Series 3 of The Crown sees new actors in across the board but Olivia Colman is sadly no Claire Foy. Helena Bonham Carter rocks 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”
“Ladies and gentlemen, please remain calm. I’m sure it’s just another false alarm”
Oh The Halcyon – shafted by the overwhelming desire for it to be the new Downton, or maybe the unfriendly Monday evening slot, or maybe the fact that Charlotte Jones’ serial never quite honed in on what it wanted to be. Following the fortunes of a luxury London hotel during the first couple of years of the Second World War, it took all possible opportunities to explore a society on the cusp of major change. But between the aristocrats who owned it, the aristocrats who stayed there, the lower classes who work there, and the multitudes of people affiliated to all these lives, the canvas was far too wide.
The hints were there right from the off in episode 1 which struggled to introduce even just its leading players in its running time, whilst still proving most tantalising, due to its cracking cast and its sumptuous design (those costumes!). At the heart of The Halycon lay the antagonistic relationship between Olivia Williams’ Lady Hamilton and Steven Mackintosh’s Mr Garland, owner versus manager as they butted heads over practicalities in the face of an ensuing Blitz but though their scenes were electric, they were given too little too late together to exploit this to its fullest. Continue reading “TV Review: The Halcyon Series 1”
Billing something as the new Downton Abbey is all well and good but for someone who only ever watched the Christmas specials because his parents commandeered the telly on Christmas Day, it’s not actually that much of a pull. What I can’t resist however is Olivia Williams, and Olivia Williams in a period drama in particular, and so I put on ITV for what feels like the first time in ages for The Halcyon.
Set in a swish London hotel of the same name in 1940, The Halcyon looks to be your regular upstairs-downstairs as the aristocratic residents lounge about talking about Nazi sympathisers and swigging gin, while the honest-guv staff scurry around being decent and hard-working and dull and thoroughly unbelievable in the way that they chat so easily with their employers and clientele (just one of the things that bugged me about the little of Downton that I saw). Continue reading “TV Review: The Halcyon Episode 1”
“We must stay positive my dear, and hope that he at least died in a duel”
The jewel in the BBC’s Christmas programming for 2013 was the adaptation of PD James’ Death Comes to Pemberley, her continuation of Jane Austen’s Pride and Prejudice but in the vein of her own murder mystery style. Stripped over three days (because schedulers don’t seem to believe we can wait between episodes any more), the trio of hour-long, lusciously-filmed episodes were perfect for plumping in front of the telly for, without having to engage the brain too much, and proved an interesting exemplar of both the weaknesses and strengths of James’ enterprise.
The story begins six years after the wedding between Elizabeth Bennet and Fitzwilliam Darcy as the preparations for their annual ball are rudely disrupted by the wayward arrival of Lydia’s coach and her breathless announcement of murder. An investigation into the woods around Pemberley soon reveals a body and it is Lydia’s husband the dastardly Mr Wickham who is suspected of the deed. Thus follows a crime procedural (of sorts) as Lizzie and Darcy try to get to the bottom of who exactly killed the man, whilst negotiating their tangled history of their families and trying to avoid social shame. Continue reading “TV Review: Death Comes to Pemberley”
“Come, I’ll make you some lamb cutlets”
A friend recommended Red Enters The Eye to me mainly because the too-long-absent-from-our-stages Siân Brooke was in it but she also knew it would be just my cup of tea, and she was right. Jane Rogers’ 2011 radio drama follows the story of Brooke’s idealistic Julie, a volunteer heading to a women’s refuge in Nigeria to teach sewing classes. From nervous beginnings as the strict manager Fran – Penny Downie donning an Aussie accent – outlines all the rules and regulations, Julie soon makes a huge success of the classes, revelling in their popularity, the way the women respond to her work and the potential opportunities that open up as they realise the marketability of these new-found skills.
But her untempered enthusiasm fails to take into account the gravity of the situation in which these women have found themselves, so that they were forced to seek refuge. Rogers carefully threads in a necessarily weighty level of detail about the various threats that women face in this part of the world, explaining also how the volatile socio-religious situation has a huge part to play in Nigeria. But it is never heavy-handed and instead emerges as a sensitive and thoughtful piece of drama which I’d heartily recommend. Brooke is excellent as the breathlessly naïve volunteer, Downie grimly pragmatic as Fran and there’s also great work from Adjoa Andoh as her partner and Demi Oyediran as Sarah, one of the women in the refuge.
Written by Alistair McGowan, Three Pieces in the Shape of a Pear
also sees him taking on the lead role of French composer Eric Satie. Probably best known for his Gymnopedies, Satie was actually one more innovative than one might have given him credit for, pushing creative boundaries and challenging the establishment. But he was an eccentric figure with it and McGowan has focused on the three most pivotal people in his life and how they were able to see through his peculiarities and peccadilloes to the man within, even if only for a brief while.
It’s an engaging, if somewhat slight, piece of writing, but one which is full of genuine affection and respect for its subject. From the seemingly ridiculous quirks – at one point, he will only eat purely white food – comes the beginnings of an artistic movement, from hopeless infatuation with a singer comes a fruitful creative partnership. McGowan bubbles gently as the composer and swirling around him Nathaniel Parker’s friendly rival Debussy, Imogen Stubbs’ Suzanne and Charlotte Page’s Paulette are all charming as the significant trio.
And last up was Rachel Joyce’s Feather
, recommended to me as Claire Price formed part of the voice cast. A delicately beautiful tale narrated by Maisie Cowell’s Fern, it’s an acutely observed child’s-eye view of the separation of a couple and the tug of war that ensures over their daughter. It’s a disarmingly effective technique of probing human behaviour as each parent starts to bring a new partner into their life whilst sussing out what is going on with their ex, all the while Fern finds herself in the middle, collecting enough feathers so that she can make the biggest wish in her life.
She believes in magic you see, and that feathers can grant you wishes, but Joyce’s drama is rooted entirely in the messiness of real life, the pain of broken homes and broken relationships and the difficulties in starting over again. It’s beautifully acted by Cowell, heart-breakingly so at times, and Claire Price and Jot Davies as the warring exes, trying not to manipulate their daughter ‘too’ much are both strong, along with Shaun Dooley as the kindly Finn, who offers hope to both mother and child.
“How am I going to get back to Kansas?”
Following on from the less than sucessful adaptation of Goldfinger that left me cold, I was a little trepidatious about listening to this production of The Wonderful Wizard of Oz, especially as it soon came to light that it also featured narration – one of the things I disliked most about the Bond play – but it actually proved to be much more engaging and thoughtful, and ultimately considerably more entertaining. Linda Marshall Griffiths’ dramatisation has taken a fresh new look at the story, returning to L Frank Baum’s source novel and thereby casting off much of the baggage that might have come otherwise from just being a straight run of the film.
What we get then, is a highly atmospheric story, partly told by Amelia Clarkson’s excellent Dorothy as part of an inner monologue, which feels darker and more compelling that one might have expected. It is all largely recognisable, but it felt so much fresher here and interesting too. Emma Fielding was great value for money as all of the female characters, and Kevin Eldon, Burn Gorman and Zubin Varla all did well as the Scarecrow, Tin Woodsman and Lion respectively. And Clarkson captured the right note of youthful gumption to make Dorothy a thoroughly likeable heroine. Continue reading “Review: The Wonderful Wizard of Oz, Radio 4”