review: Macbeth (2001)”
“It’s not what any of you want”
And so it ends. A little unexpectedly, it was announced by creator Peter Moffat that this third series of Silk would be the last and whilst I would love to say that it was a fitting finale to the joys that were Series 1 and 2, I have to say I was quite disappointed in it. After showcasing Maxine Peake marvellously as the driven QC Martha Costello, here the character was barely recognisable; after securing the fabulous Frances Barber as a striking opposing counsel as Caroline Warwick, her incorporation into Shoe Lane Chambers neutered almost all the interest that had made her so fascinating; and with Neil Stuke’s Billy suffering health issues all the way through, the focus was too often drawn away from the courtroom.
When it did sit inside the Old Bailey, it did what the series has previously done so well, refracting topical issues through the eyes of the law – the kettling of protestors, Premiership footballers believing themselves beyond justice, assisted suicide, the effects of counter-terrorism on minority communities. And it continued to bring a pleasingly high level of guest cast – Claire Skinner was scorchingly effective as a mother accused of a mercy killing, Eleanor Matsuura’s sharp US lawyer reminding me how much I like this actress who deserves a breakthrough, and it always nice to see one of my favourites Kirsty Bushell on the tellybox, even if she melted a little too predictably into Rupert Penry-Jones’ arms. Continue reading “TV Review: Silk, Series 3”
“There’s some ill planet reigns”
Sheffield’s autumnal Shakespeares have become something of a yearly institution and a regular fixture in my theatregoing diary. This year sees The Winter’s Tale arrive at the Crucible with something of a less starry cast than in previous years (although Barbara Marten and Claire Price were both strong draws for us) and the return of director Paul Miller to the series, after his Hamlet back in 2010. Sad to say though, this was not for me – the atmosphere hampered by a sadly sparse matinée audience but the production also full of choices that just didn’t appeal.
Shakespeare’s late play relies on the careful balancing of two halves – Sicilia’s dark tragedy and Bohemia’s pastoral vibrancy, the pain of simmering jealousy against the freshness of new love. But though they must complement each other, they need to effectively stand alone as well and Miller struggles with his opening act. The sparseness of Simon Daw’s design places the focus strictly on the interactions of his actors, but his preferred method of placing them at some distance from each other on the large stage estranges them too much, both from each other and from the audience. Continue reading “Review: The Winter’s Tale, Crucible”