Series 3 of The Crown sees new actors in across the board but Olivia Colman is sadly no Claire Foy. Helena Bonham Carters rock though
“Sometimes duty requires one to put personal feelings…
Doing little to dispel rumours that she isn’t a Time Lord, The Crown takes its cues from Doctor Who as Series 3 sees the Queen regenerate from Claire Foy to Olivia Colman. And not just that, the whole cast of main players has been replaced as this new company will take us through the next couple of series. It’s a clever move, considering the spain of history that the show takes but it is also a little sad to lose such excellent performances as Vanessa Kirby’s Princess Margaret, Victoria Hamilton’s Queen Mum, Alex Jennings and Lia Williams as Edward and Wallis and of course, Foy’s exceptional work.
Series 3 then, takes us from 1964 to 1977, featuring such notable events as the Aberfan tragedy, the moon landing and the arrival of Camilla in Charles’ life. And with its many millions and pick of the white acting talent in this country, it remains eminently watchable. That said, something has shifted for me and it just doesn’t feel as effective as the first two seasons. A large element of this is the way series creator and main writer Peter Morgan has structured the show, choosing to maintain a massive ensemble of recurring characters but keeping the focus, and turnover, of episodes relentlessly tight. Continue reading “TV Review: The Crown Series 3”
“What’s more frightening than death?
On a day when our Prime Minister declared dementia to be “one of [our] greatest enemies of humanity” as a new push for a cure was launched, it seems apt that the Finborough’s latest play Dream of Perfect Sleep should open. For dementia is just one of the issues that Kevin Kautzman has woven into his family drama as two adult children return to the family home for Christmas to a father suffering from a terminal illness and a mother who is no longer compos menti.
Mary and Gene are an elderly couple whose devoted relationship is being severely tested by their failing health. She suffers from vertigo as well as dementia and so only has a tenuous grip on reality, which makes his condition all the more tragic as he’s her primary carer and even his infinite patience is being tested. So they’ve made a decision and they’ve invited their estranged kids – recovering addict Robert and new-ager Melissa – to share it. Continue reading “Review: Dream of Perfect Sleep, Finborough”
“The consequences of doing the right thing…”
Cape Wrath, or Meadowlands as it was retitled for the US market, was a 2007 TV drama which aired on Channel 4, following the fortunes of a family who have to enter a witness protection programme in an idyllic new neighbourhood but increasingly find that they may just have jumped from the frying pan into the fire. Lucy Cohu stars as the matriarch of the family, Evelyn Brogan, who with her twin children have been uprooted due to some unspecified incident that involved her husband, David Morrissey’s Danny and over the eight episodes of the show, it proves a good showcase for her talents.
Created and largely written by Robert Murphy, the story unwinds as a psychological thriller as the Brogans struggle to come to terms with their new way of life and find many a mystery which keeps their paranoia levels justifiably high. Morrissey’s Danny is the main investigator of the strange goings-on around him as his testy relationships with Nina Sosanya’s Samantha, the bureaucrat who runs the programme, Ralph Brown’s magnificently moustached policeman and Tom Hardy’s lascivious handyman with an eye on his daughter instantly put him on guard as he soon clocks that something suspicious is going on in their new home. Continue reading “DVD: Cape Wrath / Meadowlands”
“What could be more innocent than visiting the vicar of Cockchaffington?”
So having completely tumbled for the charms of The Way We Live Now, I turned to the following BBC Anthony Trollope adaptation He Knew He Was Right which was also reworked by Andrew Davies and broadcast in 2004. Trollope’s main concern here was the corrosive effect of jealousy and particularly on his lead character of Louis Trevelyan whose marriage and family are broken up as he struggles to deal with the independent mind of his wife Emily as he suspects her of having an affair, and suffers the consequences of a gossipy Victorian society.
And thus the problems started for me – I never once found myself believing or really caring for Louis or Emily or their relationship. Oliver Dimsdale and Laura Fraser both struggled with the likeability factor for me and so as a central plot point, the story lost me from the beginning. More engaging was Emily’s younger sister Nora’s romantic travails as she falls for a penniless writer – Christina Cole and Stephen Campbell Moore just lovely together, and another love story as a kind but poor young companion falls for her mistress’s great-nephew against society’s rules. Continue reading “DVD Review: He Knew He Was Right”
”I’d rather live life wishing I hadn’t rather than wishing I had”
Today I was lucky enough to catch an early screening of Joe Wright’s new film, Anna Karenina starring Keira Knightley in the title role, which is certain to be divisive with its unique approach. Tom Stoppard has been employed to distil Tolstoy’s weighty tome into something more manageable and his adaptation clocks in at a shade over 2 hours. Remaining largely faithful to the novel, Stoppard’s focus is on exploring different kinds of love, and so whilst the focus is mainly on Anna herself as she negotiates the tumultuous affair with a young cavalryman that sets her against her husband and the might of Russian society, he also ensures that the subplot featuring the agrarian Levin’s attempts to woo the object of his affections is kept in to provide a neat counterpoint.
Presented with a classic of literature and wanting to avoid predictability as far as period dramas are concerned, Wright’s main conceit has been to reconceptualise the whole thing in a deeply theatrical manner, literally. He treats the story as a piece of theatre, sometimes being played out in front of an audience, sometimes as backstage drama, but always with a defined fluidity and through-line. This exceedingly stylised and highly choreographed approach has a huge cinematic sweep which I adored, but it does soon calm down into something more measured and at key moments, it opens out with some breath-taking transformations. Continue reading “Film Review: Anna Karenina”
“It’s made me very particular about my hyphen”
Spoilers, spoilers, spoilers. One of the difficulties of writing about shows is the balancing act between trying to give enough information to give a palpable sense of a production without giving away too much of it to preserve as much of its revelatory nature as possible. Major plot points are frequently given away in reviews, especially of classics (which always strikes me as a little arrogant, this idea that because the reviewer has seen the play 60 times doesn’t mean that the reader necessarily has – I loved the surprises that King Lear held for me when I saw it for the first time last year), but then the act of writing about theatre lends itself to detailed analysis which can’t afford to be coy.
The plot of Sutton Vane’s 1923 play Outward Bound hinges on a major revelation, not so much in a whodunit sense but rather in the direction that the play then takes. It comes fairly early in the show and so when debating this issue, my companion thought it would be ok to mention it in the review, but reading the blurb on the production, the enigma is preserved and I think I prefer it that way round. But I suppose there’s then an element of me having my cake and eating it here – in not wanting to talk about ‘it’, I’ve flagged up its presence something rotten! But anyhoo, to the show in hand. Continue reading “Review: Outward Bound, Finborough”
“What’s your earliest memory…?”
The first show of 2011 for the Finborough Theatre is The Potting Shed, a Graham Greene play from 1958. A psychological drama about a man, James Callifer, estranged from his dying father and struggling to make sense of gaps in his memory from his teenage years at the family home. For as James delves deeper into his troubled psyche, long buried family secrets threaten to bubble to the surface, beliefs questioned, indeed the very nature of religious faith is brought to bear as James edges ever closer to the truth of what happened in the potting shed from which the play takes its name.
This production ran in the Sunday/Monday slot late last year and has been promoted to a full run, managing to hold onto all but two of the original cast. Part of the 3 month RediscoveriesUK season at the Finborough, dusting off little-performed shows from all over the UK, the programme unearths great little snippets like the fact that this particular play hasn’t been performed in London for 40 years and leading that production was none other than Cliff Richard. Unfortunately that was about as interesting as it got for me, as this was not a play that really engaged me at all. Continue reading “Review: The Potting Shed, Finborough”