Stephen is a deeply compassionate and quietly furious look at the many injustices of the Stephen Lawrence case
“Never expected getting justice to be my job”
Written by Frank Cottrell-Boyce and Joe Cottrell-Boyce and directed by Alrick Riley, Stephen is based on the book In Pursuit of the Truth by DCI Clive Driscoll who spearheaded the 2012 police re-investigation which ultimately led to the conviction of two of the killers of Stephen Lawrence. Murdered in 1993 in a racist attack, the 18 year old Black British man’s case was fumbled in the extreme, the subsequent Macpherson report finding the Met incompetent and institutionally racist, his family left despairing that justice would ever be served.
And this is where the show is strongest. Sharlene Whyte as Doreen Lawrence and Hugh Quarshie as Neville Lawrence deliver two quietly devastating performances as Stephen’s parents, now separated but still bound inextricably by their son’s murder, their lives shaped not just by his absence but by the absence of fair treatment by the investigating authorities. Thus the arrival of Driscoll, played here by Steve Coogan, a DCI handed the case in a cold case review in 2006, is rightly treated with a high degree of hard-won scepticism and scorn. Continue reading “TV Review: Stephen (ITV)”
I’ve loved these deep dives into Tristram Kenton’s photo archive on the Guardian and with this selection from the Royal Court, there’s a lovely reminder of so many great productions (plus some that got away):
Photos: Tristram Kenton
“Is he supposed to be nice?”
Just a quickie to cover the first episode of this new Jack Thorne drama on Channel 4, and I’ll review the series as a whole once all four episodes have aired. National Treasure takes its inspiration directly from Operation Yewtree and its revelations about the nefarious activities of veteran TV personages, to give us an exploration into how such a scandal could unfold, sweeping up everyone in its path and uncovering a painstakingly hidden past.
Robbie Coltrane takes the role of Paul Finchley, one half of a much-loved TV comedy duo, whose world is rocked by a historical accusation of rape. Placed under investigation by the police, his personal life is shaken, not least his marriage to Julie Walters and his shaky relationship with recovering addict daughter Andrea Riseborough. And once the news conveniently slips into the media, his professional life is also called into question as the number of accusations multiplies. Continue reading “TV Review: National Treasure, Episode 1”
“Don’t worry. I may have my quirks but I’m not an animal. Or am I? One for the courts to discuss.”
The term ‘dark comedy’ is much abused but there really is no better descriptor for Hangmen, Martin McDonagh’s long-awaited return to theatrical writing. Set (mostly) within the tobacco-stained walls of a proper boozer in Oldham in the 1960s on the day that Britain has abolished the death penalty, landlord Harry’s (the excellent David Morrissey) past comes back to haunt him in a big way. For he was the last hangman in the country, as evinced by a cracking prologue (that isn’t for the squeamish) that sees him and his assistant Syd go about their business.
The arrival of enigmatic Londoner Mooney (Johnny Flynn never better) is the catalyst for the plot, as Harry’s disaffected daughter becomes easy prey to his professed affections and disappears with him, round about the same time Syd reappears in Harry’s life to say something rum is going on with a serial killer who has a Southern accent. But the real joy is in the motley crew of grizzled regulars who gather in the pub and the cracking dialogue McDonagh gives them as they dance around the morbid curiosity that has called them to this pub rather than any others. Continue reading “Review: Hangmen, Royal Court”
“How am I going to get back to Kansas?”
Following on from the less than sucessful adaptation of Goldfinger that left me cold, I was a little trepidatious about listening to this production of The Wonderful Wizard of Oz, especially as it soon came to light that it also featured narration – one of the things I disliked most about the Bond play – but it actually proved to be much more engaging and thoughtful, and ultimately considerably more entertaining. Linda Marshall Griffiths’ dramatisation has taken a fresh new look at the story, returning to L Frank Baum’s source novel and thereby casting off much of the baggage that might have come otherwise from just being a straight run of the film.
What we get then, is a highly atmospheric story, partly told by Amelia Clarkson’s excellent Dorothy as part of an inner monologue, which feels darker and more compelling that one might have expected. It is all largely recognisable, but it felt so much fresher here and interesting too. Emma Fielding was great value for money as all of the female characters, and Kevin Eldon, Burn Gorman and Zubin Varla all did well as the Scarecrow, Tin Woodsman and Lion respectively. And Clarkson captured the right note of youthful gumption to make Dorothy a thoroughly likeable heroine. Continue reading “Review: The Wonderful Wizard of Oz, Radio 4”