Best Drama Series
The Crown (Netflix)
The End of the F***ing World (Netflix/Channel 4)
Gentleman Jack (HBO/BBC One)
Giri/Haji (BBC Two)
Chernobyl (Sky Atlantic)
A Confession (ITV)
The Victim (BBC One)
The Virtues (Channel 4) Continue reading “2020 British Academy Television Awards nominations”
Sometimes, the simplest things are the best, and so it proves with Manjinder Virk’s film Forgive. A two-hander split between two timeframes, an estranged father and son reaching out but at different times, forgiveness paling into insignificance in the face of forgetting. Sacha Dhawan and Abdi Gouhad are both superb as the scars left by the sins of the past bite hard, but not quite hard enough to eradicate all traces of familial love as the unpredictability of the future shakes all certainties. Beautifully restrained film-making at its best.
Continue reading “Short Film Review #31”
“It’s always going to be someone else’s lipstick”
A completely random discovery, via an excellent bundle of birthday presents, was this BBC3 series from 2009, Personal Affairs. In its easy mixture of comedy and drama of 4 City PAs trying to discover what happened to one of their friends who has disappeared, it was rather enjoyable if hardly ground-breaking over its six episodes. But where it was huge amounts of fun was in the sheer number of theatrical spots it contained which made it a highly entertaining watch for me.
Whether it was Annabel Scholey as Scouse X-Factor wannabe Midge or Ruth Negga’s strident temp Sid amongst the leads, Al Weaver as a plotting boyfriend or a gorgeously bearded Kieran Bew (correctly assessed as the main attraction for me!) as a potential love interest and Mark Benton and Emily Bruni amongst the bosses, the regular cast held much delight. Combined with a supporting guest cast which featured the likes of Ben Lloyd-Hughes, Mark Bonnar and Annette Badland, the acting was predictably of a high quality which ensured it was always extremely watchable. Continue reading “DVD Review: Personal Affairs”
“Our nation’s culture. Not something you can actually read, of course.”
There’s something mildly amusing about the above quote, which refers to Shakespeare by the way, given the Bardathon currently going on at the Globe and beyond and it is one that I didn’t pick up the first time I saw Abigail’s Party. I’d never seen it before despite the Alison Steadman version being a cult classic and so the whole show was a revelation to me, especially in how dark it was given I’d assumed it was more of a comedy. That original review from this production’s original run at the Menier Chocolate Factory can be read here but it has now made the leap into the West End at the Wyndhams where it will run for the summer after it sold out at the Menier.
I don’t really have much more to add about the show second time round, except to say that the Wyndham’s is a great fit for it, the sense of intimacy is still there as Beverly’s living room occupies a letterbox set on the larger stage and has brought with it all the beautifully observed period details. Performances remain sharp across the board, Natalie Casey really is excellent as the gin-soaked Ange, Andy Nyman oozes unreconstructed machismo as Laurence and Jill Halfpenny sweeps all before her as the acidic Beverly. Continue reading “Re-review: Abigail’s Party, Wyndham’s Theatre”
“We’ve got whiskey, gin, vodka, whatever you like”
Whisper it quietly, but I’ve never actually seen Abigail’s Party. I came to Mike Leigh rather late and carrying so much cultural baggage and expectation with it, it’s never been a film I’ve felt a particular inclination to take in. So when the Menier Chocolate Factory announced it was producing a revival of the play, it didn’t really register on my radar of things that I needed to see. But excellent word-of-mouth and general expressions of shock that I’d never seen it before encouraged me to book a ticket when a chance visit to the theatre’s website offered up a return for sale.
Jill Halfpenny takes on Beverly, the role iconically made famous by Alison Steadman (I know that much at least) and though it is her outrageous ‘fantasticness’ that forms a large part of the play and the excruciating comedy it contains, it remains thoroughly a Mike Leigh piece at heart. So painful marital discord abounds and if the prevailing tone is comedic, it is piercingly dark and cutting. For someone watching it for the first time, I didn’t find it half as funny as nearly everyone around me. Continue reading “Review: Abigail’s Party, Menier Chocolate Factory”