Helen McCrory and Maxine Peake help elevate Messiah – The Harrowing to arguably the series’ devastatingly effective high point
“See beyond the victim, see the killer”
The first series of Messiah is certainly one of the best, setting the wheels in motion for an effective crime series, but I’d argue that it is the fourth instalment Messiah – The Harrowing that is the best of them all. The arrival of a new writer – Terry Cafolla – releases the show from the baggage of its legacy which seemed to weigh the last series one and produces something that is really, well, harrowing.
Harking back to that first series and its connecting device of people being killed in the style of the Apostles, the murderous connection here ends up being Dante’s The Divine Comedy and its descent into hell. And weighted around the death by suicide of the daughter of one of their colleagues, Red and his team (with Maxine Peake’s DS Clarke now in for a retired Kate) find themselves once again up against the darkest parts of human nature. Continue reading “TV Review: Messiah – The Harrowing (2005)”
“The over-exposure of women to literature breeds unnatural fancies”
I struggled a little bit to find another theatrical-friendly lesbian-themed thing to watch so I returned to Sarah Waters and the 2005 adaptation of Fingersmith, which as it starred Sally Hawkins was no great hardship at all. Set in Victorian England as was Tipping the Velvet, this story follows the lives of Sue and Maud, two very different women whose lives are irrevocably changed when a trio of fingersmiths, or pickpockets, conspire to rob an heiress of her fortune. But it turns out the plans are even more devious than first assumed as they culminate in the most unexpected of fashions and in a deftly clever move, we revisit all we have just seen from another perspective, casting uncertainty of the surety of what we know which plays excellently in the subsequent exploration of the disturbing reality of Victorian mental asylums.
Sally Hawkins is predictably excellent as Sue, one of the pickpockets who hoodwinks her way into the slightly disturbed Maud’s, the pale Elaine Cassidy, household as a housemaid who acts as a chaperone to allow a second trickster, Mr Rivers played by a bewhiskered Rupert Evans, to pose as a gentleman and seduce Maud into marriage just before she inherits a large fortune. Maud has been stifled by life in her extremely strict uncle’s house as a contributor to his immense collection of pornography and relishes the contact of Sue’s seemingly kindred spirit, so much so that an illicit lesbian affair springs up between the pair. But even as Sue is deceiving her, it emerges that Maud is not quite as delicate as she may seem and so intrigue builds on intrigue as Peter Ransley’s screenplay condenses a wonderfully complex novel into a more streamlined narrative, though still full of equally multifaceted characters. Continue reading “DVD Review: Fingersmith”
“There is nothing either good or bad, but thinking makes it so”
The 2011 season at the Globe theatre has eased open in a rather low-key manner with the reading of the King James Bible and this touring production of Hamlet, directed by Dominic Dromgoole, taking a short residency before the first main show, All’s Well That Ends Well, opens on 27th April. This is an extremely pacy, much funnier than usual interpretation of the play which has taken a magpie approach in co-opting lines from the First Quarto into the text which adds to the rough-edged feel which is being aimed for here (I think) and firmly establishing its identity as a unique production, different to any that might have come recently.
Ultimately though, this was something of an underwhelming production. A cast of eight actors, plus two stage managers, whip through the tale of political intrigues and tragic vengeance with high energy and skill but little cumulative effect. Set up against a raft of recent star-heavy versions – Tennant, Law, Simm, Kinnear and their attendant top-notch ensembles (plus the upcoming Sheen) this has a lot to live up to in recent memory of these other Hamlets. But in its presentation of the story, it also crucially puts itself up against the huge wit and innovation of the recent work of companies like Propeller’s touring double bill and Cheek By Jowl’s Tempest that really does just leave this production standing. Continue reading “Review: Hamlet, Shakespeare’s Globe”
“The fashionables…they just want to know if a painting’s hot…”
As their premiere production in their new premises at the Colourworks in Dalston, the Arcola theatre have commissioned The Painter, a play about the well-known artist JMW Turner which plays on the historical links of the building, a former paint factory actually frequented by Turner. And to write it they returned to Rebecca Lenkiewicz, a playwright whose first play was the first to be staged at the old Arcola. It follows other plays about artists which keep popping up at this theatre, The Line and Reclining Nude with Stockings (the title of which has skewed my hit count something chronic) but it is not always easy to translate the aura around an artist and his work to the stage without a genuinely interesting story and I am not convinced that Lenkiewicz has managed that here.
The Painter covers the middle period of his career and centres around the key relationships with women in his life, his mother who is slowly succumbing to dementia, his fertile lover and the prostitute who becomes his model and confidante. This is contrasted with his steadily growing professional success as a painter despite difficult relationships with his contemporaries and as an intellectual who frequently lectured students at the Royal Academy on his views on art despite being of ‘lower’ birth. But to be honest, there’s no real insight offered here beyond that of the superficial biographical. Continue reading “Review: The Painter, Arcola”
“This is a war to end war, we do it for peace”
The final show to take place in the main theatre at the Arcola’s current premises on Arcola Street in Dalston, The Cradle Will Rock also marks the 10th anniversary of the theatre founded by Artistic Director Mehmet Ergen which will be moving just down the road to the Colourworks building and opening there with a new Rebecca Lenkiewicz play about Joseph Turner in the New Year. With book, music and lyrics by American Mark Blitzstein, the musical is set in a fictional town, Steeltown, USA and concerns the wide rifts between workers and the wealthy at a time when millions were unemployed: in this case it is the union struggles of the interwar period and 1937, though there’s much resonance in the material of the nefarious influence of those in positions of power on the average citizen that echo through to today.
Events take place as a liberty committee made up of the great and good of this particular town are arrested by a confused rookie cop on the very evening that the workers in the steel plant are voting whether to unionise themselves, that committee having set out to stop the vote. But as a series of vignettes play out, we come to see how each of the town’s leaders have fallen under the corrupt influence of the steel magnate Mr Mister with only a previous few people able to withstand the pressure and fight for what they believe is right and fair. Continue reading “Review: The Cradle Will Rock, Arcola”