This TV adaptation of Philippa Gregory’s The White Queen proves rather schlockily enjoyable
“You live in a country that is divided”
Philippa Gregory’s novels have long been a pleasure for me, a guilty pleasure if I believed in such a thing, as her female-focused, historical fictions offer much trashy enjoyment. A miniseries of The White Queen was created in 2013 but though it aired on the BBC and garnered some award success, it proved to be a one-off (for five years at least).
The White Queen is an adaptation of her Cousins’ War series ((The White Queen, The Red Queen, and The Kingmaker’s Daughter) and uses the Wars of the Roses as its backdrop to explore the roles of some of the most powerful women in the country. Elizabeth Woodville, Margaret Beaufort, Anne Neville – all determined to parlay their dynastic power into a real shot at the English throne. Continue reading “TV Review: The White Queen”
The neglect of Stanley Tucci aside, The Children Act does a decent job of bringing Ian McEwan’s novel to the screen, with Emma Thompson on fine form
“I think it’s my choice
‘I’m afraid the law doesn’t agree'”
The first half of The Children Act is astounding. Family court judge Fiona Maye is utterly devoted to her career, deciding carefully but firmly on the most delicate of ruilngs. But the case of Adam Henry gives her cause, a 17 year old cancer victim whose Jehovah’s Witnesses’ beliefs are leading him to refuse the blood transfusion that could save his life.
As Maye, Emma Thompson makes you feel every inch of the emotional stoicism she has developed in order to rise through the judicial ranks so. There’s admiration sure but also a touch of apprehension – the brittleness with which she interacts with her devoted clerk (Jason Watkins) and the casual callousness with which she takes her long-suffering husband (Stanley Tucci) for granted. Continue reading “Film Review: The Children Act (2017)”
The Royal Shakespeare Company have announced Sonnets in Solitude, a selection of Shakespeare’s sonnets self-recorded by RSC actors while in lockdown.
Many of the actors were working with the RSC at the time of the theatre’s temporary closure on 17 March and have been unable to perform or rehearse since.
RSC Artistic Director Gregory Doran said,
“The sonnets are so intimate, confidential and direct, and watching them being performed in this way captures that immediately. Perhaps after 400 years, the form has finally found its ideal format”.
The RSC will release 90 of the 154 sonnets over the coming weeks which will be available to view via the RSC’s You Tube channel Miles Jupp, Alexandra Gilbreath, Antony Sher, Emma Fielding and Rosie Sheehy are just some of the actors involved in Sonnets in Solitude. Continue reading “News: The RSC launch Sonnets in Solitude”
I find much to enjoy in Kimberley Sykes’s production of As You Like It for the RSC at the Barbican, particularly Lucy Phelps’ epic Rosalind
“Then, heigh-ho, the holly!
This life is most jolly”
The critical reception for Kimberley Sykes’ production of As You Like It for the RSC was a little lukewarm this summer, all 3 stars and grudging praise. But I found myself really rather seduced by its many charms, as it opens the winter residency for them at the Barbican. And in Lucy Phelps, a Rosalind full of big dyke energy for the ages. Read my four star review for Official Theatre here.
Running time: 2 hours 50 minutes (with interval)
Photo: Topher McGrillis
As You Like It is booking in rep at the Barbican until 18th January
A strong cast can’t persuade me about literary adaptation The Crimson Petal and the White
“Here, people go to sleep as soon as the gin takes effect”
This TV adaptation of Michael Faber’s 2002 novel dates back to 2011 but despite having the kind of cast that normally attracts me like a moth to a flame, I never quite got round to watching The Crimson Petal and the White. And in all honesty, I should have stuck with my initial sixth sense…
Set in the seedy underbelly of Victorian London, the story follows Romola Garai’s courtesan Sugar and the relationship she develops with feckless perfume heir William Rackham, a persuasive Chris O’Dowd. From a flop of a first night, he soon becomes entirely infatuated with her, not letting the fact that he has a mentally ill wife get in the way. Continue reading “TV Review: The Crimson Petal and the White”
Outstanding Performance by a Male Actor in a Leading Role
Casey Affleck – Manchester by the Sea as Lee Chandler
Andrew Garfield – Hacksaw Ridge as Desmond T. Doss
Ryan Gosling – La La Land as Sebastian Wilder
Viggo Mortensen – Captain Fantastic as Ben Cash
Denzel Washington – Fences as Troy Maxson
Outstanding Performance by a Female Actor in a Leading Role
Amy Adams – Arrival as Dr. Louise Banks
Emily Blunt – The Girl on the Train as Rachel Watson
Natalie Portman – Jackie as Jackie Kennedy
Emma Stone – La La Land as Mia Dolan
Meryl Streep – Florence Foster Jenkins as Florence Foster Jenkins Continue reading “23rd Screen Actors Guild Awards nominees”
“Be careful Anna, of the dark forces of the human mind”
I knew I liked Tara Fitzgerald’s voice, but I hadn’t realised I loved it. Listening to the radio play Second Body that featured her in a starring role was a genuine auditory pleasure which made me want to track down illegal ways of recording it off the iPlayer so that I could listen to it over again. Trevor Preston’s swirlingly dark drama centres on Fitzgerald’s Anna, a successful artist but one driven by haunting and disturbing visions and as she seeks to put together some of her work for a big new exhibition, a worrying prophecy of a death stalks her subconscious.
Toby Swift’s production brings a wonderfully surreal quality to Anna’s experiences, full of textured sound effects and evocative atmosphere, and so as the stuff of her dreams starts to invade her waking life, we’re never quite sure how real any of it is – whether she is possessed of some supernatural gift or if actually, her artistic temperament masks some signs of mental illness. Fitzgerald’s honeyed tones constantly keep us guessing as her voice glides like velvet through the twists and turns as friends, agents and colleagues gather round to try and guide her through these troubled times. Continue reading “Radio Review: Second Body + Art and Gadg, Radio 4”
“But what have they knighted you for?”
Accolade, a 1950 play by Emlyn Williams, is receiving its first ever revival here at the Finborough as part of their RediscoveriesUK season. Considered a controversial play at the time due to its unashamedly frank approach to sexuality, it will hardly seem risqué to modern audiences but as it is a rather tightly-constructed drama filled with suspense and given an excellent production here with Blanche McIntyre directing, one can’t help but wonder how on earth it has taken so long to get this back on the stage!
Set in London in 1950, Will Trenting is a novelist who has received notification that he is to be knighted and fully embraced into respectable society. But his scandalous novels have been born out of the double life that he has been leading and the attention that comes with this accolade being awarded to him exposes his predilection for drunken orgies in the East End with partners of all ages. Just before his date with Buckingham Palace though, a shocking charge is made and the fallout threatens his carefully balanced mix of family life and wilful hedonism. Continue reading “Review: Accolade, Finborough Theatre”
“Thank the Lord you ain’t in there with them”
The first play ever to be written for the Globe by a woman, Nell Leyshon’s Bedlam is the final play to open in this year’s set of offerings. A slice of life of those both in and around the Bethlem mental hospital in London, or Bedlam as it is better known. The plot as such centres around Dr Carew’s corrupt running of the asylum, concerned more with women and profit than observing the Hippocratic oath and actually caring for his patients. But the arrival of new patients and a much more socially aware doctor loosens his grip and soon everything begins to change.
It is huge amount of fun and Jessica Swale’s direction has a very keen sense of the possibilities of playing in the Globe, especially with the yardlings. Soutra Gilmour’s design has the stage in a circle with a ramp going up one side, but if you’re in the yard, be prepared for all sorts of interaction, both on the floor and on the stage and a range of bodily fluids and liquids to come flying at you from the sides and indeed above! And it is so wonderfully musical, taking advantage of the rich archive to pull out a number of songs like ‘A Maid In Bedlam’ and ‘Oyster Nan’, covering ballads to bawdy drinking songs, and it all really works. Continue reading “Review: Bedlam, Shakespeare’s Globe”
“Presume not that I am the thing I was”
As we approach the mid-point in the Globe’s calendar for the Kings and Rogues season, Henry IV Part 2 is the latest play to open on Bankside, booking right through until October. Following directly on from the events of Henry IV Part 1, it follows the same characters as the increasingly frail King worries about whether his son Prince Hal is ready to assume the kingship, having fallen back into his wayward ways, Falstaff and his motley crew continue to live life to the full but the shadow of their mortality loom long on the horizon and though rebellion has been quashed, there are still murmurings of discontent.
This is indeed a more reflective play and nowhere is this better personified than in Jamie Parker’s Hal. He looks and sounds older, more mature, having grown into the role of a statesman able to forgive those that crossed him in the past and become the son his father has long sought after by outgrowing the feckless compatriots of his younger days as shown in the crushing final scene. Continue reading “Review: Henry IV Part 2, Shakespeare’s Globe”