Elements of David Renwick’s writing starts to show signs of flagging as the magic starts to fade in Series 3 of Jonathan Creek
“What exactly does all this add up to?”
After a decent first coupleof series, the third season of Jonathan Creek sees the show start to wobble a bit as the raft of impossible crimes sways from ingenious plotting to improbably convoluted. Episodes tackle disappearing aliens and a man who thinks he has sold his soul to the devil and it doesn’t always come off.
That said, there’s still some classic tales in here too. The revelation of ‘The Eyes of Tiresias’ is artfully done and ‘Miracle in Crooked Lane’ is properly, admirably fiendish even with its meta-theatrics. Alan Davies and Caroline Quentin both continue in good form but David Renwick’s writing doesn’t permit more than piecemeal character development which, three series in, leaves them a little flat. Continue reading “TV Review: Jonathan Creek, Series 3”
Helen McCrory and Maxine Peake help elevate Messiah – The Harrowing to arguably the series’ devastatingly effective high point
“See beyond the victim, see the killer”
The first series of Messiah is certainly one of the best, setting the wheels in motion for an effective crime series, but I’d argue that it is the fourth instalment Messiah – The Harrowingthat is the best of them all. The arrival of a new writer – Terry Cafolla – releases the show from the baggage of its legacy which seemed to weigh the last series one and produces something that is really, well, harrowing.
Harking back to that first series and its connecting device of people being killed in the style of the Apostles, the murderous connection here ends up being Dante’s The Divine Comedy and its descent into hell. And weighted around the death by suicide of the daughter of one of their colleagues, Red and his team (with Maxine Peake’s DS Clarke now in for a retired Kate) find themselves once again up against the darkest parts of human nature. Continue reading “TV Review: Messiah – The Harrowing (2005)”
The Bridge Theatre has announce a repertoire of twelve one-person plays during September and October, using the theatre’s flexible auditorium to provide around 250 socially distanced seats.
An Evening With an Immigrant by Inua Ellams
Award-winning poet and playwright Inua Ellams left Nigeria for England in 1996 aged 12.
An Evening With An Immigrant is a potent and personal account of life as an immigrant told through poetry and music telling Ellam’s ridiculous, fantastic and poignant story – escaping fundamentalist Islam, experiencing prejudice and friendship in Dublin, performing solo at the National Theatre and drinking wine with the Queen of England – all the while without a country to belong to or place to call home. Continue reading “News: the Bridge Theatre plots an autumn season of monologues”
Along with the rest of theatreland, I’m already over-excited and impatient for all of these.
Filming begins today on new productions of Alan Bennett’s critically acclaimed and multi-award-winning Talking Headsmonologues, which first aired on BBC Television in 1988 and 1998. Ten of the original pieces will be re-made with the addition of two new ones written by Bennett last year. They are produced by Nicholas Hytner’s London Theatre Company and Kevin Loader.
Lots of exciting news coming out of the National Theatre today, including actors Nicola Walker, Giles Terera and Kristin Scott Thomas, directors Simon Stone, Lynette Linton and Nicole Charles, and returns for Small Island, Beginningand The Ocean at the End of the Lane
The National Theatre has today announced nine productions that will play on the South Bank in 2020-2021 alongside previouslyannounced shows. These run alongside their international touring productions, three plays that will tour to multiple venues across the UK and a West End transfer. The NT also announces today that it will increase the quantity of low-price tickets on the South Bank by 25%, with 250,000 available across the year at £20 or less.
Lucy Kirkwood returns to the National Theatre with The Welkin, starring a brilliant ensemble led by Maxine Peake
“Nobody blames God when there’s a woman can be blamed instead”
There are moments in Lucy Kirkwood’s new play The Welkin that are just outstanding. The opening tableau of silhouetted women engaged in housework is one for the ages, the early montage of women being empanelled onto a jury is as compelling a piece of social history as has ever been committed to the stage as well as looking stunning, and the final scene is equally full of iconic imagery (that veil, that walk, that ribbon, that realisation!).
Set on the Norfolk/Suffolk borders in 1759, the play focuses on a quirk of English justice at the time. A child has died and Sally Poppy has been sentenced for the crime (by men) but as she is claiming to be pregnant – something which if true, would commute her sentence from death to transportation – a “jury of matrons” must decide if she is telling the truth. Thus 12 local woman are summoned and locked in a room to determine her fate. Continue reading “Review: The Welkin, National Theatre”