I ration myself to Episodes 1-3 of Series 4 of The Crown in the first instance but find it is losing its lustre a little
“I’m struggling to find any redeeming features in these people at all”
Kicking off in 1977, Series 4 of The Crown swiftly moves into my lifetime with its second scene taking place in 1979, although not quite into events that I remember, at least in these first three episodes. And with the arrival of both Diana Spencer and Margaret Thatcher on the scene, there’s quite the decade to explore.
But something has gone a little awry for me and The Crown. The sheer scope of Peter Morgan’s writing means that there’s a mahoosive ensemble at work here but the nature of his construction of episodes that drill down to intimate focus means that there’s huge gaps and terrible wastage, particularly of Helena Bonham Carter’s delicious Princess Margaret. Continue reading “TV Review: The Crown, Series 4 Episodes 1-3”
The National Theatre converts its planned Romeo & Juliet with Josh O’Connor & Jessie Buckley into a TV adaptation, with an amazing supporting cast that includes Deborah Findlay, Lucian Msamati and Tamsin Greig
The National Theatre has announced it is creating a new filmed version of Romeo & Juliet for television, temporarily transforming the vast stage spaces of its Lyttelton theatre into a film studio to capture Shakespeare’s timeless play for a new generation of audiences.
Romeo & Juliet will be directed by NT Associate Simon Godwin (Antony and Cleopatra, Twelfth Night), adapted for screen by Emily Burns and with Jessie Buckley (Chernobyl, Judy) and Josh O’Connor (God’s Own Country, The Crown) as the star-crossed lovers. Continue reading “News: NT announces original film of Romeo & Juliet with Josh O’Connor & Jessie Buckley”
With a long list of major founding donors, including Danny Boyle, Emilia Clarke, Tom Hiddleston, James McAvoy, Ian McKellen, Daniel Radcliffe, Emma Thompson and Rachel Weisz, the Theatre Community Fund has received a pledge of £1 million.
Some of the biggest names from British stage and screen have joined together to support creatives in the beleaguered theater industry as it struggles to survive the COVID-19 crisis.
Created by Phoebe Waller-Bridge, Olivia Colman and theatre producer Francesca Moody (who was the original producer of Waller-Bridge’s Fleabag stage show), the newly-launched Theatre Community Fund has already received a pledge of £1 million and amassed £500,000, having signed up a who’s who of actors, directors, writers and producers as founding donors. Continue reading “News: Phoebe Waller-Bridge and Olivia Colman launch theatre support fund”
I mean, just look at this absolute treasure trove of theatrical talent!
I’m off to listen to Patsy Ferran read Tom Wells, and Gabby Wong read Alexi Kaye Campbell, and Sarah Niles read Winsome Pinnock and…and…
Autumn de Wilder offers an Emma. with a contemporary sensibility but not much sense
“Mother, you MUST sample the tart!”
You don’t see Jane Austen much at the theatre. Her situation notwithstanding, over the years I think I’ve only seen a single Pride and Prejudice and a vibrant Persuasion (plus countless Austentatious inventions), adaptations of her work just don’t seem to pop up in theatres with much regularity at all. I wonder why that is for there’s certainly no lack of them on our screens.
I wasn’t much of a fan of the Gwyneth Paltrow-starring film but loved both the TV versions I’ve seen with Kate Beckinsdale and particularly with Romola Garai. This latest iteration of Emma., directed by Autumn de Wilde and adapted by Eleanor Catton, only hit cinemas recently but due to coronavirus restrictions, found its way pleasingly quickly onto on-demand services. Continue reading “Lockdown film review: Emma. (2020)”
Series 3 of The Crown sees new actors in across the board but Olivia Colman is sadly no Claire Foy. Helena Bonham Carters rock though
“Sometimes duty requires one to put personal feelings…
Doing little to dispel rumours that she isn’t a Time Lord, The Crown takes its cues from Doctor Who as Series 3 sees the Queen regenerate from Claire Foy to Olivia Colman. And not just that, the whole cast of main players has been replaced as this new company will take us through the next couple of series. It’s a clever move, considering the spain of history that the show takes but it is also a little sad to lose such excellent performances as Vanessa Kirby’s Princess Margaret, Victoria Hamilton’s Queen Mum, Alex Jennings and Lia Williams as Edward and Wallis and of course, Foy’s exceptional work.
Series 3 then, takes us from 1964 to 1977, featuring such notable events as the Aberfan tragedy, the moon landing and the arrival of Camilla in Charles’ life. And with its many millions and pick of the white acting talent in this country, it remains eminently watchable. That said, something has shifted for me and it just doesn’t feel as effective as the first two seasons. A large element of this is the way series creator and main writer Peter Morgan has structured the show, choosing to maintain a massive ensemble of recurring characters but keeping the focus, and turnover, of episodes relentlessly tight. Continue reading “TV Review: The Crown Series 3”
Jessie Buckley and Josh O’Connor headline a new production of Romeo and Juliet, while Callum Scott Howells and Rosie Sheehy star in Gary Owen’s Romeo and Julie, among other big news from the National Theatre
Simon Godwin returns to the National Theatre to direct Shakespeare’s ROMEO & JULIET following his critically-acclaimed productions of Antony and Cleopatra and Twelfth Night in the Olivier Theatre. Set in modern Italy in a world where Catholic and secular values clash, Jessie Buckley (Wild Rose, Judy) and Josh O’Connor (The Crown, God’s Own Country) play the two young lovers who strive to transcend a world of violence and corruption. Fisayo Akinade (The Antipodes, Barber Shop Chronicles) is cast as Mercutio. The production will open in the Olivier Theatre in August 2020.
Set and costume design by Soutra Gilmour, lighting design by Lucy Carter, composition by Michael Bruce and sound design by Christopher Shutt. Continue reading “News: new productions and casting updates for the National Theatre”
Such a brilliant British gay film – I finally get around to watching God’s Own Country
“My country is dead. You can’t throw a rock in most towns without hitting an old lady crying for her children who have gone.”
Of course its taken me months to get round to watching God’s Own Country and of course I loved it utterly and completely. It’s grim up north and there’s nowt so queer as folk, not least Johnny Saxby, single-handedly holding his family’s failing farm together after his father’s stroke. He numbs the pain with blackout drinking sessions in the pub and rough casual sex with any guy who is up for it, but it’s no life, something has to change.
That change comes in the form of Gheorghe, a Romanian farm labourer brought in for the lambing season. His moody dark looks, lovely chunky knit and sheep’s cheese-making ways don’t quite melt Johnny’s heart so much as grip it, yank its pants down and roll in the mud with it. Theirs is a viscerally physical connection, reflecting the hard labour on this unforgiving Yorkshire countryside, and slowly, Gheorghe begins to shift Johnny’s views on the world. Continue reading “Film Review: God’s Own Country (2017)”
“It is known that the Doctor requires companions”
Right – the first season that I haven’t rewatched any of at all. Things get a bit hectic here as once again, the series got split in two, accommodating the mid-season departure of Amy and Rory and the (re-)introduction of new companion Clara Oswald, plus a pair of specials respectively marking the 50th anniversary of Doctor Who and the end of Matt Smith’s tenure as Eleven. It all adds up to a bit of a bloated mess to be honest, though not without its high points.
Amy and Rory feel a little ill-served by their final five, the introduction of Mark Williams as Rory’s dad detracts from their screen-time (yet he doesn’t feature in their farewell?), though the return of the Weeping Angels gives their noirish NY-set exit episode some real heft. And though I admire Jenna Coleman’s confident take on Clara, she’s a hard companion to warm to without any contrasting humanity to go with her intelligence and intensity.
The ‘Impossible Girl’ arc didn’t really tick my box and the grandiosity of Moffatt’s writing for the finale of The Name of…, The Day of… and The Time of the Doctor doesn’t really help (I was curiously unmoved by all the fan-service second time round). Still, Gatiss knocks it out of the park with the superb Ice Warrior tale Cold War and bringing mother and daughter Dame Diana Rigg and Rachael Stirling together on screen for the first time. Continue reading “Countdown to new Who: Doctor Who Series 7”