Series 12 of Doctor Who goes hard on what we think we know about the Time Lord and finishes in a blaze of glory
“You can be a pacifist tomorrow. Today you just need to survive”
I don’t think I have ever minded anything that happened in Doctor Who so much that I have declared it cancelled, even at the point where all the magnificent character development by Catherine Tate’s Donna was undone in a plot point of real cruelty. So it is hard to take so-called fans of the show seriously when torrents of complaints are unleashed about the sanctity of a world of science fiction that has long enjoyed challenging and expanding what we know about characters we love. (See my Episode 1 review here.)
So it should come as little surprise that I really rather enjoyed series 12 of Doctor Who. Across the season as a whole, I felt that Jodie Whittaker has settled more into the role, especially as the writers feel more confident in finding her voice. And the balancing act of having three companions in the TARDIS has been more assured now that the business of introducing them is over, allowing the group to splinter off for large chunks of episodes has allowed much more of their characters to shine through, particularly for Mandip Gill’s Yaz (who I am mightily glad survived that final episode – I thought she was doomed after her chat with Graham). Continue reading “TV Review: Doctor Who Series 12”
“The trick is to deliver when it’s hard”
It seems scarcely believable that as well regarded a playwright as Arthur Miller could have unproduced work lying around but director Sean Turner has played a blinder in unearthing his first ever play No Villain from the University of Michigan archive. Written for a playwriting competition there, it languished unpublished until Turner’s well-researched discovery and so now the Old Red Lion have quite the coup on their hands – a bona fide Arthur Miller world premiere.
And befitting the occasion, Turner’s creative team have produced some genuinely transformative work in the intimate space of this pub theatre, Max Dorey’s ingenious design doubling most effectively as a cramped New York apartment and the claustrophobic office of a failing garment company. The switch between the two is elegantly facilitated by Jack Weir’s lighting and both sets conjure living, breathing environments that work brilliantly as an extension of the drama. Continue reading “Review: No Villain, Old Red Lion”
“50 hard boiled eggs…in an hour”
A random fact about me is that I am terrible when it comes to having seen classic movies. It’s a constant source of amusement in pub conversations as people can’t quite believe the list of films I’ve never seen but for whatever reason, I’ve never really been particularly minded to watching them. Consequently I have a pile of unopened DVDs* that people keep giving me as presents or loans that are, honestly, on the list of things I will one day get round to watching.
This convoluted beginning should therefore present you with no surprise when I then say that I have never seen the film of Cool Hand Luke, a stage version of which has now started previewing in the Aldwych Theatre. Adapted for the stage by Emma Reeves, from the original novel by Donn Pearce, the story revolves around Luke Jackson, a WWII vet left unsupported on his return to the US and forced into desperate measures, soon ends up in a Florida prison camp. There, he soon becomes a legend with his fellow chain gang inmates with his nonchalant swagger, his impervious refusal to be broken by the guards and his constant prison escapes. Continue reading “Review: Cool Hand Luke, Aldwych”