The OnComm is the new award for online shows from across the UK (and beyond) and was introduced in
1. Recording pre-lockdown (direct)
(i.e. with little or no editing)
Going Viral / Daniel Bye
Hysteria / Spymonkey
Jane Clegg / Finborough Theatre
The House Of Bernarda Alba / Graeae
2. Recording pre-lockdown (edited)
(i.e. with significant editing)
Bubble / Theatre Uncut
Cyprus Avenue / Royal Court & Abbey Theatre
SeaWall / Simon Stephens
The Encounter / Complicité Continue reading “The finalists of The ONCOMMs 2021”
“To do nothing is the hardest job of all”
It’s taken a little time to getting round to watching all of The Crown because, in a first for me, I found it impossible to binge-watch the show. Even with Netflix kindly providing offline downloads just at the point where I had a lot of travelling to do, Peter Morgan’s drama was lots of fun to watch but rarely captured the buzzy energy that has accompanied much online programming. Because it many ways it isn’t like much of Netflix’s previous output, it really is an encroachment into BBC Sunday night and as such, I felt it worked best spread out in almost weekly installments.
That’s partly down to the nature of the subject material, we’re not likely to get many surprises in a detailed retelling of the history of the House of Windsor. But it is also due to Morgan’s writing which tends a little to the formulaic, especially in the middle part of the series, which is when my interest was most in danger of waning. The opening two episodes started brightly but once the shock of becoming monarch was over, the rhythm became very much one of someone close to the queen has an issue and she has to weigh personal desires against public duty, the latter always winning out. Continue reading “TV Review: The Crown, Series 1”
A real work of art this. Johnny Daukes’ Wonder
has much of the multi-stranded, deeply emotional feel of one of my favourite films Lantana
and is just beautifully made. Set in London with the odd excursion to the picturesque Dorset coast, a set of disparate lives are shown to us – a couple about to separate, another one tired of their long relationship, a family grieving, a jealous lover wanting to trust his boyfriend. Daukes spares us too much dialogue and focuses instead on gorgeous shots and an evocative, self-penned score, making this a deserved success.
Continue reading “Short Film Review #44”
“I did it out of love, didn’t I?”
Part of the thrill of watching new actors explode onto the scene is the knowledge that in at least a few of the cases, we are watching the Judi Denches, Maggie Smiths and Michael Gambons of our time at the beginnings of their careers. If I were a betting man, I’d wager that Cush Jumbo will be someone we are watching for decades to come and it has been a particular pleasure to watch her work at Manchester’s Royal Exchange progress over the last few years. Her creative relationship with director Greg Hersov has seen successful takes on Pygmalion and As You Like It and reunited once again, they now have a go at A Doll’s House.
Bryony Lavery has slightly retooled Henrik Ibsen’s classic play, sprinkling it lightly with modern touches which perfectly suit Jumbo’s striking presence as Nora, a woman who unblinkingly does what she can to protect her husband and family until finally, she realises that it is herself that she needs to look after the most. It remains a compellingly foresighted piece of writing – 130 years old now – challenging social conventions about marriage, motherhood and the role that money has to play in all of this. Continue reading “Review: A Doll’s House, Royal Exchange”