Is Silent Witness the new The Bill in terms of most actors having a credit on their CV? I start a rewatch of the last 24 years with Series 1…
“They say a victim dies only once, but a scene can be murdered a thousand times”
As it approaches its 25th anniversary, and since the BBC have kindly put all 219 episodes on the iPlayer, my infinite wisdom has decided that I’m going to do a watch/rewatch of Silent Witness. I can’t be fully precise because I don’t really remember exactly when I started watching the show – it arrived on BBC1 in 1996 but my first clearest memory is actually of the brilliant, and sadly not online, French and Saunders spoof Witless Silence. (Seriously, if anyone can point to where I can watch it again, get in touch!)
Creaated by former police officer Nigel McCrery, Series 1 introduces us to the world of forensic pathology through the eyes of the Northern Irish Dr Sam Ryan, Amanda Burton getting her name above the title in the iconic leading role. And as she moves to Cambridge to take up a position aiding the police with their enquiries and also to be closer to her mother who is ailing with dementia, there’s something really quite bold in just how chilly and spiky Ryan is as the central figure. Uber-professional to be sure but defiantly uncompromising with it. Continue reading “TV Review: Silent Witness Series 1”
Crazy Coqs, Soho’s unique live entertainment venue within the Brasserie Zédel complex, announces the re-opening of the venue on 17 May 2021 – pending further government announcements – with a full programme from 17 May – 30 June 2021, offering both live shows and simultaneous live streams for audiences who cannot make it to the venue in-person. Live-streamed shows will be confirmed in April.
The annual Joe Stilgoe + Friends (including Hadley Fraser, The Puppini Sisters, Le Gateau Chocolat), Clare Teal & Jason Robello, Paul Potts, Marisha Wallace, Ria Jones, Grace Dent, Dillie Keane, Ian Shaw and Jay Rayner all feature in this new season. Continue reading “News: Crazy Coqs announces May reopening and new program”
Johnny English, Johnny English Reborn and Johnny English Strikes Again prove ideal brainless festive watching
“I’ve been dropped into the Kalahari Desert carrying nothing more than a toothbrush and a packet of sherbet lemons”
I don’t believe in any of my pleasures being guilty, if something makes you smile then who is anyone else to dictate whether that’s acceptable? The Johhny English film trilogy – Johnny English (2003), Johnny English Reborn (2011), and Johnny English Strikes Again (2018) – holds a special place in my heart (well, the first two do) as they formed the backdrop to a couple of great family holidays and several of the funnier lines have snuck into the family vernacular.
Written by Neal Purvis, Robert Wade and William Davies and directed by Peter Howitt, Johnny English is an amusing entry into the series. Rowan Atkinson’s English is a hapless MI7 employee whose bumbling sees their top agent accidentally killed and then all their other agents massacred in a bomb at his funeral. As the sole agent left, he has to thwart a plot to steal the Crown Jewels and decipher John Malkovich’s comedy villain French accent. Continue reading “Film review: the Johnny English trilogy”
“If I were a man you’d call me rogue; let us do with whore, liar, thief, cunt”
Over the past few years where he may or may not have been studying sculpture at Saint Martin’s College, Northampton-born playwright DC Moore has been putting together a résumé of quietly impressive work – exploring aspects of contemporary masculinity in insightful plays such as the excellent Straight and under-rated monologue Honest, or opening up his focus to the war in Afghanistan in The Empire and family dramas in The Swan. So news that he was making his main-stage debut at the National Theatre with Common, in a co-production with Headlong and starring no less than Anne-Marie Duff and Cush Jumbo, was bright news indeed.
But whilst I thought I wanted to do what other common people do, Moore has taken a completely different tack here. Common delves into the under-explored history of rural England in 1809 as the social and economic changes heralded by the Industrial Revolution begin to filter through the country. More crucially, his acute ear for sharply observed dialogue has been smothered by the invention of a fruitily rich mode of language full of compound words – described charitably by Jumbo as “a mixture of Shakespeare, Harry Potter and some kind of Angelina Jolie movie”. Continue reading “Review: Common, National Theatre”