I’m not one to blow my trumpet too much, honest, but it was nice to discover that the blog has been named one of Feedspot’s Top 50 Drama Blogs and Websites.
“To do nothing is the hardest job of all”
It’s taken a little time to getting round to watching all of The Crown because, in a first for me, I found it impossible to binge-watch the show. Even with Netflix kindly providing offline downloads just at the point where I had a lot of travelling to do, Peter Morgan’s drama was lots of fun to watch but rarely captured the buzzy energy that has accompanied much online programming. Because it many ways it isn’t like much of Netflix’s previous output, it really is an encroachment into BBC Sunday night and as such, I felt it worked best spread out in almost weekly installments.
That’s partly down to the nature of the subject material, we’re not likely to get many surprises in a detailed retelling of the history of the House of Windsor. But it is also due to Morgan’s writing which tends a little to the formulaic, especially in the middle part of the series, which is when my interest was most in danger of waning. The opening two episodes started brightly but once the shock of becoming monarch was over, the rhythm became very much one of someone close to the queen has an issue and she has to weigh personal desires against public duty, the latter always winning out. Continue reading “TV Review: The Crown, Series 1”
Best Actor in a Play, sponsored by Radisson Blu Edwardian
Ian Hallard for The Boys in the Band
Ian McKellen for No Man’s Land
Jamie Parker for Harry Potter and the Cursed Child
Kenneth Branagh for The Entertainer
Ralph Fiennes for Richard III
Best Actress in a Play, sponsored by Live at Zédel
Billie Piper for Yerma
Helen McCrory for The Deep Blue Sea
Lily James for Romeo and Juliet
Michelle Terry for Henry V
Pixie Lott for Breakfast at Tiffany’s Continue reading “2017 What’s On Stage Award nominations”
“It’s because you love him too much”
So a slightly odd position to be in, as we saw Harry Potter and the Cursed Child Parts 1 and 2 nearly 7 weeks ago at their first previews. And with the #keepthesecrets campaign already in full force then, I didn’t write up a review, opting instead for this preview of sorts. And even now, I’m loathe to write too much about it, for it really is the kind of play, and production, that benefits from the multiple elements of surprise contained within.
And it really is packed full of them, from all aspects. Based on an original new story by JK Rowling, Jack Thorne and John Tiffany, Thorne’s play revels in the richness and full depth of the Harry Potter universe to the point where the named cast are described as playing “roles include…” so as not to spoil what’s to come. This does have the knock-on effect of making this a play not really suitable for newcomers but I can’t imagine too many of them will have booked! Continue reading “Review: Harry Potter and the Cursed Child, Palace – totes spoiler free!”
“How is that even possible?!”
Well it’s finally here, Harry Potter and the Cursed Child Parts 1 and 2 have landed at the Palace Theatre in a blaze of insane publicity and media coverage desperate for a touch of that JK Rowling magic to drive web traffic. In some ways, I’m no different (hence this post!) but in one crucial way I do have the advantage – I’m one of the lucky audience members who has now seen both shows, along with the one and only scene-stealing appearance of Sprocket the owl.
It’s no secret that Rowling is asking people to #KeepTheSecrets and there’s always an interesting tension about whether or not one should observe an embargo when you’ve paid for your ticket (a whole £10 per show too, we weren’t going crazy!). So for now, I’m leaving you with this little collection of teasers about some of my favourite things from the show and be warned, they do increase in mild spoilerishness (mostly about staging, the final E is the one to avoid if you’re not sure…forgive me JK!). Continue reading “Preview: Harry Potter and the Cursed Child, Palace”
“Everybody’s very very nervous”
The theatrical production of London Road was a major success for the National Theatre, the opening run first extending in the Cottesloe and then being rewarded with a later transfer to the much larger Olivier – I was first blownaway by its originality and then later comforted by its message in the aftermath of the 2011 riots. So the news that director Rufus Norris was making a film adaptation was received with apprehensive anticipation, could this strikingly experimental piece of theatre possibly work on screen.
Writer Alecky Blythe uses a technique whereby she records interviews with people which are then edited into a play but spoken verbatim by the actors, complete with all the ums and aahs and repetitions of natural speech. And in 2006, she went to Ipswich to interview a community rocked by a series of murders, of five women in total, all sex workers, and set about telling a story not of salacious deaths but of a community learning to cleave together in trying times. Oh, and it’s all set to the most innovative of musical scores by Adam Cork, elevating ordinary speech into something quite extraordinary. Continue reading “Film Review: London Road”
“245 women silks ever, out of tens of thousands”
I do love a legal drama and so too does Peter Moffat. I’m forever grateful for him for the Helen McCrory-starring joy that was North Square and I’ve recently caught up with the two series of Criminal Justice that he was responsible for, so it was only natural that I should be a big fan of Silk. But as the time pressures of a busy theatre schedule rarely let go, it wasn’t something I had time to watch live and it was only with its arrival on Netflix that I was able to catch up with it. The show focuses on a single chambers with two leading lights both hoping to be appointed Queen’s Counsel, “taking silk” as it were, and dealing with the pressures of life at the Bar.
Casting Maxine Peake and Rupert Penry-Jones as the rivals Martha Costello and Clive Reader works extremely well – her fierce intelligence and emotional counterbalance being perfectly portrayed by the ever-strong Peake and Penry-Jones making Reader something of an arrogant buffoon yet one with some redeeming qualities as he competes and consoles, seduces and shines his way through life. Over the six episodes, the focus is mainly on Martha and her dilemmas as she finds herself pregnant at a time of huge professional significance, but the series as a whole makes for a modern and exciting version of a legal drama. Continue reading “DVD Review: Silk, Series 1”
“You’re not a child any more”
As the first DVD I put on to start my Lucy Cohu marathon, my heart sank a little when her first appearance in Murderland was as the main subject in a photograph of a murder scene. But as her face was on the cover, I hoped that her role would be more than just a fleeting one in this 2009 ITV drama. Written by David Pirie, the three-parter examines the lasting impact of a violent crime and the mysteries surrounding it, viewed from the shifting perspectives of the murdered woman, her traumatised daughter and the investigating detective.
It’s not the most sophisticated of crime dramas, truth be told, but it is certainly competently done and intriguingly put together as events start off in the present day with a woman, the ever-wan Amanda Hale, running from her wedding day. Her distress comes from the unsolved murder of her mother some 15 years earlier which she is now determined to solve and visits Robbie Coltrane’s DI Hain to get his help as he was intimately involved in the case – and more so than she realises. The story then flips back to the time of the crime to give an account of what happened. As the show progresses and we, and Carol, find out more and more, the events around the murder are revisited and replayed getting us ever closer to the terrible truth. Continue reading “DVD Review: Murderland”
For many people, myself included, it is nigh on impossible to approach a film version of stage behemoth Les Misérables with a blank slate. It’s been a mainstay of the musical theatre world since its 1985 London debut – it is most likely the show I have seen the most times throughout my lifetime – and after celebrating its 25th anniversary with an extraordinarily good touring production, has been riding high with a revitalised energy. So Tom Hooper’s film has a lot to contend with in terms of preconceptions, expectations and long-ingrained ideas of how it should be done. And he has attacked it with gusto, aiming to reinvent notions of cinematic musicals by having his actors sing live to camera and bringing his inimitable close-up directorial style to bear thus creating a film which is epic in scale but largely intimate in focus.
In short, I liked it but I didn’t love it. I’m not so sure that Hooper’s take on the piece as a whole is entirely suited to the material, or rather my idea of how best it works. Claude-Michel Schönberg’s score has a sweeping grandeur which is already quasi-cinematic in its scope but Hooper never really embraces it fully as he works in his customary solo shots and close-ups into the numbers so well known as ensemble masterpieces. ‘At The End Of The Day’ and ‘One Day More’ both suffer this fate of being presented as individually sung segments stitched together but for me, the pieces never really added up to more than the sum of their parts to gain the substantial power that they possess on the stage. Continue reading “Film Review: Les Misérables”
“I just want you to know I think you’re a total and utter bastard and that one of these days I hope you’ll get what’s coming to you. Having said that, best of luck with the show tonight and I hope it goes really well for you.”
Alan Ayckbourn’s plays seem to be unavoidable, not least at the Harold Pinter theatre where Absent Friends previously played to be followed by Trevor Nunn’s production of A Chorus of Disapproval and that’s before a Pinter play has even made it onto the stage of the renamed theatre. And I’ve yet to really succumb to the pleasures of our most prolific of living writers, I’ve visited many of the productions of his plays that have played in London in recent years but never quite had that lightbulb moment to explain to me his enduring success.
But I’m always up for testing my assumptions and when a friend offered to day seat (front row seats for £10), I was happy to accept and sure enough, whilst it wasn’t quite a Damascene conversion, I did find myself laughing more than I expected and actually enjoying myself for the most part. Key to this was Rob Brydon’s central performance as the ineffably Welsh Dafydd ap Llewellyn, a solicitor by day and a amateur dramatics theatre director by night taking his group through their latest production of The Beggar’s Opera. The play opens with the final number from that show and as the curtain descends, we see backstage that the relationships amongst the cast are incredibly strained. Continue reading “Review: A Chorus of Disapproval, Harold Pinter”