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TV Review: Silent Witness Series 13

God-tier guest casting, daring deviation in the storytelling and Leo getting hit on the head, Series 13 of Silent Witness is probably one of my absolute faves 

“Your kind think you’re some kind of heroic martyr, you won’t be told or fobbed off. If people get dragged into your mess then it’s jolly unfortunate but you don’t give a shit because you have right on your side”

Now this is the good stuff. Series 13 of Silent Witness opted to shake things up just a little more than usual and the result, for me, is one of their most effective seasons to date. For one, having Leo be the one who is attacked rather than Nikki is (three series on the trot in case you’d forgotten) is just nice for the variety but adding a note of frailty into this most sanctimonious of characters works well.

It also sets up a cracking episode which sees Nikki and Harry at loggerheads as they take the same evidence and end up with wildly different conclusions which they’re then forced to defend in court. And a campus shooting episode, whilst having hardly anything to do with forensic pathology, is brilliantly conceived and chillingly executed. Fresh takes on the storytelling really makes this series feel alive. Continue reading “TV Review: Silent Witness Series 13”

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TV Review: The Windsors, Series 1

Series 1 of The Windsors proves that Hugh Skinner can do no wrong, nor Haydn Gwynne for that matter 

“We’ve outgrown our usefulness like nipples on men”

Despite starring several of my theatrical faves, I’d never quite got around to watching The Windsors. But given that I’m off to see the stage show The Windsors: Endgame tomorrow, I thought I’d give Series 1 a whirl since it is on Netflix. And I have to say I absolutely frigging loved it. 

George Jeffrie and Bert Tyler-Moore’s parody of the House of Windsor takes the form of a fast-moving soap opera, which means that the joke rate is phenomenal and as in the fashion of many a comedy show, if you’re not enjoying a particular turn, you don’t have to wait more than a few minutes before the next one appears. Continue reading “TV Review: The Windsors, Series 1”

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Album Review: Memphis (2014 Original London Cast Recording)

“Open your eyes, I got a surprise!”

It was fascinating to revisit Memphis, a show that I enjoyed on seeing but in all honesty, isn’t one I’ve given much thought to since it left the West End after just over a year at the Shaftesbury Theatre (I went back once). I remarked then that David Bryan’s score was “highly tuneful if not instantly catchy” so was surprised that a fair few of the songs had managed to work their way into my subconscious and so provided that ‘ping’ of recognition which is always nice.

It was also interesting to listen to the songs in isolation from the show, as more of them than I remembered felt somewhat disconnected from the narrative, just happy in their sprightly pop song-ness. And thanks to the quality of the cast assembled here – leads Beverley Knight and Killian Donnelly, supported by the likes of Jason Pennycooke, Tyrone Huntley and Rolan Bell plus Claire Machin, it is a consistently enjoyable record to listen to. Continue reading “Album Review: Memphis (2014 Original London Cast Recording)”

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TV Review: Humans Series 2

“All we can do is what feels right”

There’s been something really quite moving about the second series of Humans, the Sam Vincent and Jonathan Brackley Channel 4 drama which has just wound to a close. In a world that started off examining the diametrically opposed differences between humans and synths (series 1 review), the stark black and white palette of the show has moved markedly to a murky shade of grey on both sides, complicating the actions of both parties to make us really appreciate the difficulties in deciding right and wrong.

So where the renegade synth Niska (a brilliant Emily Berrington) has decided to subject herself to human justice in order to try and find some common ground, newly awakened Hester goes fully rogue in defining humans as the absolute enemy, to brutal effect in a chilling performance from Sonya Cassidy. And questions of identity are no less complex on the human side, as the show toys with ideas of humans opting to live life as a synth and experimenting even further with technology. Continue reading “TV Review: Humans Series 2”

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TV review: Line of Duty Series 1

“Do you want me to recrime it sir?”

With Jed Mercurio’s Line of Duty about to start its third series on BBC2, I thought I’d go back to the first two series as they have to rank as some of the best police dramas out there. Centred on the world of AC-12, an anti-corruption unit charged with investigating suspected police wrongdoing, we’ve been so far blessed with two extraordinary stories, hanging on superb performances from the people under suspicion – Keeley Hawes (whose series we’ll get to next) and Lennie James.

James plays DCI Tony Gates, a decorated officer with an amazing clear-up rate that seems too good to be true, and so when he comes to the attention of AC-12, initially for something completely unrelated, the wheels are set in motion for a fast-degenerating state of affairs. Money laundering, drug running, cover-ups, and gruesome murders intertwine and intersect with Gates at the heart of it all, but his true connections to events always in question, right until the end. Continue reading “TV review: Line of Duty Series 1”

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The Curtain Up Show Album of the Year 2015 nominees

Best Cast Recording
Bend It Like Beckham (Original London Cast Recording)
Cool Rider (Original Studio Recording)
Gypsy (2015 London Cast Recording)
Made in Dagenham (Original London Cast Recording)
Memphis the Musical (Original London Cast Recording)

Best Solo Album
Cynthia Erivo and Oliver Tompsett Sing Scott Alan
Hugh Maynard – Something Inside So Strong
John Owen-Jones – Rise
Tim Prottey-Jones – To Do. To Be.

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Re-review: Memphis, Shaftesbury Theatre

“Have a beer drop a time in the blind man’s jar”

Never one to look a gift-horse in the mouth, the offer of a return ticket to Memphis (the show, not the place sadly) was one I was happy to accept and I was glad for it too. The show remains a hugely impressive showcase for its cast and creatives whilst never quite engaging satisfactorily enough with its subject matter (see my original review here) but the overall effect is certainly one that is entertaining and should set the show up for a successful UK tour in 2016 after it finishes in the West End.

The main change has been the arrival of X Factor winner (and stone cold fox – who knew) Matt Cardle in the cast as Huey, replacing Killian Donnelly who has headed over to Kinky Boots. And as a musical theatre debutant, he is very good indeed, slipping into the role of the fast-talking, highly charismatic DJ with great ease, nailing an adorkable charm that is most appealing. It helps that he shares great chemistry with Beverley Knight as rising star Felicia, herself now off to the latest revival of Cats, further cementing her own MT reputation. Continue reading “Re-review: Memphis, Shaftesbury Theatre”

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Review: Memphis, Shaftesbury Theatre

“Rock ‘n’ roll is just black people’s blues sped up”

Though much of the US civil rights movement’s achievements came through political means, this time of huge shift in American society was also underpinned by significant cultural change and it is this that the Tony-award-winning show Memphis focuses on, in exploring how white radio DJ Huey Calhoun sent shockwaves over the airwaves of this Southern city in the 1950s by ignoring the entrenched racial divisions and playing ‘race’ music for all to hear. And as rock and roll began to capture the attention of the nation, so too was Huey’s attention completely captured by the soulful energy of upcoming singer Felicia Farrell and the underground blues club in which she performs (which belongs to her brother).

That she is black and he is not doesn’t matter to him but it sure as hell does to everyone else (they may sing that ‘Everybody Wants To Be Black On A Saturday night’ but there are still laws preventing mixed marriage) and it is this that provides the dramatic heft to Joe DiPietro’s book, such as it is, to this musical that otherwise puts its focus squarely on the music. And what an unexpected place that music comes from – David Bryan, who just happens to be Bon Jovi’s keyboard player – has compiled a fully original score which pulls in influences from Motown-flecked pop, gospel, R&B and 80s power ballads naturally (I mean, look at the guy’s hair!) – it’s highly tuneful if not instantly catchy but delivered with the conviction it is here, it demands the attention and will doubtless reward relistening (if not rewatching as well ;-)) Continue reading “Review: Memphis, Shaftesbury Theatre”