A return visit to Home, I’m Darling at the Duke of York’s Theatre just confirms how good a play this is and how exceptional Katherine Parkinson is
“You’re 38 and like cleaning behind cupboards”
I don’t think she’ll win but I reckon Katherine Parkinson deserves the Best Actress in a Play Olivier just for the way that she holds her head. The first act in particular is an absolute delight as she tells us crystal clear exactly how she is feeling just by the angle at which it is tilted – cringing at bad language, sussing out competition for her husband’s attention, listening to her mother…
Parkinson is far from the only reason to book for Laura Wade’s Home, I’m Darling, maintaining the National’s track record of leveraging sell-out runs in the Dorfman into West End transfers (Beginning, Nine Night…). Anna Fleischle’s design is a thing of wonder (and I liked getting to see it from above from the upper circle here as opposed to the Dorfman’s stalls) and every single detail is perfectly observed, right down to the milk bottle tops. Continue reading “Review: Home, I’m Darling, Duke of York’s Theatre”
In which Imperium II: Dictator continues a compelling look at (Roman) politics at the Gielgud Theatre but in which I also feel obliged to point out just how male-heavy Imperium skews
“We are at the mercy of the people of Rome”
Previously on Imperium:
- we enjoyed ourselves
- we struggled to differentiate between the many names beginning with C
- we puzzled at why people wore their togas with one bit draped impractically over a forearm
- we marvelled at how shiny everyone’s leather sandals seemed to be
- and we grieved at how woefully the wonderful Siobhán Redmond was underused, at how indeed the whole production treats women
The second part of this summer’s Roman epic – Imperium II: Dictator – continues much in the same vein as the first. Mike Poulton’s adaptation capturing much of the sweeping vistas of Robert Harris’ Cicero novels, and Richard McCabe excelling as that noble Cicero who increasingly reveals himself as all-too–hubristically-human.
But as we reach the seventh hour of drama in this testosterone-heavy world, you can’t help but feel that the women, both of the time and of this company, are relatively hard done by. Between the male gaze of Harris to Poulton to Doran to McCabe, the relentless focus on the political over the personal doesn’t give us much sense of Cicero the man versus Cicero the politician. Continue reading “Review: Imperium II – Dictator, Gielgud Theatre”
Imperium I: Conspirator is the entertaining first part of the seven hours of a proper Roman epic from the RSC (thankfully with air-con in the Gielgud Theatre)
“Stupid people tend to vote for stupid people”
With the weather as it is, there are worse ways to spend a day in London than in the blissfully air-conditioned Gielgud Theatre. There, you can partake in the near seven hours of the two-part theatrical extravaganza that is Imperium. First seen at the RSC last winter, Mike Poulton’s adaptation of Robert Harris’ Cicero novels have a suitably epic feel to them and, anchored by an excellent lead performance from Richard McCabe, also have a real thrill factor.
The first part – Imperium I: Conspirator – follows Roman consul Cicero’s valiant efforts to defend the republic and the rule of law against rebellion and rivalries. And in the hands of McCabe, his silky rhetoric is a joy to behold as he secures his primacy, relying on political manipulation where necessary. Whether defeating Joe Dixon’s Catiline, trying to outmanoeuvre Nicholas Armfield’s slippery Clodius or pin down the wildly ambitious young buck named Julius Caesar (a superb Peter de Jersey), his actions are gripping. Continue reading “Review: Imperium I – Conspirator, Gielgud Theatre”
The Royal Shakespeare Company has announced casting for the upcoming productions of Imperium parts one and two. Richard McCabe will take on the role of Cicero in Mike Poulton’s adaptations of Robert Harris’ novels alongside Siobhan Redmond as Terentia, Cicero’s wife. Joseph Kloska will play Cicero’s servant Tiro, who narrates their adventures. Continue reading “Full cast of the RSC’s Imperium announced”
“Lie down madam and legs apart
Now brace yourself for this may smart”
Helen Edmundson’s Queen Anne played a well-received run at the RSC the winter before last and it has now transferred to the Theatre Royal Haymarket for a summer season. It contains two excellent performances from Romola Garai as Sarah Churchill (stepping into the role created by Natasha McElhone) and Emma Cunniffe as the titular monarch and you can read my four star review for Cheap Theatre Tickets right here.
Running time: 2 hours 50 minutes (with interval)
Booking until 30th September
Romola Garai will star as Sarah, Duchess of Marlborough alongside Emma Cunniffe as the eponymous monarch in the Royal Shakespeare Company’s production of Queen Anne. They will be joined by Jonathan Christie, Michael Fenton-Stevens, James Garnon, Richard Hope, Hywel Morgan, Beth Park and Carl Prekopp with further casting to be announced soon.
After originally opening at the Swan Theatre in Stratford-upon-Avon in November 2015, Queen Anne will transfer to Theatre Royal Haymarket for a thirteen week limited run from 30 June until 30 September. Written by Helen Edmundson (The Heresy of Love
, RSC) and directed by Natalie Abrahami (Happy Days
, Young Vic), this gripping play explores the life of one of England’s little-known sovereigns and her intimate friendship with her childhood confidante Sarah, Duchess of Marlborough.
Continue reading “Round-up of news and treats and other interesting things”
“Time to come back, the past is the past”
Our appetite for dark crime dramas is seemingly insatiable but it is helped by the quality of programming that is now being sourced from a wide range of countries. One such drama that is closer to home than most is the Welsh-language police procedural Y Gwyll, which is also broadcast in a bilingual English and Welsh format as Hinterland. The 5 part second series of feature-length episodes has just been released on DVD by Nordic Noir and Beyond.
Labelled as part of the Celtic Noir movement, it is interesting to try and locate Hinterland in the televisual landscape and it does fall naturally somewhere in the North Sea – the influence of the all-conquering Scandi-crimewave is certainly there, as are hints of something more homegrown – as reductive as comparisons are, I’d say this is a cross between the Icelandic Trapped and bleak West Yorkshire of Happy Valley. Continue reading “Review: Y Gwyll / Hinterland Series 2”
“War has always been the handmaiden of progress”
From its opening moments of buttocks and blood (both belonging to an uncredited Hugh Bonneville if that floats your boat), it’s clear that Da Vinci’s Demons is going to have its fun whilst playing fast and loose with the early life of its subject, Florentine polymath Leonardo Da Vinci. Conceived by David S Goyer and a co-production between Starz and BBC Worldwide, it’s a good-natured romp of a drama series much in the mould of Merlin, Atlantis or the lamented Sinbad but perhaps tied a little closer to reality as it dips in and out of the tangled history of the Italian city states.
And it is its historical connections that serves as a main driver for the technological innovations for which Leonardo is famed and which form the ‘issue of the week’ around which most of the episodes hang. So as Da Vinci climbs into bed with the ruling Medici family, he’s sucked into their political machinations whilst battling rival families in Florence and the ever-present threat of the Catholic Church in Rome. Alongside this sits a more fantastical series-long arc about the mystical Book of Leaves and the Sons of Mithras who believe Da Vinci has only just begun to tap into his true power. Continue reading “DVD Review: Da Vinci’s Demons Series 1”
“Is that blood on the ceiling?”
Like many things in this country, the National Health Service is something that we all love to complain about – long waiting lists, jam-packed A&E departments, staff without any time to pay enough attention. But it is also an institution that many of us have cause to give huge thanks for, so to see it gradually decimated from within by insidious Coalition politics is a bitter pill indeed to swallow, though it is one which we have taken without too much complaint. Stella Feehily’s This May Hurt A Bit marries her own recent experiences of our health service with an overtly political study of how it has gotten into its current state and how we have let this happen.
Perhaps unsurprisingly, the personal inflections to her writing produce the most effective part of the play. Her partner, who just happens to Max Stafford-Clarke who directs here, suffered a stroke a few years ago and from their interactions with the NHS, comes the story of the elderly Iris and her family who are sucked into the system when she falls ill with a suspected stroke. Stephanie Cole brings a hugely affecting dignity to the role, laced with a cutting sense of humour, as she tolerates the mayhem of a modern overstretched hospital ward and her two adult children (Brian Protheroe and Jane Wymark) bicker by her bedside about whether they should go private or not. Continue reading “Review: This May Hurt A Bit, St James Theatre”
“There’s a fine line between calculation and deceit”
A rare foray into television for David Hare as both writer and director, Page Eight was broadcast on the BBC in 2011 but as ever, I missed it at the time – most likely I was in the theatre. On it went to my lovefilm list and up it came just in time for my little spy-fest. Career intelligence analyst Johnny Worricker has his life turned upside down when his MI5 boss and best friend dies suddenly of a heart attack, having revealed the explosive contents of a file which threatens the UK/US alliance and the future of MI5 itself. His artist daughter has something important to tell him, his strikingly attractive neighbour Nancy Pierpan has suddenly appeared on the scene with a (not-so) hidden agenda and the well-oiled wheels of the slippery government are determined to oust him whilst keeping its secrets. Old-school to his core, Worricker is confronted with a series of dilemmas, political, moral, personal, as he faces up to this contemporary world and his place within it.
Aside from the obvious thrill of a new piece of writing from David Hare, Page Eight also contained some utterly luxurious casting and an exceptional, tailor-made central role for Bill Nighy as Worricker. Ineffably cool as only Nighy can be, the art-collecting, jazz-listening, women-seducing figure at the centre of the story was a perfectly convincing presence but the real star was Hare’s writing. Though undoubtedly a contemporary spy story, it eschewed the glossy thriller territory of Spooks for a no less compelling, intelligently intertwining yet thoroughly believable sequence of events. Shocks and surprises still came, but from people and actions rather than exploding helicopters or extended chase scenes and so it had a deeply satisfying quality that demanded, and rewarded, the attention. Continue reading “DVD Review: Page Eight”