Less reviews, more notifications that a wonderful radio version of Nick Payne’s Constellations is now available to listen to on Radio 3, starring Gugu Mbatha-Raw and George Mackay. It’s well worth your time but be warned, it could well lead to expensive splurges to see the four forthcoming West End casts of Sheila Atim and Ivanno Jeremiah, Peter Capaldi and Zoë Wanamaker, Omari Douglas and Russell Tovey, and Anna Maxwell Martin and Chris O’Dowd.
Sasha Yevtushenko also directs a production of Elegy as part of this double bill, a play which I don’t remember half as fondly, despite a strong cast at the Donmar Warehouse. Here again, Juliet Stevenson, Deborah Findlay and Marilyn Nnadebe elevate the production to must-listen levels but it just isn’t as gut-wrenchingly affecting a piece of writing in the end.
Last up is Giles Terera’s The Meaning of Zong, the debut play for this talented performer which is now receiving its premiere on radio. It’s an extraordinary dramatisation of a shocking piece of British history that very few of us will know about, one which is vital to add to the discourse that has emerged since last summer and a play that must be put on major stages as soon as we can.
With its third instalment The Promise, Messiah loses its way a little bit given the high standards of the first two serials
“I wasn’t alone, other people were there”
The problem with doing things so damn well, is that you then have to live up to those standards. Messiah found itself in such a position after a first and second series that helped to redefine the serial killer genre and with 2004’s The Promise, it struggled to meet that bar. Written again by Lizzie Mickery, it suffers from the unnecessary compulsion to cleave to the template of prior series rather than having the boldness to step outside.
So with Ken Stott’s Red and Neil Dudgeon’s Duncan pasts having figured so heavily in the last two series, it isn’t hard to work out that it is Frances Grey’s Kate to have a go through the emotional wringer. It starts sooner than you might think with a daring opening sequence set in a prison that is highly effective. And as deaths of people involved start to mount up, long buried secrets prove the key to finding the killer and saving the day. Continue reading “TV Review: Messiah – The Promise (2004)”
A quick whip through Series 2 of The Crown
“History is not made by those who did nothing”
Do I still love The Crown? Yes. Do I still find it a little hard to muster enthusiasm about it until I’m watching it. Absolutely. It remains lavish prestige drama that carries little excitement about it and that’s perhaps inevitable as it trundles through the decades of the second half of the twentieth century, little dramatic surprise can really be sprung.
Instead, the thrills come from the script of Peter Morgan’s fantasia into the emotional life of our monarch, and a production that looks like the multi-millions of dollars that have been spent on it. Oh, and the cream of British acting talent popping in for a scene or two at an astonishingly high rate. Continue reading “TV Review: The Crown, Series 2”
“Because your song is ending, sir…It is returning. It is returning through the dark. And then, Doctor? Oh, but then… He will knock four times.”
Cos he’s special, David Tennant got to spread his farewell over 4 specials from Christmas 2008 to New Year 2010, and as this also marked Russell T Davies’ departure from the show, the stories start off grand and rise to operatic scales of drama by the time we hit the megalithic The End of Time. That finale works well in its quieter moments but does suffer a little from an overabundance of plot and whatnot. The Next Doctor and Planet of the Dead are good value for money romps but it is The Waters of Mars and all its attendant darkness that stands out most, teasing all the complex arrogance of a God-figure gone wrong. Continue reading “Countdown to new Who: Doctor Who Specials 2008-2010”
“To do nothing is the hardest job of all”
It’s taken a little time to getting round to watching all of The Crown because, in a first for me, I found it impossible to binge-watch the show. Even with Netflix kindly providing offline downloads just at the point where I had a lot of travelling to do, Peter Morgan’s drama was lots of fun to watch but rarely captured the buzzy energy that has accompanied much online programming. Because it many ways it isn’t like much of Netflix’s previous output, it really is an encroachment into BBC Sunday night and as such, I felt it worked best spread out in almost weekly installments.
That’s partly down to the nature of the subject material, we’re not likely to get many surprises in a detailed retelling of the history of the House of Windsor. But it is also due to Morgan’s writing which tends a little to the formulaic, especially in the middle part of the series, which is when my interest was most in danger of waning. The opening two episodes started brightly but once the shock of becoming monarch was over, the rhythm became very much one of someone close to the queen has an issue and she has to weigh personal desires against public duty, the latter always winning out. Continue reading “TV Review: The Crown, Series 1”
“The country needs to be led by someone strong”
You’d be hard-pressed not to know that Netflix have a new series called The Crown as a substantial portion of the £100 million plus budget has clearly been spent on blanket marketing coverage. And like a good punter brainwashed by adverts, I’ve watched the first two episodes to get a sense of what it is like.
Written by Peter Morgan and directed by Stephen Daldry, its credentials are impeccable and there is a slight sense of stepping on the BBC’s toes here, something alluded to in pre-show publicity that informed us the Beeb were less than willing to share archive footage from Buckingham Palace. But with as considerable and lavishly-spent a budget as this, the comparison isn’t quite fair as the ambitions here are most grand. Continue reading “TV Review: The Crown Episodes 1 + 2”
“Am I going to make it?
‘You already know the answer to that question’”
One of the more surprising transfers of the year has to be McQueen’s journey from the St James to the Theatre Royal Haymarket, its commercial success over-riding a (largely) critical drubbing (here’s my original review). The play has been rejigged to insert an interval, rewritten to extend some scenes and add one whole new one, and recast to bring in fosterIAN award winner Carly Bawden for Glee’s Dianna Agron – this last change proving the most effective in altering the show for the better. My full 3 star review for Cheap Theatre TIckets can be read here.
Running time: 2 hours (with interval)
Booking until 7th November
“I will not hear thee speak; I’ll have my bond”
Following the exceptional Rupert Goold/RSC adaptation which played the Almeida over Christmas, it seemed a brave decision for the Globe to also lead their 2015 season with The Merchant of Venice but Jonathan Munby’s production proves to be just as revelatory, albeit in a completely different way. With Jonathan Pryce making his debut here at this venue, accompanied by his daughter Phoebe no less, it is no surprise that his beautifully realised Shylock is at the heart of the show here but it is also good to see Jessica (played by Pryce junior, natch) also take her turn in the spotlight.
In some ways, this echoes the Al Pacino version, showing us how Jessica is cruelly caught in the middle – torn between duty to her father and her Jewish faith, and the delight that a genuine love match with Ben Lamb’s Christian Lorenzo brings to her life. This conflict is fiercely felt – she argues ferociously in Yiddish with her father but there’s no doubting the haunting anguish of the production’s end, her Hebrew lament powerfully affecting as Shylock faces yet another disgrace as we’re reminded that – even if she has shunned him – it is still a familial bond being sundered here. Continue reading “Review: The Merchant of Venice, Shakespeare’s Globe”
“It’s a blip when you’re 25, after 55 it’s a shambles”
Lesley Bruce’s An Interlude of Men is blessed with a brilliant pair of performances, Deborah Findlay and Barbara Flynn play Bren and Hilly whose lifelong friendship is thoroughly explored when Bren comes to stay and help as Hilly’s broken her wrist. They revisit girlhood memories and lament the time they drifted apart a little due to each being married and in the cosy warmth of nostalgia, they start to plan for a future together reclaiming that lost time. Bruce cleverly structures the rhythm of the play around the heady emotion of their initial reunion and the subsequent cooling off period and though it ends on a rather plaintive note, it sings with hard-won authenticity.
Riffing off of Chaucer’s The Wife of Bath, Edson Burton’s De Wife of Bristol is a wryly amusing take on the classic tale of one of the more vibrant characters in The Canterbury Tales and transplanted to the modern day, it gains real currency in its new location in the Afro-Caribbean community. Lorna Gayle’s Clarissa da Costa is a retired woman who has worked her way through a number of husbands and is now dispensing marital advice to recently arrived Jamaican housekeeper Shanti, a delicately moving Susan Wokoma. Shanti has her own tale to tell as well and together, they edge towards a way into the future. Jude Akuwidike, Cyril Nri and Alex Lanipekun are fun as the various men but make no mistake, this is a woman’s world. Continue reading “Radio Review: An Interlude of Men / De Wife of Bristol / In the Depths of Dead Love”
“You don’t know what day it is today”
It’s been a while since I’ve listened to any radio drama but the prospect of an all star cast doing JB Priestley’s Time and the Conways was something I couldn’t resist and under David Hunter’s direction, it was a truly beautiful piece of work. The aching lyricism of the play and its innovative (extremely so for the time) non-linear structure have long been a favourite and so to see them get the luxury treatment here, headed up by Harriet Walter as Mrs Conway, is just fantastic.
The play looks at the fortunes of the Conway family as they celebrate the 21st birthday of one of the daughters Kay in 1919 and then flicks forward 19 years where we see straightaway what has become of them. And as their lot mirrors that of the class system in Britain, it isn’t a happy one. Walter’s brittle blitheness as she tries to ignore the financial situation is blissful, Anna Madeley and Rupert Evans are just gorgeous as Alan and Kay – the two decent ones out of the whole bunch – and Colin Guthrie’s piano adds an elegiac beauty. Sublime. Continue reading “Radio Review: Time and the Conways / Jailbird Lover / The Benefit of Time”