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 Innocentpassed 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)”
New interview series from the NT, Julius Caesar and Sunset Boulevard reappearing digitally and Hushabye Mountain coming to the Hope Mill
The National Theatre announced a new interview series Life in Stages, profiling some of the biggest names in British theatre. The series, which will be free to watch, will launch on the National Theatre’s YouTube channel on Thursday 22 April at 7pm BST with each new episode added at the same time every Thursday.
The first episode boasts Olivia Colman and Director and Joint Chief Executive of the National Theatre Rufus Norris.The second episode on Thursday 29 April will feature Romeo & Julietco-stars Josh O’Connor and Jessie Buckley. On Thursday 6 May the third episode puts Adrian Lester and Meera Syal together. Details of further episodes from this series will be announced later this month. Continue reading “Some theatre news from the last week”
Billie Piper and Lucy Prebble reunite and collaborate to great success with the sharply funny I Hate Suzie
“I’m sorry the world’s seen your dick, but also – fuck off, slightly”
Lucy Prebble and Billie Piper’s creative relationship has covered TV (Secret Diary of a Call Girl, the first season at least) and theatre (the excellent The Effect) and was recently reignited with Sky series I Hate Suzie. Drawing something of personal history, the show follows a former teen pop star turned sci-fi actress as she deals with a phone hacking incident which leaves problematic intimate photos of her scattered on the internet.
The eight episodes cycle through, and are titled after, stages of trauma – Shock, Denial, Fear, Shame, Bargaining, Guilt, Anger, and Acceptance – representing the indubitably self-centered Suzie’s processing of her experience. And it is a highly entertaining, linear journey, one which Suzie barrelling forward with an interesting lack of recurring characters – even her family members only get the one episode in which to appear, such is the pace of the high-maintenance that she is alternately trying to salvage and sabotage. Continue reading “TV Review: I Hate Suzie”
The enduring lightness and laughter of Series 1 of Twenty Twelve make it an ideal lockdown watch
“OK. Here’s the thing. OK? The thing is… OK. Here’s the thing with this. OK. The thing is…”
Though it is actually nearly a decade ago now, 2011 does seem like another lifetime. And it is worth remembering too that pre-Olympics, many of us (particularly those who live and work in the capital) were sceptical about what havoc the 2012 Games would bring (I had a whole meeting about how dedicated traffic lanes would impact on some training I was meant to be running…).
Into this unknown, mockumentary Twenty Twelve – written and directed by John Morton – was broadcast (on BBC Four natch, those sceptics abounded) to coincide with the 500-day countdown to the opening ceremony. And a new British comedy classic was born, one which still holds up well now that things are, well, different. Continue reading “TV Review: Twenty Twelve (Series 1)”
Adjoa Andoh excels in an all-women-of-colour production of Richard II at the Sam Wanamaker Playhouse
“No matter where; of comfort no man speak”
Just a quickie for this as I’ve left it very late in the run. Co-directed by Adjoa Andoh and Lynette Linton, this is billed as the first professional production ofRichard IIby a company of women of colour and when you look at the talent onstage, you wonder how on earth it has taken this long. (And then acknowledge that the answer is far too obvious.)
In the atmospheric space of the Sam Wanamaker Playhouse, it is clear that the creative decisions behind this production are drawing on a wealth of experience far beyond white Anglo-Saxon traditions. Rajha Shakiry’s design and Rianna Azoro’s costumes speak of the cultural backgrounds of the company, so too the influences of Dominique Le Gendre’s music under Midori Jaeger’s musical supervision. Continue reading “Review: Richard II, Sam Wanamaker Playhouse”
I’d thought I didn’t need to see Richard IIagain for a good while but Michelle Terry’s tenure at the Globe is most certainly testing that resolve. The forthcoming production there is to be staged by the first-ever company of women of colour in a Shakespeare play on a major UK stage. Co-directed by Adjoa Andoh and Lynette Linton, Adjoa will also play the titular role. Continue reading “Theatre news round-up”
Though it is billed as ‘a promenade staging’ and the website refers to ‘mob tickets’ and ‘immersive ticket holders’, make no mistake that if you’re in the pit forJulius Caesar, you’re standing. For two hours. There’s a bit of movement, as in five paces that way or this when a new bit of the set has to wheeled into place but don’t be distracted into thinking there’s anything more on offer here than can be gotten further along the South Bank at the Globe (apart from a roof of course, which allows them to charge five times the price, or three times if you book your tickets via TodayTix).
And as with being a groundling, there are decided pros and cons to experiencing theatre this way. The first half of Shakespeare’s political thriller works extremely well under this modern-dress treatment from Nicholas Hytner. As you enter the Bridge’s auditorium, reconceived into the round here, the pit is filled with a rock gig, vendors sell beer and baseball caps, a febrile energy fills the space which carries through to the arrival of David Calder’s populist Caesar with his red cap and puerile slogan ‘Do this!’ (Contemporary allusions are clear but later on you may find the mind gets weirdly drawn to Murdoch more than Trump…).