As the dust settles on all the recent changes, Series 18 of Silent Witness turns out to be just a little bit average
“If you think you can do better, you’re very welcome to try”
After some wholesale changes to the core team and indeed the remit of the show, Series 18 of Silent Witness is the first chance to really sees where the land lies now that the dust has settled. The biggest consequence is the shift to incorporating forensic science just as much as, if not more than, forensic pathology which of course lends much more credence to the team spending so much time out of the lab.
I say the team, I actually mean Nikki and Jack, as it is these two who unquestionably lead the investigations now, Emilia Fox and David Caves finding a nice chemistry. Richard Lintern’s Thomas may be the head of the Lyell but is comparatively considerably under-used. He’s less a third lead than a second supporting lead alongside Liz Carr’s Clarissa, whose dry wit makes her the MVP here. Continue reading “TV Review: Silent Witness Series 18”
As the world continues with social-distancing measures, and with theatreland on hiatus, many stars of the West End stage are getting creative at home and taking to social media with free clips, songs, and messages of support for fans, theatregoers, for their local communities, and in appreciation of key workers in the NHS and front-line services.
I mean, just look at this absolute treasure trove of theatrical talent!
We are proud to announce the launch of THE MONOLOGUE LIBRARY, an audio love letter to the industry. #MonoLibrary is a FREE resource of over 100 monologues recorded by professional actors in isolation to celebrate, commiserate & share speeches that mean something to them now… pic.twitter.com/GuT7Y7wQ1q
Renée Zellweger is sensational in Judy, a deeply moving account of Judy Garland’s final months in London directed by Rupert Goold
“I just want what everybody wants. I seem to have a harder time getting it.”
As if there were any doubt, Judyis a phenomenal success, and should see its star Renée Zellweger add to her tally of Academy Award nominations, if not the award itself. Loosely based on Peter Quilter’s play End of the Rainbow, it recalls the final year of Judy Garland’s life as a roll of the dice sees her decamp to London to perform in a series of concerts that she hoped would reignite interest in her career whose light was seriously fading in the US.
But years of substance abuse and the relentless ride of showbusiness have taken a serious toll, even just turning up on time proves a struggle (hard relate!) and that iconic voice can no longer be relied upon. Thus Tom Edge’s screenplay takes a slightly more realism-based approach than the play to show us the riskiness that accompanied Judy’s every step towards a stage and the slow, crushing realisation of what her life has amounted to. Continue reading “Film Review: Judy (2019)”
Ben Elton and Kenneth Branagh latter-day Shakespeare biography All Is True is at once precious and poignant
“You spent so long putting words into other people’s mouths, you think it only matters what is said”
A most curious one this, continuing our creative obsession with filling in the biographical gaps in the life of William Shakespeare (cf Shakespearein Love; Anonymous; Dedication; Will). All Is True is written by Ben Elton, who has (comic) form in the shape of Upstart Crow, the TV show soon to make its own theatrical bow and has as its director, producer and star, one Kenneth Branagh.
In some ways, it is a beautiful film. Branagh eschews a lot of artifical lighting and flickers of candlelight illuminates several interior scenes to gorgeous effect. He also takes pains to find interesting angles for his shots and the opening image of his silhouetted figure against the burning Globe is stunning. And being able to call on the likes of Sir Ian McKellen (the Earl of Southampton) and Dame Judi Dench (Anne Hathaway) to toss off some Shakespeare recital is of course an unalloyed pleasure. Continue reading “Film Review: All Is True (2018)”
54 years is quite the wait for a sequel but Mary Poppins Returns is full of nostalgic sweetness and charm
“Are you sure this is quite safe? ‘Not in the slightest. Ready!'”
54 years is quite the wait for a sequel but the sweetness and charm with which Mary Poppins Returnslands on our screens makes it pretty much worth it. It’s a film that does more than wrap you up in a warm blanket of nostalgia, it tucks you in, throws another log on the fire and makes you a steaming hot chocolate (no marshmallows though!).
Set 30 years after the much cherished original, the story (by David Magee, Rob Marshall and John DeLuca based off of PL Travers’s original tales) sees us rejoin Cherry Tree Lane where the adult Michael Banks (Ben Whishaw) lives with his young family (Pixie Davies, Nathaniel Saleh and Joel Dawson). But much like the other long-held sequel of the year, a sadness fills the house for a mother has died. And Michael’s artistic inclinations and part-time job at the bank aren’t bringing in enough to keep them from repossession. Who could possibly save the day…? Continue reading “Film Review: Mary Poppins Returns (2018)”
I’m opting not to review Sylvia but rather to haul the Old Vic over the coals for a bit of a shambolic handling of the situation
“Time’s up, there’ll be no more waiting”
Hindsight is a great thing but the team at the Old Vic will have to look back at how they handled the difficult genesis of Sylvia and take some severe lessons. Some things were unquestionably out of their control, like the disruption of cast illness, but others were not. The apparent development of the show from a dance-led piece to a full-blown musical did not happen overnight and so to cite that as an excuse for the piece not being ready, to reclassify the production as a work-in-progress midway through the run is disingenuous to say the least, especially when people are still being charged £45 to see it.
It is a piece that is bounding with potential, clicking into a theatre landscape in London which feels unusually switched on at the moment (Misty and Emilia to name but two kicks up its backside), but we do still feel like we’re in rough draft territory here, hence my decision not to review. (It has provoked some strange reactions in the press though – four stars from Billers? Time Out showing their ass about colour-blind casting?) The music by Josh Cohen and DJ Walde and the book by Kate Prince and Priya Parmar both need substantial refinement from its baggy three hours plus, but you can see the work being put in, and which will continue to be put in until Sylvia re-emerges (next year apparently) better equipped to smash that patriarchy.
“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 Straightand under-rated monologue Honest, or opening up his focus to the war in Afghanistan in The Empireand 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”
Joe Hill-Gibbins’ idiosyncratic 2015 take on Measure for Measure filled the Young Vic with inflatable sex dolls so it should come as little surprise that for hisA Midsummer Night’s Dream, he and designer Johannes Schütz have transformed the stage into a muddy paddock. With just a mirrored back wall to add to the set, the scene is thus set for an exploration of the “subconscious” of this most oft-seen (particularlyintheyeargoneby) of Shakespeare’s plays.
There’s some great work, delving into the murkiness of the relationships here. Far from spirits “of no common rate”, these royal fairies feel like a real married couple in the throes of having to work things out yet again, Michael Gould’s Oberon’s manipulations as much as anguished as angry, and Anastasia Hille’s Titania relishing the removal of the ball and chain as she plays sex games with Bottom, roleplaying the attending fairies in a witty twist. The intensity of their connection repeats itself later in another clever connection. Continue reading “Review: A Midsummer Night’s Dream, Young Vic”