The new David Hare political drama Roadkill proves to be the scariest thing about this year’s Hallowe’en, and not in a good way
“You can get away with anything if you just brazen it out”
Throwing in a cast like this can usually get me to forgive a lot but not even the combined thrills of Helen McCrory, Sylvestra Le Touzel, Sidse Babett Knudsen and Saskia Reeves could get me to like Roadkill. Maybe its the closeness of it all, Tory political corruption is headline news pretty much every day now, so why would we want it on our TV screens as drama as well.
Potential timing issues aside (though when are the Tories never out grasping for themselves…), there are more fundamental problems at play here though. David Hare’s writing feels particularly aimless here, there’s little sense of accretion in watching Hugh Laurie’s Teflon-coated minister Peter Laurence ride out any number of potential scandals, just a relentless, remorseless journey of scum rising to the top. Continue reading “TV Review: Roadkill”
As the clocks go back, the prestige TV shows come out, so I checked out the first episodes of The Undoing, Roadkill and The Sister to find not one but two Scandiqueens
“Sounds like we’re digging in for a long answer”
With a company that includes Noma Dumezweni and the empress of jumpers Sofie Gråbøl, I was initially a little disappointed that neither appeared in the first episode of new HBO show The Undoing. But when your leads are Nicole Kidman and Hugh Grant, your writer is David E Kelley and your director is Susanne Bier, then there’s little to complain about. Based on a Jean Hanff Korelitz novel and set in the dripping wealth of the Upper East Side, the tantalising promise of murder and adultery is skilfully woven across this opening episode and I’m definitely hooked. Continue reading “New TV shows for winter”
Simon Annand’s Time To Act is a beautiful book of photos capturing actors in the minutes before they go on stage
Tackling the constraints of the pandemic in its own way, Simon Annand’s fantastic new book of photos Time To Act has launched a virtual exhibition of some of the photographs which has now been extended to until Christmas. It’s an ingenious way of sharing some of the hundreds of images from the book and should surely whet the appetite for either just buying it now or putting on your list for Santa to collect soon.
Continue reading “Book review: Time To Act – Simon Annand”
“Everyone belongs to everyone else”
Depictions of dystopian near-future worlds are two-a-penny these days so what makes Aldous Huxley’s Brave New World so striking is that it was written in 1932. Its foretelling of a society dominated by technology, loveless sex and capitalist greed has obvious resonance today and so it makes sense for a stage adaptation, co-produced by Northampton’s Royal and Derngate and The Touring Consortium Theatre Company. Dawn King, she of the excellent Foxfinder, discreetly reshapes the narrative to its new form but doesn’t actually interfere too much with the source material.
Creatively, director James Dacre has gathered an excellent team around him who deliver great results in Naomi Dawson’s impressive retro-futuristic design Original music by These New Puritans mixes with George Dennis’ icy sound design to provide a vivid soundscape, and Colin Grenfell’s lighting complements Keith Skretch’s video work to create a strong visual aesthetic that probably errs to high-end contemporary rather than all-out futuristic, its targeted advertisements, corporate shininess and civil liberties-impinging data collection already a reality. Continue reading “Review: Brave New World, Royal and Derngate”
At what point does a short film stop being a short film?
Hereafter comes in at just over half an hour so I’m not sure exactly where it stands but no matter what you want to call it, there is no denying it is a rather nifty bit of sci-fi. Set in a grim version of the near future, a figure called The Ghost is haunting the minds and actions of people, driving them to murder and suicide, and it is up to The Guardians to stop it if they can. Becoming a Guardian is a perilous business but resourceful orphan Katcher is shortlisted for the process, which turns out to be brutal beyond belief and made more dangerous by the ever-approaching Ghost. Continue reading “Short Film Review #32”
“Stay you imperfect speakers, tell me more”
What is it that makes a hit? Jamie Lloyd’s Macbeth, the first show in his Trafalgar Transformed residency at the Trafalgar Studios, has rapidly become one of the hottest tickets in town, selling out nearly all of its shows and inspiring epic levels of queuing for the dayseats. And the audience it has drawn, at this show at least, felt significantly younger than one would usually see at a West End house. So something has clearly worked in the marketing of Shakespeare’s tragedy to make it the kind of success that they most likely hadn’t dared dream of. In light of that, it seems almost immaterial that I predominantly found it a disappointing production.
It was a fascinating experience to see the reactions of fresher eyes to a play whose ubiquity, arguably, does not necessarily correlate with its quality. For all its noble brutality and visceral poetry, it can be something of a hard ask in its later stages, no more so than in Act 4 Scene 3 which is the stuff of theatrical nightmares, yet it remains popular. And in Lloyd’s production with its Kensington Gore-splattered imagining of a near-future dystopian Scotland (the consequence of independence…?) and frequent bold strokes especially in Soutra Gilmour’s design which cleverly opens out, it clearly connected with its teenage audience from their frequent audible reactions. Continue reading “Review: Macbeth, Trafalgar Studios”