Series 1 of The Windsors proves that Hugh Skinner can do no wrong, nor Haydn Gwynne for that matter
“We’ve outgrown our usefulness like nipples on men”
Despite starring several of my theatrical faves, I’d never quite got around to watching The Windsors. But given that I’m off to see the stage show The Windsors: Endgame tomorrow, I thought I’d give Series 1 a whirl since it is on Netflix. And I have to say I absolutely frigging loved it.
George Jeffrie and Bert Tyler-Moore’s parody of the House of Windsor takes the form of a fast-moving soap opera, which means that the joke rate is phenomenal and as in the fashion of many a comedy show, if you’re not enjoying a particular turn, you don’t have to wait more than a few minutes before the next one appears. Continue reading “TV Review: The Windsors, Series 1”
A strong cast make the first series of Innocent highly watchable, even if the storytelling never quite catches fire
“Do you still think he did it?”
Matthew Arlidge and Chris Lang’s Innocent passed me by when it premiered on ITV in 2018 but with the arrival of a second series and an unavoidable publicity push, I thought I’d go back and visit the first, not least because Lang’s stock has never been higher as the creator of Unforgotten. And before the review proper starts, a mildly silly note about names in dramas. I went to school with a David Collins so found it highly amusing but to name his brother Phil? And then never reference it…madness I tell you!
The show centres on the case of Collins who has spent seven years in prison, convicted of murdering his wife Tara. When a legal technicality sees him acquitted, he attempts the process of rebuilding his life. But with his sister-in-law now in custody of his two children and a high degree of suspicion still floating around the air as the police reopen the case to try and find out once and for all who killed Tara, that is much easier said than done. Continue reading “TV Review: Innocent (Series 1)”
It is Caryl Churchill’s turn to get the Tristram Kenton treatment from the Guardian’s archive, and what an impressive array of talent that have understandably flocked to this most remarkable of playwrights:
Photos: Tristram Kenton
The theatrical magic of the excellent The Ocean at the End of the Lane finds a perfect home at the National Theatre
“A rip in forever where possibilities begin”
Based on the novel by Neil Gaiman and adapted by Joel Horwood, The Ocean at the End of the Lane is pretty much perfection at the National Theatre. Katy Rudd’s production is a triumph of creative endeavour, as she melds her various elements into a couple of hours of real theatrical magic. Key is Steven Hoggett’s inimitable movement, creating a wonderful sense of fluidity throughout, but particularly in the scene changes. The seamless ensemble work that results plays a huge part of the thoroughly enchanting world-building going on here.
That world is the England of fairytales, Sussex farmland where the fabric of the universe is thin. There, a boy meets a girl and in their japes, a monster breaks through from another world, so far so fantasy. But even the simple act of whipping props on and off stage becomes something more profound (the cooker moving just out of Dad’s reach…), manipulating fearsome puppets (designed by Samuel Wyer and directed by Finn Caldwell) makes something of an artistic statement, or just lying on the ground to embody some creature or other finds a similarly strange beauty. Continue reading “Review: The Ocean at the End of the Lane, National Theatre”
I might have taken a break from reviewing in June, but I didn’t stop going to the theatre – I had too many things already booked in. Here’s some brief thoughts on what I saw.
Betrayal, Harold Pinter
Shit-Faced Shakespeare – Hamlet, Barbican
The Knight of the Burning Pestle, Cheek By Jowl at the Barbican
Somnium, Sadler’s Wells
Les Damnés, Comédie-Française at the Barbican
Vanya and Sonia and Masha and Spike, Theatre Royal Bath
Blithe Spirit, Theatre Royal Bath
The Hunt, Almeida
Present Laughter, Old Vic
Europe, Donmar Warehouse
The Deep Blue Sea, Minerva
Plenty, Chichester Festival Theatre
Pictures of Dorian Gray, Jermyn Street
The Light in the Piazza, Royal Festival Hall
Hair of the Dog, Tristan Bates Continue reading “June theatre round-up”
“I should warn you that nobody likes me”
Truth be told, I resisted seeing Ink for the longest time, mainly because I had zero desire to see a play about Rupert Murdoch. I feel the same way about Thatcher – I will never see The Iron Lady (sorry Meryl) or any other Maggie-based drama because I just damn well don’t want to. These firmly held convictions can of course be bypassed by sourcing me a free ticket (I stepped in for an otherwise occupied colleague) and so I was able to get the best of both worlds – onto a winner if it was good, and easily able to sneer (cos yes, I am that person) if it was bad.
And as with so much in life, the truth was somewhere inbetween. I could see how good Bertie Carvel’s performance as Murdoch was, naturally far more than a simple caricature, but I still felt uneasy whilst watching him – and the play in general – about what still felt like a tacit endorsement somehow, of an institution that I believe to be thoroughly reprehensible. Ink isn’t straightforwardly about The Sun though, Graham is far too canny a writer for that. His target is journalistic ethics as a whole, using Murdoch’s purchase of that paper in the 1960s as a tipping point for tabloid behaviour. Continue reading “Review: Ink, Almeida Theatre”
Episodes, in order of preference
World Enough and Time
The Doctor Falls
The Eaters of Light
Empress of Mars
The Pyramid at the End of the World
The Lie of the Land
Top 5 guest spots
1 David Suchet’s Landlord was as perfectly written a character as befits one of our more superior actors
2 Regular readers will know I’m a big fan of Kieran Bew and his astronaut in Oxygen was no exception
3 Nicholas Burns‘ malevolent Sutcliffe was a delightfully Dickensian villain
4 Another theatrical delight of mine is Anthony Calf, impressive as the pseudo-Victorian Godsacre
5 Rebecca Benson’s young Pict impressively led The Eaters of Light from the front, a perfect vessel for Rona Munro’s vision
Michelle Gomez’s Missy has been a brilliant breath of fresh air and whilst her decision to follow Moffat and Capaldi out the door is understandable, it isn’t any less disappointing. And perhaps the timey-wimeyness of the circumstances around her passing mean that maybe this isn’t the last we see of her…
Most wasted guest actor
I don’t what I expected from the reliably excellent Samantha Spiro in Doctor Who but I didn’t get it from her part in The Doctor Falls.
Gay agenda rating
With Bill onboard, A+!
“Do you know any sci-fi?”
So here we are, the moment that the epic rewatch has been building up to – the start of Doctor Who’s tenth series, notable for being the final one for both Peter Capaldi’s Twelfth Doctor and showrunner Steven Moffat. And perhaps predictably, Episode One – The Pilot is a cracking piece of TV, a real return to form that hopefully will last across the entire series (I’m not holding my breath…) or at least the majority of it (that I feel more confident about).
Key to this is the arrival of Pearl Mackie’s new companion Bill, a welcome breath of real fresh air into the standard trope but more importantly, a distinct separation from what came just before. No offence to Jenna Coleman’s Clara but the character’s knowingness made it hard to ever warm to her and though on paper, the idea of her being more of an equal to the Doctor has legs, in reality it just became rather self-satisfyingly wearying. Continue reading “TV Review: Doctor Who Series 10 Episode 1 – The Pilot”
“All we can do is what feels right”
There’s been something really quite moving about the second series of Humans, the Sam Vincent and Jonathan Brackley Channel 4 drama which has just wound to a close. In a world that started off examining the diametrically opposed differences between humans and synths (series 1 review), the stark black and white palette of the show has moved markedly to a murky shade of grey on both sides, complicating the actions of both parties to make us really appreciate the difficulties in deciding right and wrong.
So where the renegade synth Niska (a brilliant Emily Berrington) has decided to subject herself to human justice in order to try and find some common ground, newly awakened Hester goes fully rogue in defining humans as the absolute enemy, to brutal effect in a chilling performance from Sonya Cassidy. And questions of identity are no less complex on the human side, as the show toys with ideas of humans opting to live life as a synth and experimenting even further with technology. Continue reading “TV Review: Humans Series 2”
“You believe in laws but there are only lechers”
For some reason or other, I stopped watching the second series of Ripper Street midway through and it’s taken me until now to finally finish it. It wasn’t that I didn’t enjoy it, it’s more likely to do with running out of time to watch it on the iPlayer or something but anyhoo, I’ve managed it now. My review of Series 1 (which I thoroughly appreciated) is over here and I have to say that that enjoyment has continued, even if I do have a few reservations about its female voices.
It’s a shame that in a crime procedural led by three men, two of the leading supporting female characters did not return for this second series. DI Reid’s wife and kind-of-mistress (Amanda Hale and Lucy Cohu) are both MIA, losing all the work done to establish them, and though Leanne Best is introduced as a local politician who can’t help but flirt with Reid (he’s played by Matthew Macfadyen after all), the overall weight of the series does thus feel a little unbalanced. Continue reading “DVD Review: Ripper Street Series 2”