Sandra Oh and Jodie Comer continue their great work but it’s hard not to see Series 2 of Killing Eve as a slight downturn on the first season
“It’s OK if you feel weird. You just killed someone for the first time. With an axe.”
After such a strong opening season, there was perhaps an inevitability to Series 2 of Killing Eve not quite matching up to it. After all, in a game of cat-and-mouse, where do you go when they’ve met (and the mouse has stabbed the cat)? It’s a question that new head writer Emerald Fennell never quite seems 100% sure of, even as she creates an entertaining journey along the way.
So after Eve stabs Villanelle, she’s recruited by MI6 to look into another serial killer, another woman working for The Twelve, whilst also dealing with the fallout of pushing her relationship with Villanelle to a new level. They continue to spar but the way in which the show engineers bringing them together doesn’t quite come off right. Killing Eve is at its best when completely unpredictable and this series doesn’t always hit that mark. Continue reading “TV Review: Killing Eve Series 2”
Series 10 of Silent Witness, aka the one where they add episodes, make Harry a wannabe stand-up and Harry and Nikki do it, or do they?
“I went as far as I believed I could”
Because in TV-land, a young(ish) man and woman couldn’t possibly work together without shagging, Series 10 of Silent Witness sees the inevitable hooking-up of Nikki and Harry. Although to its credit, it instantly puts a fly in the ointment and in the harrowing final story, really earns the affection between this pair.
As we flit from people-trafficking to performance art, angsty teenagers to animal rights activists, this emerges as a solid rather than spectacular series. Adding in a fifth story adds to the sense of general competence without really raising the stakes, until ‘Schism’ at least, though I’d question just how much mortal danger we ever thought ‘someone’ was in. Continue reading “TV Review: Silent Witness Series 10”
A feast of visiting drama, dance, comedy, family shows and music for all tastes and ages is heading to Chichester Festival Theatre for the Winter 2021/22 season.
We’re particularly proud to offer a new home-grown production: the revival of one of the best plays of modern times, John Patrick Shanley’s Pulitzer Award-winning Doubt: A Parable, directed by Lia Williams and starring Monica Dolan and Sam Spruell in their Chichester debuts. Continue reading “News: Chichester Festival Theatre announce Winter 2021/22 season”
Full casting has been announced for the brand new stage adaptation of British comedy The Good Life which tours the UK this Autumn. The acclaimed cast will include actress and presenter Preeya Kalidas as ‘Margo Leadbetter’, Dominic Rowan as ‘Jerry Leadbetter’, and Sally Tatum as ‘Barbara Good’, joining the previously announced actor and comedian Rufus Hound as ‘Tom Good’. Also featured will be Nigel Betts and Tessa Churchard.
The new comedy by Jeremy Sams, is based on the classic television series by John Esmonde and Bob Larbey which entertained countless millions in the 1970s and which I have never seen an episode of. Directed by Jeremy Sams, this world premiere production will be the first time that the iconic characters of suburban neighbours the Goods and the Leadbetters will be seen on stage. The Good Life will open at Theatre Royal Bath on 7 October 2021, before dates at Cheltenham Everyman, Salford Lowry, Oxford Playhouse, Cambridge Arts Theatre, Malvern Theatres, Richmond Theatre and Chichester Festival Theatre. Continue reading “Early September theatre news”
Armando Iannucci’s rollicking adaptation of The Personal History of David Copperfield is huge amounts of fun to watch
“You can’t complain about a nice bit of kipper”
You might not have picked a Charles Dickens adaptation for an Armando Iannucci big screen feature but evidenced in The Personal History of David Copperfield, it’s a pretty darn fantastic match. It’s a rollicking romp through the story, absolutely refreshed by this treatment as its warm comedy is sprinkled with notes of ruminative reflection on class and identity and just a touch of satirical bite. And by employing a truly diverse and talented ensemble, there’s something special here.
For all the magnificence of Tilda Swinton’s Betsey Trotwood (truly exceptional), Peter Capaldi’s Mr Micawber and Ben Whishaw’s malevolent Uriah Heep, the real joy in the casting comes from the opportunities now given. Nikki Amuka-Bird is fantastic as the starched Mrs Steerforth, the kind of role she just hasn’t gotten to play before; so too Benedict Wong as Wickfield, it’s great to see such talent stretch their acting muscle this way, and so well too. Continue reading “Film Review: The Personal History of David Copperfield (2019)”
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”
“The fantasy that brings the reality into being”
As Mike Bartlett’s profile grows and grows, one can’t help but fear that his TV successes will lead to movie commissions but for the moment, he’s not forgotten where he started and with Albion, there’s a ferocious reminder of how theatrically skilled he is. Additionally, there’s one of the performances of the year from Victoria Hamilton so I’d hotfoot it to the Almeida now, there’s no guarantee this one will transfer.
Successful businesswoman Audrey has her world rocked when her son is killed on duty in the Middle East and so she decides to retreat to the countryside, rural Oxfordshire to be precise, where she buys the neglected home of her uncle, along with its once-impressive garden. But what first seems like a fun restoration project snowballs into chaos as her increasingly ambitious plans threaten to push everyone close to her away. Continue reading “Review: Albion, Almeida Theatre”
“You are the chief executive officer of the human race”
It was quite interesting to rewatch Series 8 of Doctor Who, one which I hadn’t revisited at all since it originally aired, as my memories thereof were not at all positive. And whilst disappointments remained – Robin Hood, 2D cartoons, the treeees! – there was also much to enjoy that I’d forgotten about. The smash-and-grab of Time Heist, the simplicity of ghost story Listen, and the ominous darkness of the finale.
I’m still in two minds about Peter Capaldi’s Twelve though, I want to like him so much more than I do, and I think you do get the sense of him feeling his way into his irascible take on the role. Jenna Coleman’s Clara benefits from being released from the yoke of impossibility to move to the forefront of several episodes and if she’s still a little hard to warm to, that finale really is superbly done. And then there’s Michelle Gomez, stealing the whole damn thing magnificently! Continue reading “Countdown to new Who: Doctor Who Series 8”
“You simply can’t just jump on the back of a cow!
8 months ago
Patrick Marber: Hi, can I speak to Rufus please
National Theatre: Who is this?
PM: Patrick Marber Continue reading “Review: Three Days in the Country, National Theatre”