Series 4 sees Jonathan Creek lose its way badly as chauvinism slides into misogyny amid Alan Davies and Julia Sawalha’s strange chemistry
“Now it’ll save your time and mine, I think, if I truncate”
I found series 4 of Jonathan Creek surprisingly difficult to watch. Even if the quality had started to taper off over the course of the previous three seasons, something critical had been lost at this point, far over and beyond the departure of original star Caroline Quentin. Her replacement was Julia Sawalha’s Carla, introduced in the 2001 Christmas special and though she shares a screwball-ish energy with Alan Davies’ duffle-coated protagonist, she’s been married off to Ade Edmondson’s svengali Brendan.
It’s an odd choice that unsettles the whole rhythm of the show, as it devotes way too much time to the uneasy relationship between the pair. And as David Renwick’s writing fully immerses itself in its worst male chauvinist excesses – just look at how women are presented in the first episode, from the prizewinner presented as a grotesque to Anna Francolini being done dirty as a ditzy assistant – the idea that the majority of female characters now have to throw themselves at Jonathan’s feet, is delusional nonsense. Continue reading “TV Review: Jonathan Creek, Series 4”
Now this is more like it, Series 2 of Spooks settles into the classic feel that works so well
“This ridiculous James Bondery…do we need it?”
With this second season, Spooks really gets into its stride I think, recognising that it is an ensemble show at heart (and a rolling ensemble at that, although it’s a shame new recruit Sam doesn’t get more to do) and nailing the variation in tone and style of episodes which largely remain self-contained. Also, Nicola Walker finally arrives as Ruth, which is good news for the audience, Harry and the nation.
Topics-wise, we touch on hacker kids, Irish republicanism, Islamic radicalisation and Anglo-American relations among others. But it is ‘I Spy Apocalypse’, written by Howard Brenton and brilliantly directed by Justin Chadwick with a smothering sense of claustrophobia that really gets the pulse racing as a fire drill for a terrorist incident gets very dark very quickly – it’s possibly one of the best ever episodes of Spooks.
Praise the Lord – analyst Ruth Evershed finally arrives in Episode 2 in all her long cardigans and flowing skirts and though initially viewed with suspicion coming from GCHQ as she does, she soon wins over the team with her knowledge of Greek mythology, Russian crucifixion practices and much more besides. Continue reading “Lockdown TV Review: Spooks Series 2”
The latest venue to announce the opening of their digital archive in order to satisfy our theatrical cravings is the Hampstead Theatre who, in partnership with The Guardian will re-release the live stream recordings of Mike Bartlett’s Wild, Beth Steel’s Wonderland and Howard Brenton’s Drawing the Line for free.
Available to watch on theguardian.com and hampsteadtheatre.com, the three productions will be made available, on demand, over three consecutive weeks as part of the theatre’s #HampsteadTheatreAtHome series and the first of these – Wild – is available now. And once you’ve watched it, take a look at the ways you can support the Hampstead Theatre here. Continue reading “News: #HampsteadTheatreAtHome launches this week”
Mike Bartlett adapts his play Bull for the TV in the form of Sticks and Stones, with mixed if enjoyable results
“Maybe it’s banter”
I had clocked that Sticks and Stones that a new TV drama written and created by Mike Bartlett, hence it appearing pretty high on my to-watch list. What I hadn’t realised was that it is an adaptation of his cracking 2013 play Bull, which I have seen a fair few times, dating back to a reading in 2010. Given that the play was less than an hour and this serial was three (ITV) hours, I was intrigued to see how an extended version of this workplace bullying drama would work and I was pleased to see Ken Nwosu leading the cast, which included an alumni of the Young Vic production in Susannah Fielding.
And in line with the way his TV writing has been skewing, the result is something far more melodramatically silly than you’d ever expect from Bartlett in a theatre. I don’t say it as a particularly negative thing, more a statement of fact. The tautness of the play’s running time meant that once teeth were bared, it was one vicious snarl through to the end, heart-racingly menacing in its cruelty. Here, there’s much more time to fill and so it is more of slow build, as nice guy Thomas is essentially gaslit by his cut-throat team of property mangers (“we’re now able to offer a bespoke office solution”). Continue reading “TV Review: Sticks and Stones”
“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”
“No Lib Dem leader has ever had this kind of exposure and opportunity”
James Graham definitely seems to be having a moment – the noted playwright has been branching out into film and TV and with some serendipitous timing, is showcasing his talent in all three avenues. The Vote will soon be hitting the Donmar, X&Y is in cinemas as we speak, and his television film Coalition aired on Channel 4 last night. I’ve yet to catch X&Y but if Coalition is anything to go by, then there’s absolutely no fear that he is overstretching himself as it was a cracking bit of telly.
One of the reasons it worked so well for me was its basis in more-or-less contemporary events. His play This House was a sterling piece of political theatre but for someone who had no knowledge of the 1970s politicking it portrayed, there was always a sense of catch-up whereas the more august members of the audience could enjoy the nuances of Graham’s skilful writing and observations without the niggle of also trying to work out just what was going on. Continue reading “TV Review: Coalition, Channel 4”
“I’m the son of a son of a son of a collier’s son, the last in a long line”
So this is actually a review of a preview, although it was not intended to be. Beth Steel’s Wonderland was meant to open on Thursday but had to delay it until next week due to “ensure the safety of the cast” which may seem a little dramatic but once you enter the Hampstead Theatre’s main auditorium, it soon becomes clear that this was no idle claim. The theatre has gone into the round again and this time, Ashley Martin Davis’ awe-inspiring design has carved out a 3-storey high pit shaft that operates at three levels. Even the act of walking to your seat (if you’re on the stage) becomes precarious as high-heeled shoes must be removed and if you don’t like heights, I wouldn’t look down…!
In a year that marks the 30th anniversary of the miners’ strike, Steel’s play instantly feels well-timed but cleverly, it is not the play you might be expecting. The presence of Arthur Scargill and Margaret Thatcher loom large (how could they not) but the focus lies elsewhere, in the heart of a Nottinghamshire mining community that feels the effects of the strike, and its lingering aftermath, most keenly indeed. We join the play as two lads start their first day down the pit and are initiated into its unique working ways and its all-encompassing camaraderie, right at the moment that the government has decided to take on the miners as part of a schismatic ideological shift in workers’ rights. Continue reading “Review: Wonderland, Hampstead Theatre”
“Fools tell the truth”
Where success lies, so sequels inevitably follow and after the success of Peter Moffat’s Criminal Justice, a second series following a different case through the legal system was commissioned and broadcast in 2009. Maxine Peake starred as Juliet Miller, the central figure of the show, a housewife and mother thoroughly cowed by an intensely and secretly abusive relationship whose entry into the criminal justice system commences when she finally stabs her husband, a neatly counter-intuitive piece of casting in Matthew Macfadyen.
I enjoyed the first Ben Whishaw-starring series a huge amount and found it a fresh take on the crime genre so a re-run of something similar was never going to have quite the same impact. But although it is a different take on the model, it didn’t grip me in quite the same way, lacking that sense of relatability that came from having a young male protagonist. For this is a much more female-centric drama – domestic violence, mother-and-baby units, work/life balance are just some of the issues at hand as Peake’s Juliet reels from the impact of her actions, the suspicion with which she is treated, the stresses leading up to and during the trial. Continue reading “DVD Review: Criminal Justice 2”
“Gentlemen, let the race begin”
Nicolas Kent’s final hurrah at the Tricycle Theatre, which he has patiently nurtured into fine battling form as a theatre really at the cutting edge of hot-topic drama, is this multi-authored two-part epic – The Bomb – a partial history. Inviting nine authors to respond to the debate (or more accurately the lack thereof) around nuclear weapons, Kent has pieced together a stimulating and challenging piece of theatre, divided into two parts, which can be experienced separately on different nights or one after the other on certain days, in a seven-hour marathon, which is how I did it (and probably how I’d recommend to it).
Part one is labelled First Blast: Proliferation and focuses on the period 1940-1992 as nuclear weapons became a horrendous reality as Japan found out to its cost and then a terrible threat to all as the Cold War descended between the superpowers of the USA and the USSR, and more and more countries sought to gain nuclear capabilities for themselves, threatening imbalances right across the globe. The attempts to control the spread of nuclear weaponry is also dealt with as the Nuclear Non-Proliferation Treaty came into being and international pressure exerted to try and bring everyone into the fold. Continue reading “Review: The Bomb: a partial history – First Blast, Tricycle Theatre”
“Could it be possible that war becomes so terrible that it outlaws itself?”
Ron Hutchinson’s Calculated Risk, the second play in the first half of the Tricycle’s The Bomb – a partial history, is an excellent debate on the morality and the reality of adopting a nuclear weapons programme. Set in the second half of 1945, the play focuses on Clement Atlee’s dilemma as he came into power as Prime Minister just days before the US dropped an atomic bomb on Hiroshima, a move sanctioned by Churchill’s government, and was put under pressure to decide on what Great Britain’s nuclear policy would be.
The main part of the piece is a sustained discussion between Attlee and his key advisors: Field Marshal Grierson, Foreign Secretary Ernest Bevin and scientist William Penney who are each pursuing their own agendas, and following their own instincts, in debating this huge issue. And Hutchinson spells it all out with great clarity, pitting the inevitability of scientific advance against ethics and the notion of free will, the morality of choosing an option that would undoubtedly result in huge civilian loss of life against the political expediency of warning potential enemies of what they might face. Continue reading “Review: Calculated Risk, Tricycle Theatre”