God-tier guest casting, daring deviation in the storytelling and Leo getting hit on the head, Series 13 of Silent Witness is probably one of my absolute faves
“Your kind think you’re some kind of heroic martyr, you won’t be told or fobbed off. If people get dragged into your mess then it’s jolly unfortunate but you don’t give a shit because you have right on your side”
Now this is the good stuff. Series 13 of Silent Witness opted to shake things up just a little more than usual and the result, for me, is one of their most effective seasons to date. For one, having Leo be the one who is attacked rather than Nikki is (three series on the trot in case you’d forgotten) is just nice for the variety but adding a note of frailty into this most sanctimonious of characters works well.
It also sets up a cracking episode which sees Nikki and Harry at loggerheads as they take the same evidence and end up with wildly different conclusions which they’re then forced to defend in court. And a campus shooting episode, whilst having hardly anything to do with forensic pathology, is brilliantly conceived and chillingly executed. Fresh takes on the storytelling really makes this series feel alive. Continue reading “TV Review: Silent Witness Series 13”
“We’re gonna Jean Valjean the shit out of this”
PLAY – The Subterranean Season takes in plays 23-26 in their ever-growing programme of short plays, devised in just two weeks by a collaboration of writers, directors and actors up for the challenge of creating something sparklingly, spankingly, brand new and fresh. I saw PLAY Theatre Theatre Company for the first time at the VAULT Festival last year and fell for them hard, as is evident from the pull quote they’ve opted to use on their publicity this year (one for my scrapbook!).
As ever, the four PLAYs cover a wide range of themes and styles, from the deceptively whimsical to the psychologically acute, sometimes within the same 15 minutes. For me, Aisha Zia’s 24 and Miriam Battye’s 26 achieved this balance perfectly, the former (directed by Holly Race-Roughan) mixing hipsterish shenanigans with guitars and cardboard boxes with a darkening look at the desperation of flat-hunting in South London. And the latter’s portrayal of an intense friendship was breath-takingly good, Matt Harrison teasing some sensational work from Emily Stott and Jessica Clark. Continue reading “Review: PLAY – The Subterranean Season, VAULT Festival”
Established now as one of the major arts festivals in London, the VAULT Festival returns from 25th January to 5th March 2017 at its original home beneath Waterloo Station and, for the first time, at satellite venues Network Theatre (just to the side of Waterloo) and Morley College (a little further away past Lambeth North). As ever, the programme features an exciting selection of shows exploring many themes via many more mediums. Full information and tickets are available now via VAULTFestival.com.
I’m still working out exactly what and how much I am going to see but I have got a few selections of the things that have definitely caught my eye. Continue reading “Preview: VAULT 2017”
“Have I got chickens?”
Where else would a new theatre open but underneath an existing one?! The Bunker has taken up root in a converted car park under the Menier Chocolate Factory and for its first show, has co-opted Edinburgh hit Skin A Cat. Written by Isley Lynn, it tackles the subject of sexual embarrassment with an admirable frankness that you don’t often see.
Lynn particularly looks at vaginismus, something she freely admits comes from personal experience, through the character of Alana’s journey of sexual maturity. Vaginismus is a psychosomatic condition that makes sexual intercourse painful or even almost impossible due to muscle spasm during penetrative sex and through an uncompromising performance from Lydia Larson, we discover what impact such a thing can have for a young woman navigating her way through contemporary society. Continue reading “Review: Skin A Cat, Bunker Theatre”
“I bear no malice to the people I abuse”
Sparkling reinterpretations of 18th century comedies have become something of an annual treat from Jessica Swale’s Red Handed Theatre company and following on from the delights of the Celia Imrie-starring The Rivals, the remounting of Hannah Cowley’s The Belle’s Stratagem and last year’s excellent The Busy Body, it is now the turn of Sheridan’s The School for Scandal to be primped and preened in their deliciously inimitable style. So for those as yet uninitiated to their ways, prepare for witty musical interludes and warmly embracing audience interaction as a vivacious ensemble romp through this comedy of manners.
Led by the machinations of the vicious-tongued Lady Sneerwell – Belinda Lang in epically glam form – Sheridan’s plot winds through a portion of the higher echelons of London society and exposes the gossip-fuelled hypocrisy at the heart of it. Lady Sneerwell wants others to suffer the loss of reputation she has; Sir Peter Teazle is concerned about the flightiness of his flirtatious younger wife; Sir Oliver Surface wants to test the mettle of his two nephews who stand to inherit his vast fortune; and above all, everyone wants to be the first to tell the juiciest pieces of gossip with the most salacious details. Continue reading “Review: The School for Scandal, Park Theatre”