I ration myself to Episodes 1-3 of Series 4 of The Crown in the first instance but find it is losing its lustre a little
“I’m struggling to find any redeeming features in these people at all”
Kicking off in 1977, Series 4 of The Crown swiftly moves into my lifetime with its second scene taking place in 1979, although not quite into events that I remember, at least in these first three episodes. And with the arrival of both Diana Spencer and Margaret Thatcher on the scene, there’s quite the decade to explore.
But something has gone a little awry for me and The Crown. The sheer scope of Peter Morgan’s writing means that there’s a mahoosive ensemble at work here but the nature of his construction of episodes that drill down to intimate focus means that there’s huge gaps and terrible wastage, particularly of Helena Bonham Carter’s delicious Princess Margaret. Continue reading “TV Review: The Crown, Series 4 Episodes 1-3”
Series 3 of The Crown sees new actors in across the board but Olivia Colman is sadly no Claire Foy. Helena Bonham Carters rock though
“Sometimes duty requires one to put personal feelings…
Doing little to dispel rumours that she isn’t a Time Lord, The Crown takes its cues from Doctor Who as Series 3 sees the Queen regenerate from Claire Foy to Olivia Colman. And not just that, the whole cast of main players has been replaced as this new company will take us through the next couple of series. It’s a clever move, considering the spain of history that the show takes but it is also a little sad to lose such excellent performances as Vanessa Kirby’s Princess Margaret, Victoria Hamilton’s Queen Mum, Alex Jennings and Lia Williams as Edward and Wallis and of course, Foy’s exceptional work.
Series 3 then, takes us from 1964 to 1977, featuring such notable events as the Aberfan tragedy, the moon landing and the arrival of Camilla in Charles’ life. And with its many millions and pick of the white acting talent in this country, it remains eminently watchable. That said, something has shifted for me and it just doesn’t feel as effective as the first two seasons. A large element of this is the way series creator and main writer Peter Morgan has structured the show, choosing to maintain a massive ensemble of recurring characters but keeping the focus, and turnover, of episodes relentlessly tight. Continue reading “TV Review: The Crown Series 3”
“A property developer, a fighter and a bookshop owner – of those three, it’s the bookshop owner who finds himself stuck in here. That’s Israel for you.”
There’s an interesting tension at the heart of this production of Omar El-Khairy’s The Keepers of Infinite Space and though it is one that is never really satisfactorily resolved, it is still making me think today. El-Khairy’s play is a no-holds-barred indictment of the prison system in Israeli-occupied Palestine, taking root in the shocking statistic that up to 40% of the male population has been detained under military orders at one time or another. But director Zoe Lafferty’s vision seems to locate it in a less specific context, making its issues about incarceration more universal.
This she does by having her actors speaking in (presumably) their natural accents, so one of the prisoners is a Geordie, the governor a malevolent Scot. But though there are aspects of the story that reach beyond the Middle East – the brutality of torture and its effects on the guards that commit it, the way in which the past is often its own sort of jail that imprisons generations in endless cycles of hate – too much of it is inextricably tied to the details of El-Khairy’s narrative, of an innocuous bookseller caught up in crisis by family connections beyond his ken. Continue reading “Review: The Keepers of Infinite Space, Park Theatre”