It’s all change at Thames House as Series 3 of Spooks sees the original core team leave the security service one way or another
“We cannot have another Tom Quinn”
I’d forgotten just monumental this series of Spooks was, as first Matthew MacFadyen’s Tom took his leave after getting a conscience, then Keeley Hawes’ Zoe was shunted off to Chile to evade justice and then David Oyelowo’s Danny shuffled off this mortal coil thanks to bloody Fiona and an annoyed Iraqi terrorist. Rupert Penry-Jones was drafted in as Adam, a friendly MI6 type who fits the Tom mould perfectly, though we could have done without his wife (more of that anon).
But even besides all the personnel shifting, the writing is shit-hot in this season, especially when the focus is on the morality of security service actions. Targeted assassinations on North Sea ferries, honeytrapping members of the Turkish mafia, these are meaty issues with some real consequences for all concerned.
Now firmly established in the team, attention turns to her trying to get some, in the most Ruth-like possible way, ie stalking someone illegally and sharing a carbonara with a traitorous ex-colleague, this is prime Ruth territory. Continue reading “Lockdown TV Review: Spooks Series 3”
The finalists of the The Offies 2018 have been announced and as ever, there’s much of interest there, in the choices made and the breadth of Off West End theatre celebrated. Play-wise, I’m delighted at the love for The Revlon Girl and An Octoroon here, nice to see the Bunker’s Eyes Closed Ears Covered rewarded too, plus Will Pinchin’s work in Frankenstein.
With the musicals, I’m not down with the love for Promises Promises, an ill-judged revival that added nothing to the conversation (and even less in these #MeToo times) and I’m disappointed that none of the boys of Yank! were recognised. The rest of the Southwark Playhouse’s spectacular year does get the appropriate plaudits though, with Superhero, The Life and Working all getting multiple nominations.
And lastly, at times it can seem like all you have to do is sing in your bathroom and you get an Offie nomination ? so it is interesting to see how the numbers break down, albeit somewhat vaguely. These 80 or so finalists have apparently been whittled down from over 350 nominations from over 190 shows – there’s clearly just a lot of Offies love to share. Should you wish to join in said sharing at the IRL award ceremony on Sunday 4th March at The Albany, Deptford, you can buy tickets here.
Continue reading “The finalists of The Offies 2018”
“Oh please, Mother, make it stop! It’s hurting.”
The Exorcist will be unleashed onto the West End stage for the very first time in a uniquely theatrical experience directed by Sean Mathias and adapted for the stage by John Pielmeier.
The Exorcist will play a strictly limited run at the Phoenix Theatre from 20 October 2017 to 10 March 2018. Tickets will go on general sale at 4pm today.
Continue reading “Round-up of news, treats and other interesting things”
“Round about the cauldron go”
Who’d’ve thought that it would be a production from 1979 that would be one of the most enduringly successful translations from stage to screen. It helps immensely of course that this RSC production of Macbeth features a couple by the name of Ian McKellen and Judi Dench as its central lovebirds, with a young gentleman named Trevor Nunn on directorial duties at a point when playfulness didn’t seem like a dirty word to him.
The original production from 1976 played in the round to small audiences at The Other Place and Nunn recreates that intimacy by keeping his company on a circular set and keeping (mostly, one imagines) to the theatrical devices used, rather than employing anything too cinematic. So we’re left with what feels like pure Shakespeare, exceptional actors doing little else but acting as if their lives depended on it and holding the audience utterly in the palms of their hands. Continue reading “DVD Review: Macbeth (1979)”
“You can’t kill me
I can’t ever die”
After three weeks away, all my initial thoughts were on a cosy night in catching up on the first two episodes of The Great British Bake-off and I couldn’t imagine anything changing my mind – how wrong could I be! When the Almeida first announced their durational performance of Homer’s Iliad, it sounded like a madcap plan, a morning ‘til night affair in association with the British Museum and featuring over 60 actors – the only thing stopping me from booking was it being the last day of my holiday!
But fortunately, the good folk of the Almeida decided to livestream the whole shebang – all 16 hours and 18,255 lines of it – so that people could dip in and out to their heart’s content as well as attending at the British Museum for free during the daytime. I switched on at about 8pm as Bertie Carvel started his section, intending just to sample its wares but sure enough, I was there until the bitter end around 1am, having been sucked into its unique brilliance and unable to miss a minute more of it. Continue reading “Review: The Iliad Online, Almeida/Live-stream”
“You know someone said that’ the world’s a stage”
One almost wishes that Rupert Goold had gone the whole hog and renamed this The Merchant of Vegas – Portia’s Turn, so complete is the re-envisioning of Shakespeare’s work here that it almost deserves the new title. The Merchant of Venice is commonly considered one of the problem plays and so it is not too unusual to see grand concepts imposed upon it and that is certainly what Goold has delivered here in this modern-day Sin City-set adaptation. Naturally it doesn’t solve all the issues about the play and it does introduce some problems of its own but with its verve and vision, it is a breath-taking experience.
Much of this comes from a genuinely sensational performance from Susannah Fielding as Portia, who is in many ways at the centre of this interpretation, the character foregrounded in a way I’ve never seen before. In this gaudy world of all-night casinos, Elvis impersonators and reality TV, she is the star and ultimate prize of a gameshow called Destiny, caskets remaining in situ as no-hopers compete for her hand. But once the cameras are off and she aims squarely for Bassanio’s heart, the complexity deepens considerably as Fielding lays this woman bare in all her insecure vanity and condescending cruelty – there’s no doubting how this Portia feels about Jews as she patronises Jessica and vilifies Shylock. Continue reading “Review: The Merchant of Venice, Almeida Theatre”
“You must be drunk
‘I’d better be’”
Fortunately the sheer quality of Kathleen Turner’s stage presence means that you should be able to make it through Bakersfield Mist with decent levels of sobriety but only just. For Stephen Sachs’ odd couple/culture clash/art history romp is a most trying piece of theatre indeed, maintaining the Duchess Theatre’s dubious record for hosting some of the most random things. On the one hand, we should celebrate the arrival of a new, original drama in the West End, such a thing is horribly rare but on the other, if this was someone’s first experience of theatre, you wouldn’t lay bets on them booking for anything else in the near future.
Turner plays Maude, an ex-bartender who lives in a Californian trailer park where she now collects junk from thrift stores. Most of it is piled up in her abode – meticulously designed by Tom Piper – but the jewel in her crown is a $3 painting which she is convinced is a long-lost Jackson Pollock work, worth millions. So she calls a New York art expert to verify its authenticity and when the snooty Lionel arrives, there’s a clash of personalities as snap judgements are made, about both person and painting, which melds into something more genial as bottles of whiskey are cracked open and barriers brought down in the search for common ground. Continue reading “Review: Bakersfield Mist, Duchess Theatre”
“Oh we’ll make him suffer, but will he make himself?”
This 2002 BBC2 adaptation of Crime and Punishment by Tony Marchant is a rather good bit of television – it may be a goodly while since I read Dostoevsky’s novel but it struck me as a respectful interpretation of the story, though not overly so, and one which makes the most of the televisual approach. Directed by Julian Jarrold, it employs a vivid array of camerawork – from jerky handheld work to epic sweeps of the St Petersburg location – to really capture the idiosyncrasies of the story.
Jarrold really takes us into the mind of impoverished student Raskolnikov, a man who makes a virtue of his immorality in coming up with a plan to murder an unscrupulous pawnbroker as a justifiable good deed to the world at large. Fevered dream sequences, intensely visceral interactions, we delve right into his highly disorientated state of being as he struggles to ratify his choices in the face of their impact on his friends and family and as the law encroaches in on him. Continue reading “DVD Review: Crime and Punishment (2002)”
“Stop asking silly questions and eat your egg”
If I’d known more about Rebecca before I watched the 1997 television adaptation as part of my Lucy Cohu marathon, I might not have bothered. Not having seen it before or read it, I assumed that her part – the titular role no less – might have had a little more to do in the story but as the story is about the second Mrs De Winter, this wasn’t the case. At all. The first half, 90 minutes in total, featured one brief shot of her eyebrows and one of her hands. The second not much better with tantalising glimpses of parts of her face and a few snatched lines of dialogue (although Wikipedia informs me I’m lucky to even get this!)
Whether intentional or not, this ends up being a rather fabulously camp thing. From Faye Dunaway’s Mrs Van Hopper, hunting for gossip and celebs on the Riviera, to Jonathan Cake’s scene-chewing Jack Favell, to the utter deliciousness of Diana Rigg’s ominously looming Mrs Danvers, it’s all rather gloriously over the top. The May-to-December romance of Charles Dance and Emilia Fox is played very straight and the increasing mystery of exactly what happened to her predecessor does take hold to create a rather compelling latter third which I was entirely gripped by (if not entirely convinced – the new Mrs De Winter is VERY understanding!). Continue reading “DVD: Rebecca (1997)”
“Men are valued not on what they are, but what they seem to be”
The term ‘all-star cast’ is bandied about quite a bit these days and the more I go to the theatre, the more I realise how subjective a concept it is for me at least. Looking at the performer credits for this Radio 3 production of the Victorian satirical drama Money by Edward Bulwer-Lytton, I went into paroxysms of delight at the names contained within, but chatting later that evening to a group of non-theatre-going friends (for indeed I do still have some!), my excitement was hardly shared.
But for those of you in the know, and I’m counting all you readers of this blog, this is a great collection of actors. Celia Imrie, Roger Allam, Ian McDiarmid, Bertie Carvel, Tom Goodman-Hill, Phoebe Waller-Bridge to name just a few and all directed by the estimable Samuel West, making his radio directorial debut – how could anyone resist. For this version, the play, given a major production by the National Theatre in 1999 which also featured Allam, was recorded on location at Knebworth House which was inherited by Bulwer-Lytton himself just after he wrote this very work in 1840. Continue reading “Review: Money, Radio 3”