Series 11 of Doctor Who comes to an end and it’s a big yes from me – a hugely successful refresh for this beloved series
“I have to lay down the rules if someone’s new”
From the opening episode, I knew that Series 11 of Doctor Who was going to do it for me. New head writer and executive producer Chris Chibnall’s reset was most obvious in the casting of Jodie Whittaker as the Thirteenth Doctor but it was his other changes – namely a real widening of the pool of writers and a pronounced shift in tone – that really defined the shape of this new Doctor Who.
For all its sci-fi nature, that shape was decidedly human. The tragic death of Sharon D Clarke’s Grace was a defining moment in that opening episode, providing the trigger for this TARDIS crew to come together. And rather beautifully, the series really allowed for a full exploration of everyone’s different grief at her passing, culminating in the brutal power of Ed Hime’s ninth episode It Takes You Away.
And pivoting away from the oft-times densely packed complexity of the show’s mythology, the storytelling pointed less at grand alien threats but rather to the foibles of human nature – the enemy within. The racism of Rosa, written by Malorie Blackman with Chibnall, Vinay Patel’s exploration of the British colonial legacy around Partition in Demons of the Punjab, this was science-fiction as its most powerful, commenting powerfully on contemporary society (and naturally provoking the kind of outrage you’d expect). Continue reading “TV Review: Doctor Who Series 11”
Jodie Whittaker more than lives up to expectations as Doctor Who in Series 11 Episode 1 – The Woman Who Fell to Earth – plus Bradley Walsh may well make you cry
“Half an hour ago I was a white haired Scotsman”
“Change my dear, and it seems not a moment too soon”. From the mouth of the Sixth Doctor himself, the very nature of Doctor Who (both the programme and the Time Lord) has always been its infinite variety. So it’s about bloody time that we now have the first female in the role – the excellent Jodie Whittaker – as new show-runner Chris Chibnall makes his definitive mark on the BBC serial.
And on the evidence of this first episode (and, let’s face it, to anyone with common sense), the Doctor’s gender is of little consequence. The ability to act as if you have two hearts knows no bounds, who knew, and the hints of Whittaker’s Doctor that were allowed to peek through the regenerative funk suggest we’re in for something of a real treat with an effervescent sense of personality shining through. Continue reading “TV Review: Doctor Who Series 11 Episode 1 – The Woman Who Fell to Earth”
“No one ever changed the world alone”
With pretty much every production of hers that I see (most memorably Lela & Co. and I’d Rather Goya Robbed Me Of My Sleep Than Some Other Arsehole), Jude Christian is becoming one of those directors whose work cannot be missed. And with the 2015 Bruntwood Prize-winning Parliament Square, now opening at the Bush after an October premiere at the Royal Exchange, that reputation doesn’t look in any danger at all.
She’s helped here by a magnificently fearless piece of writing from James Fritz, split almost schizophrenically into two contrasting parts. The first presents us with Kat, a woman on the precipice of leaving her husband and their young son to commit some unspeakable act, being urged along the way by an enigmatic figure far more bluntly daring than she seems to be. The second then takes us past the act, which failed, into an uncertain world of uneasy compromise. Continue reading “Review: Parliament Square, Bush Theatre”
South London based site-specific theatre company Baseless Fabric are presenting David Mamet’s rarely performed short plays Reunion and Dark Pony in libraries across South London as part of National Libraries Week 2017. The plays are two of David Mamet’s earliest work, first produced in the US in 1976 and 1977 respectively and both feature David Schaal and Siu-see Hung in their casts.
Both of the plays explore father and daughter relationships and the audience will be immersed in the worlds of these plays in the unique and atmospheric library environments during National Libraries Week 2017 to raise awareness of exciting events happening in local libraries and bring theatre to people in their local library space. Artistic Director Joanna Turner directs with Set & Costume Designer Bex Kemp, creating a site-responsive design in each library space.
Mon 9th Oct 7.30pm – Durning Library, SE11 4HF (nearest station: Kennington)
Tue 10th Oct 7.30pm – John Harvard Library, SE1 1JA (nearest station: Borough)
Wed 11th Oct 7.30pm – John Harvard Library, SE1 1JA (nearest station: Borough)
Thu 12th Oct 7.30pm – Merton Arts Space, Wimbledon Library, SW19 4BG (nearest station: Wimbledon)
Fri 13th Oct 7.30pm – Merton Arts Space, Wimbledon Library, SW19 4BG (nearest station: Wimbledon)
Sat 14th Oct 3pm – Earlsfield Library, SW18 3NY (nearest station: Earlsfield)
Sat 14th Oct 7.30pm – Battersea Library, SW11 1JB (nearest station: Clapham Junction)
Sun 15th Oct 6pm – Clapham Library, SW4 7DB (nearest station: Clapham Common)
Continue reading “Round-up of news and treats and other interesting things”
“If I were a man you’d call me rogue; let us do with whore, liar, thief, cunt”
Over the past few years where he may or may not have been studying sculpture at Saint Martin’s College, Northampton-born playwright DC Moore has been putting together a résumé of quietly impressive work – exploring aspects of contemporary masculinity in insightful plays such as the excellent Straight and under-rated monologue Honest, or opening up his focus to the war in Afghanistan in The Empire and family dramas in The Swan. So news that he was making his main-stage debut at the National Theatre with Common, in a co-production with Headlong and starring no less than Anne-Marie Duff and Cush Jumbo, was bright news indeed.
But whilst I thought I wanted to do what other common people do, Moore has taken a completely different tack here. Common delves into the under-explored history of rural England in 1809 as the social and economic changes heralded by the Industrial Revolution begin to filter through the country. More crucially, his acute ear for sharply observed dialogue has been smothered by the invention of a fruitily rich mode of language full of compound words – described charitably by Jumbo as “a mixture of Shakespeare, Harry Potter and some kind of Angelina Jolie movie”. Continue reading “Review: Common, National Theatre”
The National Theatre last night hosted its biennial fundraising gala, Up Next, raising over a million pounds to support access to the arts for children and young people across the country. I think they forgot to invite me though… ?
Performances commissioned especially for the event included a new piece by Poet Laureate Carol Ann Duffy, alongside performances by Sir Lenny Henry, Anne-Marie Duff and hundreds of talented young people from across London.
Continue reading “News (and photos): National Theatre gala (plus actors in suits!)”
Originally developed as live shows in Melbourne and the Edinburgh Festival, multi-award winning and ‘two-time Edinburgh Comedy Award Nominee’ comic storyteller Sarah Kendall is set to bring her critically acclaimed trilogy of funny and moving stories to BBC Radio 4 starting on Tuesday 28th February. Continue reading “Round-up of news and treats and other interesting things”
I didn’t care too much for Peter Pan, as the gif below might suggest, so I’m keeping my mouth shut for once.
Running time: 2 hours 40 minutes (with interval)
Booking until 4th February
“It’s from that play with lots of words…”
My first ever trip to the institution that is the National Theatre Christmas Quiz saw teams of four from current shows Husbands and Sons and wonder.land doing battle for the honour of, well, several bottles of fizz as it turned out. With Emma Freud as Quizmistress and Angus Deayton keeping the scores, it was a light-hearted 45 minutes of festive fun.
Rounds varied from odd-one-out, working out song lyrics from a dry line reading by Deayton, guess which NT show the costume was from, to Taboo-style-guessing-games, and a surprising array of knowledge troves and hidden talents soon came to life – Anne-Marie Duff was very up on her theatrical knowledge, Julia Ford is clearly itching to do a musical and Anna Francolini bossed everything (apart from Katie Mitchell…). Continue reading “How-could-it-be-a-review: The National Theatre Theatre Quiz 2015”
“You have to live in this world”
The lure of falling down the rabbit hole is one which has kept adaptations of Lewis Carroll’s Alice in Wonderland appearing on a regular basis on screens and stages and the Manchester International Festival is no exception, commissioning this musical treatment with the National Theatre and Paris’ Théâtre du Châtelet. Composer Damon Albarn (no stranger to the MIF after Monkey and Dr Dee) and writer Moira Buffini’s thoroughly modern version – stylised wonder dot land – certainly has a unique take on the story but has the feeling of something of a work-in-progress perhaps, no bad thing as longer runs in London and Paris will follow this brief engagement at the Palace Theatre.
Here, wonder.land is an online world, a virtual reality where people can escape the drudgery of their own lives or pretend to be someone completely different, for a little while at least. 12-year-old Aly is one such person, trying to hide from the bullies at school and the unhappiness at home by becoming Alice, her all-conquering avatar or online identity who accepts a mysterious quest as part of joining wonder.land. And in her journeying, she comes across variations on many of the characters we’ve come to know but viewed through a different prism, many of them being the avatars of other players, balefully reflecting their own insecurities. Continue reading “Review: wonder.land, Palace Theatre”