Series 19 of Silent Witness sees the four-strong team click into gear whilst still not quite hitting earlier heights
“It’s not your job to ask those questions”
Having watched rather a lot of Silent Witness over the past months, Series 19 is the first one where I’ve started to feel, dare I say, perhaps just a little bored. I mean, it was never a show designed to be binged (and we’re talking 25 years’ worth of broadcasts) but even so, there’s a slight but undeniable sense that the writers haven’t really got much new to say or show.
It’s a bit of a shame as this series does see the reconfigured Lyell team finally settling into their new groove (with Liz Carr’s Clarissa finally getting her much-deserved pre-show credit). But between the police unit corruption and padeophiles being attacked, sexual assaults on women and one of the team having to question previous decisions, it feels too familiar ground to be genuinely exciting. Continue reading “TV Review: Silent Witness Series 19”
Ahead of National Theatre at Home’s one year anniversary on 1 December, the National Theatre has today announced the next filmed productions to be added to the streaming service, which is supported by Bloomberg Philanthropies.
Joining the platform today is Simon Godwin’s critically acclaimed 2018 production of Antony & Cleopatra in the Olivier theatre, with Ralph Fiennes and Sophie Okonedo playing Shakespeare’s famous fated couple. Then the iconic and multi-award-winning production of War Horse, based on the novel by Michael Morpurgo, will be available from 1 December until 31 January 2022 on demand internationally for the first time since its premiere 14 years ago. It will be available with British Sign Language, audio description and captions. Continue reading “News: One year of National Theatre at Home – New titles added”
The Lyric Hammersmith’s production of Noises Off transfer in fine style to the Garrick Theatre
“Let there be doors that open when they open and close when they close”
I’ve long had my issues with farce but Noises Off managed to break through my preconceptions to genuinely make me laugh when the Old Vic revived it and then took it into the West End back in 2012. Even so, I have to say I wasn’t much enamoured by the thought of going back to it, hence me not going to the Lyric Hammersmith to catch Jeremy Herrin’s production there and only just now making it to this West End transfer at the Garrick Theatre.
And after the first act, I began to wonder if I hadn’t had the right impulse initially. I’d argue it’s good but not great, leaning into conventional farce as a touring theatre company take their own farce Nothing On across the country while dealing with the repercussions of their tangled inter-relationships. It is after the interval that the play soars though, the second act takes us behind the scenes into a sensationally choreographed piece of riotous fun of the highest order. Continue reading “Review: Noises Off, Garrick Theatre”
“I never had anyone watching from a window for me. You got lucky.”
As if there was any doubt that Imelda Staunton wouldn’t be excellent in Good People… Though the way that she inhabits the part of Margie, a hard-bitten, working-class Bostonian single mother is simply quite astonishing. From the opening moments of this David Lindsay-Abaire play as she faces the prospect of losing the job that is barely keeping her afloat due to the desperation of forlorn hope etched on her face at the end, it is a sensational performance in the midst of a sensational production.
Jobs are few and far between in the tough neighbourhood of South Boston and the demands of caring for her disabled daughter mean Margie needs to seize the bull by the horns to get alternative employment. When she hears from a friend that Mike, an old flame is back in town – someone who has definitely gone up in the world to become a doctor – she batters down his door and procures a birthday party invite where apparently somebody might have something for her. Continue reading “Review: Good People, Hampstead Theatre”
Sometimes, the simplest things are the best, and so it proves with Manjinder Virk’s film Forgive. A two-hander split between two timeframes, an estranged father and son reaching out but at different times, forgiveness paling into insignificance in the face of forgetting. Sacha Dhawan and Abdi Gouhad are both superb as the scars left by the sins of the past bite hard, but not quite hard enough to eradicate all traces of familial love as the unpredictability of the future shakes all certainties. Beautifully restrained film-making at its best.
Continue reading “Short Film Review #31”
“We’ve got two hours to show the vast range of work the National has done over the last 50 years by staging scenes from some of the most memorable shows – there are more than 800 to choose from”
Celebrating a notable half-century of the South Bank institution, National Theatre – Fifty Years on Stage proved a remarkable evening of theatre, gratefully captured on film so that its reach could indeed be closer to national than the capacity of the Oliver would allow. And Nicholas Hytner did a fine job of representing the illustrious past, showcasing 30 or so productions, mainly through live performance but also with some choice trips to the video archive.
The snippets of archive footage were delightful – from Robert Stephens, Maggie Smith and Olivier carousing in The Recruiting Officer and Smith with Anthony Nicholls in Hay Fever to Fiona Shaw’s incredible Richard II and Ian McKellen’s exceptional Richard III. And always alive to the connections to the past, we opened with the first scene of Hamlet featuring Sir Derek Jacobi as the ghost, revisiting the play in which he played Laertes in the very first production on this stage, And we end in a similarly ghostly manner, as the voices of Adrian Lester and Rory Kinnear giving us Othello give way to a recording of Laurence Olivier and Frank Finlay from 1965
Of the live performances, I loved Joan Plowright returning to Joan of Arc to spinetingling effect, the same with Judi Dench’s Cleopatra. Dench has a superb night in all, reprising her highly affecting rendition of A Little Night Music’s ‘Send in the Clowns’ too. And also doing it for the dames, Helen Mirren scorches in Mourning Becomes Electra, opposite Tim Pigott-Smith. And the tidbits of ‘productions we’ll never see’ were a constant delight. Kobna Holdbrook-Smith and Benedict Cumberbatch enlivening Rosencrantz and Guildenstern are Dead no end, Ralph Fiennes and Charles Edwards teasing what they could do with Pravda, Andrew Scott and Dominic Cooper promising the world with a near-perfect slice of Angels in America. I also really enjoyed the dream cast of Arcadia, Anna Maxwell Martin and Jonathan Bailey making Stoppardian magic with Rory Kinnear and Olivia Vinall, you just wish that we could somehow get longer with all of them.
Perhaps inevitably, there’s a slight whiff of the largely male, pale and stale to proceedings. Tripping from Coward to Pinter to Ayckbourn is a natural reflection of the way things were but there’s a slight danger in perpetuating that state of affairs. There’s of course a thrill in seeing Jacobi and Michael Gambon’s excerpt of No Man’s Land but you have to hope that the future (100 Years on Stage?) is able to showcase a wider range of dramatic talent to reflect a truly national theatre.
THE DIGITAL THEATRE BEST ACTRESS IN A PLAY
Sheridan Smith – Hedda Gabler at the Old Vic
Billie Piper – The Effect, Headlong at the National, Cottesloe
Hattie Morahan – A Doll’s House at the Young Vic
Jill Halfpenny – Abigail’s Party at the Menier Chocolate Factory & Wyndham’s
Julie Walters – The Last of the Haussmans at the National, Lyttelton
Sally Hawkins – Constellations at the Royal Court Upstairs & Duke of York’s
THE DIGITAL THEATRE BEST ACTOR IN A PLAY
Rupert Everett – The Judas Kiss at Hampstead
Adrian Lester – Red Velvet at the Tricycle
David Haig – The Madness of George III at the Apollo
David Suchet – Long Day’s Journey into Night at the Apollo
Luke Treadaway – The Curious Incident of the Dog in the Night-time at the National, Cottesloe
Mark Rylance – Twelfth Night & Richard III at Shakespeare’s Globe & the Apollo Continue reading “2013 What’s On Stage Award nominations”
“I know in my heart you’d find a girl who’s scared sometimes”
My first thought when I heard that they were making a musical version of 1992 film The Bodyguard supplemented by songs from Whitney Houston’s back catalogue was how on earth are they going to work my favourite of her songs, ‘I Wanna Dance With Somebody’, into that story. As it turns out, I needn’t have worried, but more of that later. Taking on the lead role in which Whitney made her acting debut is American import Heather Headley, although at this performance in the month of previews before it opens officially, we saw the alternate Gloria Onitiri (a familiar face from Avenue Q days) who made a sterling case for the vital importance of supporting Great British talent.
For those not familiar with the film, Rachel Marron is a superstar pop singer-turned-actress who, unbeknownst to her, is receiving threats from a stalker and when her entourage employ ex-Secret Service agent Frank Farmer as a new bodyguard for her, sparks fly as the undeniable attraction between them threatens his professional distance and effectiveness. Several years in the making, Alexander Dinelaris’ book adapts Lawrence Kisdan’s original screenplay with a few changes: Rachel’s sister Nicki has a greater role; the identity of the stalker is handled differently and there’s a little modernisation to reflect a more tech-savvy and social-media friendly world. Continue reading “Review: The Bodyguard, Adelphi Theatre”
“Gold attracts the most ingenious criminals”
I’ve now figured out the best way for me to listen to plays on the radio, which is whilst recovering from a hangover in bed, and not doing anything else. So it was thus that I took in this all-star production of the James Bond story Goldfinger, Ian Fleming’s 1959 novel having been dramatised by Archie Scottney, and Ian McKellen recruited to take on the iconic villain against Toby Stephens’ secret agent. But I have to say, it was my least favourite of the radio plays that I have taken in recently, partly due to the terribly dated writing but also due to the way in which it was presented, being partly narrated by Martin Jarvis (also the director) as Fleming.
The narration made it seem really rather old-fashioned, a very traditional way of telling a story and that is how it came across, as a story rather than a play, a piece of drama. It felt rather flat and lacked excitement, despite the quality of the cast, but I think it also suffered a bit by comparison. No sound effect could ever replicate the visual of Oddjob’s deadly bowler hat (yet simultaneously, without that visual it would barely have any impact, a whooshing sound alone inspires little), likewise John Standing’s M’s gagdetry, and the constantly changing locations, within a short space of time, do not really lend themselves to effective drama – explanations needed too often. Continue reading “Review: Goldfinger, Radio 4”
“The closer you are to the truth, the harder it is talk about it”
Loyalty is the debut play from Sarah Helm, a journalist and author who also happens to be the wife of Jonathan Powell, who was Tony Blair’s chief of staff. This privileged position made her an intimate witness to the weeks leading up to the 2003 invasion which she opposed and it is that that she has developed into this work – described as ‘a fictionalised memoir’ – of the struggle of a chief of staff Nick to balance the personal and political as he advises a Prime Minister named Tony who is edging closer to invading Iraq with an American President named George whilst ignoring his own conscience and the stridently vocal objections of his wife Laura. But it is fiction remember, at least some of the names are different…
The first half is genuinely excellent. Helm locates it firmly in the Stockwell home of Nick and Laura and we become observers along with Laura and her trusty notepad as Nick is involved with phone calls between the Prime Minister and figures of global importance discussing highly sensitive matters which we overhear. How this refracts back through their daily life is endlessly fascinating: the top secret documents just lying around the house, her frustrations at not being able to write about these things, the tensions caused by her friendship with an ex who just happens to be a journalist, the casualness with which he discusses the PM with their Polish au pair, even the level of security necessary in their home, the level of detailing is just undeniably authentic and convincing. And Maxine Peake as Laura anchors the play with an exceptional performance. Continue reading “Review: Loyalty, Hampstead Theatre”