Just wanted to spotlight this photo feature in the Guardian, looking at various Royal Shakespeare Company queens from across the ages. Costume, hair and design really do bring it when it comes to Cleopatra eh?!
An unnecessary amount of theatre news exploded forth today, maybe everyone was just too busy watching CNN all of last week… I’m just going to rattle through it all quickly to save everyone time.
Jason Robert Brown’s Songs From A New World will play the Vaudeville Theatre for a month from 5th February. David Hunter, Rachel John, Cedric Neal , Rachel Tucker and Shem Omari James, who all reprise their roles from the London Palladium gigs in October.
The previously announced Lynn Ahrens and Mike Ockrent’s A Christmas Carol has revealed its supporting cast around Brian Conley’s Scrooge. Lucie Jones, Sandra Marvin, Martyn Ellis, Cedric Neal, Jeremy Secomb, Matt Jay-Willis and Jacqueline Jossa will join him at the Dominion Theatre from 7th December. Continue reading “News: November news aplenty”
Spooks comes to an end with a shortened series 10 which, while not perfect, is effective in many ways
“Wait Harry, this can’t be the end”
And so after a decade, it comes to an end. Series 10 of Spooks, a shortened order of six episodes, sees the writers flip from the Lucas North show to the Harry Pearce show. This naturally makes more sense, with Harry being the head of Section D after all, but I’m not 100% sure that it completely works as it goes against the ensemble ethos of the show at its best.
The argument here is that Harry is the heart of the show and given the jib of his recent decision-making at this point, you have to wonder if this is all that wise. Given all that transpires, the final scene of the show hardly inspires confidence. That said, the memorial is a beautiful touch and Lara Pulver’s new chief Erin Watts proved a strong addition to Thames House.
A tough one this, Walker rises brilliantly to the challenge of essentially co-leading the series as a result of the Harry focus. But her treatment in the final moments of the series can’t help but feel a little unnecessary, essentially cheapened by her reduction to nothing but an adjunct to Harry. She only gets killed because of the personal connection rather than a heroic act of Queen and country she deserved (if she had to die at all). Continue reading “Lockdown TV Review: Spooks Series 10”
Imelda Staunton plays a blinder in ITV’s Flesh and Blood but for a thriller, there’s not much that is actually that thrilling apart from Russell Tovey’s chest hair
“I never ever dreamt it would end like this”
The myriad ways in which we can now consume television content means that programmers can find themselves in a bit of a bind, searching for the best way to ensure their show breaks through in such a crowded marketplace. Just look at The Split, releasing the entirety of its second series online whilst also going for a weekly broadcast. Stripping a show over a week for four consecutive nights, as ITV did with Flesh and Blood, may seem like a happy medium between those two modes but in this day and age, I don’t it matches either.
Written by Sarah Williams (Becoming Jane; Small Island), Flesh and Blood is a lush family drama, edging towards thriller territory, as a body is discovered in this sleepy Sussex beach town. And in true winding narrative style, we don’t know who has carked it. Francesca Annis’ Vivien is quietly surprised to find new love with Stephen Rea’s Mark but her adult children don’t think she’s been playing the grieving widow for long enough and once he moves into their former childhood home, hackles are truly raised, conveniently allowing them to turn from the drama in their own lives. Continue reading “TV Review: Flesh and Blood”
Any film with Patti LuPone has to be a winner, even if Last Christmas only features her for 90 seconds or so. Nowhere near as bad as they’d have you believe…
“Before we eat lesbian pudding…”
There’s always a measure of slight disappointment when something doesn’t live up to its billing. To look at most of its press coverage, you’d think Last Christmas was ZOMG WORST FILM IN THE WORLD™ (a title it might have held at least for the four weeks before Cats came out…). But the reality, as per usual, is something much more mundane – it’s a perfectly serviceable piece of festive fluff, hardly ground-breaking but then what rom-com is?
Obviously I’m biased since the great Patti LuPone makes a random cameo early on, but I found the whole thing to be quite watchable. Its guest cast is a winner from start to finish – Michelle Yeoh! David Mumeni’s inexplicably rebuffed pub guy, Anna Calder-Marshall’s spiky homeless woman, Lydia Leonard and Jade Anouka as a lesbian couple, Amit Shah’s bumbling estate agent…and that joy of trying to work out which bit of London is being used at any given time. Continue reading “Film Review: Last Christmas (2019)”
Gentleman Jack proves a huge success, for Sally Wainwight, for Suranne Jones, for lesbian storytelling, for everyone
“So much drama, always, with Anne”
Even with as reliably assured hands as Sally Wainwright’s at the tiller, I was a little nervous for Gentleman Jack in the pride-of-place Sunday evening TV slot. But I should have been surer of my faith, for it has been a stonkingly good 8 hours of drama, with an epically romantic lesbian relationship at its heart.
Anne Lister (Suranne Jones) is a wealthy Yorkshire heiress whose uncompromising nature about any and every aspect of her life rubs any number of people up the wrong way. Ann Walker (Sophie Rundle) is most definitely not one of them though, she wants to be rubbed the right way and so we follow the path of true love as it winds through the prejudices of the Yorkshire Pennines and Anne’s attempts to break into the coal mining world. Continue reading “TV Review: Gentleman Jack Series 1”
“The Americans cannot stand it when others take the lead”
What does it take to get peace in the Middle East? Some determined Norwegians and a plate or two of tasty waffles apparently… At a leisurely three hours in length and set around the Oslo Peace Accords, JT Rogers’ Oslo might not on the face of it seem like theatrical gold but it won a Tony on Broadway and such was the confidence in this production that a West End run was booked in to follow its short engagement at the National before a ticket had even been sold.
And it is a confidence that has paid off handsomely. Bartlett Sher’s direction has an epic sweep to its depiction of world affairs but Rogers’ writing shines through its focus on the intimate detail, on the personal struggle, sacrifice and success of the individuals who managed to break the Israeli-Palestinian deadlock and work towards the unimaginable – a lasting peace. History has shown us the reality of that, something acknowledged in a coda here, but it is still thrilling to watch. Continue reading “Review: Oslo, National Theatre”
“Before I met you I was a civilised woman”
Based on the novel of the same name by Louise Doughty, psychodrama Apple Tree Yard has proved itself most watercooler-worthy with its twisting plot, classy cast and yes, controversial moments making it a hit thriller for the BBC. The story revolves around Yvonne Carmichael – celebrated scientist, mother of two, wife to Gary – who, when a chance encounter at work leads to an unexpected quickie with a literal tall dark and handsome stranger, finds her entire world tipped upside down by the consequences that follow.
Written by Amanda Coe and directed by Jessica Hobbs, the first episode plays out as a rather marvellous exploration of a 40-something woman rediscovering her sexuality and having the kind of illicit affair that makes you write naff diary entries (as Yvonne does…). But by the end of the first hour, the drama takes the first of several hard turns as [spoiler alert] she is brutally raped by a colleague. The use of rape as a dramatic device is one which should always be interrogated but here, coming from the text as it does and its devastating impact detailed as painstakingly as it was in episode 2, it felt appropriately handled and never gratuitous. Continue reading “TV Review: Apple Tree Yard”
“Is it just road-making that’s put you in such a good mood?”
Richard Eyre’s revelatory take on Ibsen’s Ghosts was a deserving multiple Olivier winner last year so it is little surprise to see the Almeida asking him back for more, this time taking on one of his later plays Little Eyolf. And as with Ghosts, the play has been coaxed and condensed into interval-free intensity, the perfect frame for its arresting modernity.
And it is surprising, as though written in 1894, its portrayal of fraught sexual tension in a marriage is as direct and frank a exploration of female sexuality (and sexual desire) as any playwright has come up with since. In the cooling calm of Tim Hatley’s set, Rita Allmers is a wife and mother but finds those roles in conflict as she resents son Eyolf for distracting husband Alfred’s attentions away from her. Continue reading “Review: Little Eyolf, Almeida Theatre”