Emily Watson and Denise Gough both excel in chilling TV psychodrama Too Close
“Grief can be its own kind of hell”
Too Close comes to ITV with Clara Salaman adapting her own pseudonymous novel and Susan Tully directing the 3-part series. And rather impressive it was too, continuing to buck the (possibly unfair) preconceived notions about ITV dramas that persist in my mind.
Emily Watson plays Dr Emma Robertson, a forensic psychiatrist returning to work after a personal tragedy, whose first case back is that of Denise Gough’s Connie Mortensen, a woman accused of a horrific case of attempted murder whose fitness to stand trial Emma must declare. Continue reading “TV Review: Too Close (ITV)”
The Mono Box is delighted to announce RESET THE STAGE, a collection of 7 filmed monologues written by 7 emerging, ethnically diverse writers performed by established actors on the empty stages of 7 London theatres in lockdown will stream live online on Thursday 17th June at 7.30pm.
This series of short films featuring actors Sharon Duncan-Brewster (Star Wars: Rogue One, Sex Education), Ken Nwosu (Killing Eve, Sticks & Stones) and Danny Kirrane (Don’t Forget the Driver, Peterloo) The evening will be introduced by Patrons of The Mono Box, Sir Derek Jacobi, Youssef Kerkour, Susan Wokoma and James Norton. All ticket sales will raise money for the continual work of the company nurturing and providing opportunities to emerging theatre talent. Continue reading “News: the Mono Box presents Reset the Stage”
A cast led by Michaela Coel, Noma Dumezweni, John Goodman and Lucian Msamati make Hugo Blick’s complex Black Earth Rising watchable if not quite essential
“That is why I made a deal like that”
A tricky one this. At this point, you know what you’re getting with a Hugo Blick drama (qv The Shadow Line, The Honorable Woman), weighty complex dramas with amazing casts tackling inscrutable global conspiracies. And Black Earth Rising is no different, as it puts the Rwandan genocide and its aftermath under the microscope, examining Western colonial and capitalist attitudes towards Africa along with the role of the Iinternational Criminal Court.
And with a cast led by Michaela Coel, Noma Dumezweni, Harriet Walter, John Goodman and Lucian Msamati to name just a few, it is naturally eminently watchable. Coel plays Kate Ashby, a young woman with a complicated relationship with her barrister mother Eve (Walter). Eve adopted Kate from Rwanda years back but her decision to take on a case prosecuting a Tutsi general who, after helping end the genocide, went on to commit war crimes in neighboring Democratic Republic of Congo, outrages Kate who is also Tutsi.
Continue reading “TV Review: Black Earth Rising”
Just a quick flag-up for this brilliant visual project from photographer Helen Murray. Her set of portraits entitled Widening the Lens is in partnership with Act for Change. So many absolute faves looking stunning here: see the whole set on Murray’s website.
I mean, just look at this absolute treasure trove of theatrical talent!
I’m off to listen to Patsy Ferran read Tom Wells, and Gabby Wong read Alexi Kaye Campbell, and Sarah Niles read Winsome Pinnock and…and…
“I’d rather walk in blood than walk a slave for he thy Emperor!”
For every Blue Stockings, there’s been a Pitcairn, with a Bedlam inbetween. No matter the AD, the commitment to new writing in the later part of the summer season at Shakespeare’s Globe has thrown a marked inconsistency. And Tristan Bernays’ Boudica proves no different, given an ambitious production by Eleanor Rhode which strives a little too hard to situate the play in an Emma Rice house-style, fun as it may come across.
So Game of Thrones-style storytelling mashes up against spirited covers of the likes of ‘London Calling’ and ‘I Fought The Law’, a great sense of energy percolating through this wooden O. But Bernays’ play doesn’t always fit easily with this treatment, written in blank verse that has to balance the required info-dump to flesh out this historical fiction with something more fascinatingly insightful about what might have driven the Queen of the Iceni. Continue reading “Review: Boudica, Shakespeare’s Globe”
“There’s no place for a highly educated African woman here”
Danai Gurira’s Eclipsed was the best thing I saw in 2015 so the prospect of seeing her 2012 play The Convert, also at the Gate Theatre, was a joyous one indeed. And once again, Gurira turns her focus to the African continent, exploring the kind of history that I’m pretty sure is rarely featured in the majority of Western schoolrooms. The year is 1896 and the place is Rhodesia, the country now known as Zimbabwe, and The Convert takes a look at colonialism there from the inside out.
Chilford may be a native of this territory but taken from his family as a young boy, he has been moulded into an approximation of ‘an English gentleman’, the only black Roman Catholic priest in the area and tasked with the job of converting the population to the ways of their colonial masters. On the run from an attempt at forced marriage, Jekesai finds sanctuary under Chilford’s tutelage, renamed as Ester and quickly becoming his star pupil but as she comes to understand just how much she’s expected to give up, she’s left to question if there’s any safe haven at all. Continue reading “Review: The Convert, Gate Theatre”
“Give me the history of the Congo in four and a half minutes”
There’s an ingenious moment in the middle of They Drink It In The Congo when a PR guy has to step in for an ailing colleague at an imminent press conference and utters the line above. The answer he gets exposes not only the vast complexity of the socio-political issues in the Democratic Republic of Congo but also the way in which Westerners seek to reduce them to manageable soundbites so that they can be dismissed as problems easily solved
Which in a nutshell is the key issue at the heart of Adam Brace’s new play for the Almeida. Aware of the impossibility of doing Congolese history justice in a couple of hours, he approaches the issue from an alternative angle, the impossibility of “doing something good about something bad”. Daughter of a white Kenyan farmer, Stef now works for a London NGO and is excited to be given the opportunity to organise ‘Congo Voice’, a new arts festival raising awareness of the issues there. Continue reading “Review: They Drink It In The Congo, Almeida Theatre”
“We seek out revolution wherever we can find it”
The Royal Court’s The Big Idea strand of work commissions a range of responses to the plays running there and with Hangmen going great guns in the main house before heading over the Wyndham’s for a well-deserved West End transfer, I headed over this Saturday afternoon for It’s Like the 60s Never Happened. Four short plays, each “imagining a world where one of the major 1960s social political or technological innovations never happened”, performed in unexpected locations on the Royal Court site.
I’ve been on a couple of similar theatrical trips here before and there’s something irresistible about getting to see the backstage nooks and crannies which are so inventively used. This time, we got to visit a rehearsal room, a little terraced garden, a stairwell and the office that sits behind those iconic red letters out front and though they may not sound the most inspirational of places, the way in which each of the directors used them really did cultivate the sense of something special. Continue reading “Review: It’s Like the 60s Never Happened, Royal Court”
“You tink it normal you wifing some dirty self-proclaimed general in de bush? You tink it normal a boy carrying a gun killing and raping? You tink it okay dere no more schools, no more NOTIN!”
In 2003, Liberia was in the fourth year of its second civil war, the first having only ended in 1997 with cumulative casualties estimated to have reached over half a million. It is the context of this situation that Danai Gurira’s play Eclipsed visits four young women sequestered on a rebel army base as the wives of the resident C.O. and explores the choices that they’ve been forced to make in order to survive. The intimacy of the Gate naturally lends itself to intense theatrical experiences but Caroline Byrne’s production here captures something equal parts raw and refreshing in both its uncompromisingly Liberian-accented subject and its forthright sincerity.
It’s refreshing because the Zimbabwean-American Gurira’s writing stems from an innate desire to understand character and even though the four women have been reduced to naming each other in the order they were ‘betrothed’ to the unseen general, they’re all written beautifully. As the dominant mother figure, No 1 runs as tightly regimented a ship as the man who no longer sexually desires her, No 2 took the only escape route available, joining the ranks of the soldiers leaving No 3 to bear the brunt of the amorous intentions, leaving her pregnant. The arrival of a frightened No 4 forces a change in the group’s dynamics though, as each woman struggles to assert their position. Continue reading “Review: Eclipsed, Gate Theatre”