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”
Simon Annand’s Time To Act is a beautiful book of photos capturing actors in the minutes before they go on stage
Tackling the constraints of the pandemic in its own way, Simon Annand’s fantastic new book of photos Time To Act has launched a virtual exhibition of some of the photographs which has now been extended to until Christmas. It’s an ingenious way of sharing some of the hundreds of images from the book and should surely whet the appetite for either just buying it now or putting on your list for Santa to collect soon.
Continue reading “Book review: Time To Act – Simon Annand”
I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time featuring the multitude of Hamlets he has been witness to. Recommended:
Photos: Tristram Kenton
“You believe in laws but there are only lechers”
For some reason or other, I stopped watching the second series of Ripper Street midway through and it’s taken me until now to finally finish it. It wasn’t that I didn’t enjoy it, it’s more likely to do with running out of time to watch it on the iPlayer or something but anyhoo, I’ve managed it now. My review of Series 1 (which I thoroughly appreciated) is over here and I have to say that that enjoyment has continued, even if I do have a few reservations about its female voices.
It’s a shame that in a crime procedural led by three men, two of the leading supporting female characters did not return for this second series. DI Reid’s wife and kind-of-mistress (Amanda Hale and Lucy Cohu) are both MIA, losing all the work done to establish them, and though Leanne Best is introduced as a local politician who can’t help but flirt with Reid (he’s played by Matthew Macfadyen after all), the overall weight of the series does thus feel a little unbalanced. Continue reading “DVD Review: Ripper Street Series 2”
“When and where did you hear the rumour that I’ve been playing to empty houses?”
When a play is “based on true events”, there’s always a tricky line to tread as the very nature of theatre is to be, well, theatrical and the truth be damned. And when the subjects are such well-known luminaries as Orson Welles and Laurence Olivier with a side helping of Joan Plowright and Vivien Leigh and rounded off by Kenneth Tynan, the blurring between fact and fiction is even further tested, especially if you know anything about these figures.
Austin Pendleton’s Orson’s Shadow centres on Welles’ ill-fated decision to direct Olivier in Eugène Ionesco’s Rhinoceros, at Tynan’s instigation as the playwright would have it, all three men in their twilight of their careers or at least a crossroads on the part of Olivier. From Tynan’s machinations to make this happen to the rehearsal rooms of the Royal Court where egos clash and sparks fly – though married to Leigh, Olivier’s co-star Plowright was also his lover – it’s a titanic battle between genuine titans. Continue reading “Review: Orson’s Shadow, Southwark Playhouse”
“Well, that was a bit odd”
Sometimes, one knows from the first moments of a show that it just isn’t going to be your cup of tea. And so it was with the opening montage of Melly Still’s new production of From Morning to Midnight, a landmark of German expressionism apparently but for me, a hugely ambitious piece of stagecraft that indulges far too much overt theatricality at the expense of dramatic integrity. It is worth noting ‘twas a preview that I saw and one in which understudy Jack Tarlton had to step in for the injured Adam Godley in the lead role.
Georg Kaiser’s 1912 play uses an episodic form to tell the story of an everyday clerk who is jolted from the mundaneness of his existence when a sultry Italian wanders into his bank, inspiring him to seize the day and make a change to his dull family life. That he does by stealing 60,000 marks from the bank with the intention of eloping with this woman but when she rejects him, the clerk delves into a journey of the soul – both actual and metaphysical – that lasts for a day but feels like a lifetime. Continue reading “Review: From Morning to Midnight, National Theatre”