Messiah 2: Vengeance Is Mine keeps the gruesome intensity of this series effectively and chillingly high
“For every wrong conviction we’ve made, an innocent person could die”
Following on from the success of the first series, Messiah 2: Vengeance Is Mine continues in the same vein though it does so with an original screenplay from Lizzie Mickery, who adapted Boris Starling’s novel first time around. And much like the first series of certain successful Scandi-dramas, it manages the transition away from a highly personal narrative for its leads into something (slightly) more general.
That’s not to say that the cases here aren’t intimately linked to the key investigating team of Red Medcalfe (Ken Stott), Kate Beauchamp (Frances Grey) and Duncan Warren (Neil Dudgeon) but there’s only so far you can drag a tortured soul so directly through the mire. A subplot featuring Red’s brother does it best but you can’t deny its effectiveness in mirroring the key themes here, humanising the conflicts. Continue reading “TV Review: Messiah 2: Vengeance Is Mine (2003)”
“He understands nothing, achieved little, influenced no-one”
Sad to say, I think I will never fall in love with the new Arcola, or rather Studio 1 there. It comes across as such a difficult, inflexible space with (for me at least) frequent acoustic issues and a loss of what made the old Arcola Street location so special. I’m still hopeful that one show or another there will change my mind soon but my experience at this co-production of Uncle Vanya with Coventry’s Belgrade Theatre did not manage it. Part of it was due to the last-minute nature of my attendance: TfL’s inability to keep a tube moving forced me to miss The Four Stages of Cruelty in Studio 2 and so I was lucky to catch anything at all, sneaking into Studio 1 at the last minute but consequently ending up in terrible seats which ultimately coloured my experience.
This is a new version of Chekhov’s play by Helena Kaut-Howson and Jon Strickland, the latter of whom also takes on the title role whose quiet life in the country is disrupted when society darling relatives come to stay. The new arrivals struggle to get accustomed to the new pace of rural life but it is the household around them who are affected the more as the upheaval forces reassessment of loves, lives and expectations. This adaptation wisely plays up the humour to counterpoint the grim bleakness that typifies much of Chekhov’s work and as per usual, there is the staticness of people trapped in their milieu which can be oh so frustrating to watch. Continue reading “Review: Uncle Vanya, Arcola Theatre”