Series 1 of Philippa Gregory’s The Spanish Princess introduces Elliot Cowan and Harriet Walter to the mix with great success
“I won’t be passed around Europe like a colection plate”
Following on from The White Princess, The Spanish Princess is based on the Philippa Gregory novels The Constant Princess and The King’s Curse, and the first instalment of eight episodes tackles the arrival of Catherine of Aragon to England to meet the man she has been betrothed to since they were both children, Arthur, heir apparent to Henry VII.
The biggest problem, aside from the weather and the racism (members of her court had Moorish and descent), is that the epistolary courtship that had so wooed her teenage heart, was actually written by his younger brother Henry…plot twist. But when Arthur died young, it meant that the plan for peace between England and Spain could still be found in another marriage. Continue reading “TV Review: The Spanish Princess, Series 1”
The TV adaptation of Philippa Gregory’s historical novel restarts a little unsteadily with The White Princess
“The England we once knew has gone”
For whatever reason, it took four years for the Philippa Gregory TV adaptations to restart with The White Princess following on from The White Queen. And it is a series saved by the introduction of Michelle Fairley and Essie Davis as the feuding mothers of Henry VII and Elizabeth of York, intent on relitigating the Wars of the Roses even as the marriage of their children was meant to have ended it.
A pre-Killing Eve Jodie Comer and Jacob Collins-Levy take on the roles of the couple forced together in the name of their country. With years of enmity between their houses and any number of horrific, murderous actions committed by them or in their names, it does require a fair bit of remembering your history lessons (or the first series) as so much is carried over. It does make you wonder a little why only one cast member (Caroline Goodall) was carried over from The White Queen. Continue reading “TV Review: The White Princess”
I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in July.
On Your Feet, aka the rhythm will get you, sometimes
the end of history…, aka how can you get cheese on toast so wrong
Equus, aka hell yes for Jessica Hung Han Yun’s lighting design
Games for Lovers, aka straight people be crazy
Captain Corelli’s Mandolin, aka the one that got my goat
The Girl on the Train, aka Philip McGinley in shorts
A Midsummer Night’s Dream, aka Another Dream? dream on
Uncle Vanya, aka I really need to stop booking for plays like this with casts like that
Jellyfish, aka justice for the second best play of last year
Sweat, aka Clare Perkins should always be on in the West End
Sue Townsend’s The Secret Diary of Adrian Mole Aged 13 3/4 The Musical, aka yay for lovely new musicals in the West End
The Light in the Piazza, aka Molly Lynch fricking nails it
Jesus Christ Superstar, aka was third time the charm?
Continue reading “July theatre round-up”
All winners will be announced at the awards ceremony at The Brewery, London on September 15, 2019 which will be streamed live on The Stage’s Facebook page.
Best Actress in a Play – sponsored by Audible
- Liv Hill for Top Girls at the National Theatre, London
- Urielle Klein-Mekongo for Yvette at the Bush Theatre, London
- Lauren O’Leary for The Awkward Years at The Other Room, Cardiff
- Bea Webster for Mother Courage at the Albion Electric Warehouse, Leeds
Best Actor in a Play – sponsored by Audible
- Jamal Ajala for ear for eye at the Royal Court, London
- Stuart Campbell for The Hunt at the Almeida Theatre, London
- Patrick Gibson for Sweat at the Donmar Warehouse and the Gielgud Theatre, London
- Ivan Oyik for Blue/Orange at the Birmingham Repertory Theatre, Birmingham
Continue reading “Nominees for The Stage Debut Awards 2019”
The ferocious Sweat may not feel festive at the Donmar Warehouse but its message is ultimately one perfect for the season
“You could wake up tomorrow and all your jobs are in Mexico”
Lynn Nottage’s Sweat won the 2017 Pulitzer Prize for Drama and on the evidence of Lynette Linton’s production for the Donmar Warehouse, deservedly so. Based on interviews with the residents of Reading, Pennsylvania – one of the poorest towns of its size in the USA – it proves an utterly compelling examination of the all-too-personal impact of deindustrialisation.
Written in 2015, hindsight encourages us to find remarkable prescience in Nottage exploring the kind of economic dissatisfaction that propelled Trump to power but the truth is more layered than that. Set in 2000, with brief forays into 2008, the desperation that poverty inculcates in people is stripped of partisanship as we’re just left to bear witness to those who just believe they have no other choice. Continue reading “Review: Sweat, Donmar Warehouse”