Not even a precious few shots of rippling abs and a cast full of talent can save the mad folly of The English Game, someone stop Julian Fellowes now please
“Lads, football is not complicated”
Who would have thought it? Julian Alexander Kitchener-Fellowes, Baron Fellowes of West Stafford has zero facility for writing Northern working class characters. (Or on this evidence, any characters at all.) Not having watched Downton Abbey in any meaningful way (though I did suffer through the film), I wasn’t prepared for just how cringeworthily bad it would be in his Netflix series The English Game.
I remembered Lucy Mangan’s excoriation of the show in the Guardian just as the first lockdown kicked in but it has taken me this long to get round to watching it myself, despite Netflix constantly flicking it onto my homepage. And there’s actually something quite magisterial in just how jawdroppingly awful the first episode is, even with the changing room scenes that have somehow been screenshotted here. Continue reading “TV Review: The English Game (2020)”
Yesterday, all my troubles seemed so far away…this British romcom doesn’t do it for my heartbear or my funny bone
“I’m trying to live outside the traditional concept of time”
Truth be told, I’ve never been the biggest fan of The Beatles (I know). Their music wasn’t a part of my childhood soundtrack and my first real memory of it comes from having to learn ‘Yellow Submarine’ and ‘When I’m Sixty-Four’ in primary school choir. So the notion of Yesterday wasn’t one that particularly jumped out at me, even as it posits a world in which no-one has heard of the Fab Four.
Written by Richard Curtis, from a story by Curtis and Jack Barth, and directed by Danny Boyle, it aims squarely for that ineffably British romcom aesthetic and pretty much lands it. Unrequited love interest/friend of the opposite sex, gawky best pal, garrulous inner circle, Himesh Patel’s Jack checks off all the Curtis tropes one by one, with the added twist of twee sci-fi in the mix too. It should work, right?
Continue reading “Film Review: Yesterday (2019)”
“Pardon me madam. I was always willing to be amused. The folly of most people is rather an object of mirth than uneasiness.”
Restoration comedies fit the Theatre Royal Bath with the snugness of centuries-old comfort but even with Lindsay Posner updating She Stoops To Conquer to the 1920s, it’s hard not to feel that there’s something inherently dusty about this austere venue. Audiences in London have been spoiled for choice with witty reinventions of the genre – Jessica Swale’s brilliant revisionist work on shows like The Rivals and The Busy Body have enlivened the Southwark Playhouse and the National has had raucous takes on The Beaux’ Stratagem (still running) and this very Oliver Goldsmith play effervescently directed by Jamie Lloyd.
But Posner ‘s direction has a near-fatal lugubriousness in the first half which, already weighed down with a considerable amount of scene-setting and expositionary dialogue, makes for very hard going. Sad to say, things are just dull for too long and nowhere near light-heartedly entertaining enough to do justice to this cracking comedy. The tropes of mismatched love affairs, disguised paramours, mistaken identities and wonderfully ambitious women are all present and correct – London gents Marlow and Hastings mistaking the Hardcastles’ country pile for a country inn and have to go a country mile around the houses to undo the damage they inflict and ensure love wins the day. Continue reading “Review: She Stoops To Conquer, Theatre Royal Bath”