Series 3 of Motherland returns to give us more of the excellent parental shenanigans, led by the peerless Anna Maxwell Martin
“Another glass of dry white wine”
Despite losing Sharon Horgan from the writing team (she’s still onboard as a producer), the third series of Motherland remains in the safe hands of Holly Walsh, Helen Serafinowicz and Barunka O’Shaughnessy, who regale us with yet more tales of middle-class school gate shenanigans, led by brilliant performances from Anna Maxwell Martin, Diane Morgan, Paul Ready and Lucy Punch.
This time round, we deal with nits, school trips and catchment areas on the lighter side plus a touch of racism, cancer and divorce adding the requisite darker note that has been this series’ hallmark, making it more than just another featherlight comedy. The tightness of the core ensemble means that so much of it works so well but a real joy comes now with the well-judged reappearance of recurring characters. Continue reading “TV Review: Motherland Series 3”
BEST FEMALE PERFORMER AWARD:
Marisha Wallace as Effie in Dreamgirls
Natalie Kassanga, as Diana Ross in Motown the Musical
Patsy Ferran as Alma in Summer and Smoke
Jodie Steele as Chandler in Heathers
BEST MALE PERFORMER AWARD:
Jonny Labey, as Scott in Strictly Ballroom
John Pfumojena, as Okot in The Jungle
Kyle Soller, as Eric Glass in The Inheritance
John McCrea, as Jamie in Everybody’s Talking About Jamie Continue reading “Nominees for the 8th annual Mousetrap Awards”
Bodyguard reaches a thrilling climax that is sure to disappoint some but left me on the edge of my seat
“I wanted to know who did it, I don’t know who did it”
Except we do finally know who did it. Jed Mercurio’s Bodyguard – an unexpected massive hit and a reminder that the appointment-to-view model is far from over – reached its climax tonight in typically high-tension style, confounding expectations to the end and dashing the dreams of many a conspiracy theorist to boot. Seriously, so glad that Julia Montague remained dead (at least until a sequel is announced and we have to go through this whole farrago again).
And though it is bound to have its detractors, I have to say I found it all hugely entertaining. If it just wasn’t realistic enough for you, then WTF are you doing watching dramas? If you’re getting swept up in locations in this fictionalised version of London not being where they are in real life, turn the damn thing off! Its not for everyone, that’s absolutely fine, but you don’t have to drag everyone else down with your misery. Continue reading “TV Review: Bodyguard Series 1”
Immersive theatre done right in a completely reconfigured Playhouse, The Jungle is thought-provoking beyond belief
“No one wants to stay here”
Following on from an enormously successful run at the Young Vic last year, The Jungle has made the move to the Playhouse Theatre in one of the unlikeliest but most significant West End transfers in recent history. Joe Robertson and Joe Murphy’s play was born out of their experiences in setting up the Good Chance theatre in the Calais refugee camp that gives it its name and accompanied by an extraordinary (re)design of the space by Miriam Buether, becomes a genuinely unforgettable theatrical experience.
Buether’s design recreates the Afghan restaurant that was part of the camp where audiences can sit at the table (which becomes a thrust stage) surrounded by the heady scent of warming spices and baking bread. It’s a useful reminder that even in the midst of a crisis state, life has to continue and food is an enduring common bond. And this anti-doom-and-gloom approach is symptomatic of The Jungle. No tragedy porn here, but rather a portrait of flawed humanity – people doing good, people screwing up, people just trying their damnedest in face of a shameful international emergency. Continue reading “Review: The Jungle, Playhouse”