I turn to a rewatch of Jonathan Creek to get me through Week 2 of Lockdown #2 and enjoy the freshness of the first series
“No one could have killed your husband and then left this room”
Starting in 1997 and memorably co-opting Saint-Saëns’ renowned ‘Danse Macabre’ for its theme tune, mystery crime thriller Jonathan Creek occupies a happy place in my TV memories, so I was a little hesitant at first in case it didn’t match up to how I remembered.
From cracking seemingly impenetrable alibis, to working out how to escape a nuclear bunker, to locked room mysteries of all sorts, it turns out David Renwick’s writing holds up rather well. The plotting is sufficiently twisty that it is nigh on impossible to figure out who and certainly howdunnit and I remembered none of the important details so it was like watching it anew. Continue reading “TV Review: Jonathan Creek, Series 1”
I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time taking a turn into the many Open Air Theatre productions he has been witness to. Highly recommended:
Photos: Tristram Kenton
“We’re not looking for a needle in a haystack but for an alien in a diner”
There’s a scene in the second half of The Twilight Zone which is almost unbearably, poignantly astute on the subject of race relations in the US. Never mind that it was written in the 60s, it says so much about the America of today that it can’t help but chill the bone about the predictability of the baser notes of human nature. It is though, the only moment in this theatrical adaptation of the classic TV show that registered any real impact with me.
Anne Washburn (she of the extraordinary Mr Burns) has fashioned this play out of eight of the stories told by The Twilight Zone and presents them as if shuffling a pack of cards. Some stories broken up and interwoven with each other, some told in toto, all seeking to disrupt and disturb with shocks and scares and no little amount of wry humour too. It makes for a strangely suitable piece of counter-intuitive festive programming but ultimately felt insubstantial to me. Continue reading “Review: The Twilight Zone, Almeida”
The Almeida have revealed the cast for their forthcoming Christmas show The Twilight Zone which promises a different take on seasonal fare! Directed by Richard Jones and adapted by Anne Washburn, responsible for the brilliant mindfuck that was Mr Burns, I reckon this will be one to look out for.
Cast includes: Oliver Alvin-Wilson, Franc Ashman, Adrianna Bertola, Lizzy Connolly, Amy Griffiths, Neil Haigh, Cosmo Jarvis, John Marquez, Matthew Needham, and Sam Swainsbury,
“You don’t know anything about anything, George, and if what they say about the movies is true, you’ll go far”
The end of the silent movie era and the arrival of the talkies has proved fertile ground for many a storyteller, not least Betty Comden and Adolph Green’s immortal Singin’ in the Rain, but Moss Hart and George S. Kaufman’s Once In A Lifetime has a serious claim to being one of the first, premiering as it did in 1930 and its influence is plain to see. It has received major revivals from Trevor Nunn at the RSC (1979) and Edward Hall at the National (2005) and now it is the turn of Richard Jones at the Young Vic, in a production notable for marking the theatrical stage debut of Harry Enfield.
In a new adaptation by Hart’s son Christopher, Once In A Lifetime follows the trials and tribulations of three workaday vaudeville artists from New York who decide to throw in their lot and ship out to Hollywood. With the first ever talking motion picture doing great business, they opt to capitalise on the trend by opening an elocution school to help all those actors who suddenly need to speak on screen but even in its earliest days, the crowded corridors of Tinseltown prove a tough nut to crack with any number of wannabe starlets, studio heads and screenwriters competing for the limelight. Continue reading “Review: Once In A Lifetime, Young Vic”
“Football crazy, football mad”
The World Cup kicks off on Thursday 12th June in São Paolo and will run for a goodly month as 64 games are played throughout Brazil (I’m tipping Bosnia and Colombia to do well, and Rooney to get sent off in his first game). Television and work schedules will be all askew as people try and wrestle with the time difference so the people at Theatre People have teamed up with a starting squad of West End stars to highlight a month of offers and discounts to wide range of shows which offer an alternative to sitting in and watching men in shorts on telly. Continue reading “Fed up with football? World Cup theatre offers”
“He sang my name and it rang out just like some major chord.
If music be the food of love, he ate my Smorgasbord.”
Things didn’t start off well. Applauding an actor’s arrival onstage is something I can’t ever imagine finding ok and when that actor is Robert Lindsay, well, it felt even more inexplicable. But then I never watched My Family so my main points of reference for him have been Onassis and The Lion in Winter, a dubious pair of plays indeed. Nor have I seen the film of Dirty Rotten Scoundrels, the musical adaptation of which sees him return to the stage, here at the Savoy after well-received out of town tryouts, so there was more than a little apprehension mixed in with my anticipation.
But any doubts were soon allayed by the effervescent energy of an old-school but fresh-feeling production by Jerry Mitchell. First seen on Broadway in 2004, Jeffrey Lane’s book and David Yazbek’s music and lyrics sits happily in the sun-kissed French Riviera where con men are two a penny. And in Beaumont-sur-Mer, the two are Lawrence Jamieson, the reigning king of the con, and Freddy Benson, the brash upstart who would take his crown. First they compete for tricks, scamming whoever they can for whatever they can, and then they unite to form a double act with, hopefully, double the profits as they identify the lucrative mark of US heiress Christine Colgate. Continue reading “Review: Dirty Rotten Scoundrels, Savoy”
“Posh girls don’t hit people”
Series 1 of Suburban Shootout was something of a pleasant surprise, a rather mental British TV series set in the idyllic country village of Little Stempington which is the scene of secret gang warfare between two rival groups of housewives. The first season finished on something of a cliff-hanger and that is where things pick up, with Joyce Hazeldine having to pick up the mantle of leader of the ‘good’ group after Anna Chanceller’s utterly fierce Camilla framed her bitter rival Felicity Montagu’s Barbara Du Prez.
What follows is essentially more of the same, except it just isn’t quite as funny as before, certainly not as compelling now that the novelty has worn off and the writing sadly just feels largely uninspired. The major storyline follows the attempt to get a supercasino built on some treasured wetlands, Barbara’s trials in prison and the struggles of Camilla and Joyce to keep control of their respective situations. But it’s over in six quick episodes and to little real impact. And worst of all, Ruth Wilson is hardly in it. Continue reading “DVD Review: Suburban Shootout Series 2”
“We’ll press upon the enemy until he’s in a funk,
And show him its no easy thing resisting British spunk”
Just a quickie to cover this return trip to Privates on Parade, the opening show of Michael Grandage’s 5 show takeover of the Noël Coward Theatre, as I was able to attend the final performance of the run thanks to the day-seating efforts of a friend. I liked the show immensely when I saw it at the end of last year and whilst I could see that it might not be to everyone’s tastes, I was somewhat surprised at the charge of ‘dated’ that some people levelled at the play. Perhaps it’s a conversation that needs to be had with someone who actually felt that way but it feels erroneous to me, not least because it’s not even set (late 1940s) when it was written (1977).
The biggest change of course was due to the untimely and sudden death of Sophiya Haque who played the role of Sylvia. I can’t imagine how difficult it must have been for the company to continue after such a tragedy and all credit to understudy Davina Perera who rose to the challenge of taking on the role full time mid-run and achieving a seamless transition. Otherwise, I enjoyed the show just as much as I did first time round and having a better sense of the play as a whole, I appreciated the emotional depths of the writing that much more, the comedy has a more astringent edge in the knowledge of what is to come. Continue reading “Re-review: Privates on Parade, Noël Coward”
“How many sorts of people there are”
Well what an unexpected thing Privates on Parade turned out to be. Not knowing anything about it in advance meant it was full of surprises: the ‘play with songs’ moniker shouldn’t disguise the fact that it is closer to a musical than a play, and it very much needs to be treated as the period piece that it is. On the face of it, its ribald campery and racial stereotyping could be something of an affront, a relic of an old-fashioned past with old-fashioned attitudes, but to merely dismiss it as dated and offensive is to miss the wider points of Peter Nichols’ 1977 play and the nuances of Michael Grandage’s production, first seen at the Donmar in 2001.(FYI: this was a preview performance.)
The play opens the Michael Grandage residency at the Noël Coward theatre, a season of five star-studded plays – Simon Russell Beale is the marquee name here – with a new pricing model aiming for greater affordability for drama in the West End. It’s set in the fictional Song and Dance Unit South East Asia (SADUESA), a British army entertainment corps stationed there at the time of the Malayan Emergency in the aftermath of the Second World War, and follows this troupe of military entertainers as they tour their act through the hostile jungle of the Malayan peninsula. So against the near-oblivious flamboyance of the Marlene Dietrich covers, cabaret turns and jaunty full ensemble numbers, is a backdrop of long-simmering native discontent and explosive violence for which they are ill-prepared. Continue reading “Review: Privates on Parade, Noël Coward Theatre”