Whereas I was sad that the cast of The Crown had to regenerate at the end of Series 2, I’m kinda glad that Series 4 is the last we’ll see of this second generation
“Let’s just say, I can’t see it ending well for you”
I sampled the first few episodes of Series 4 of The Crown on release and whilst still appreciating much of the quality of this prestige drama, I couldn’t help but feel that it just isn’t quite up to par. An element of that is certainly personal, I just have zero desire to see depictions of Margaret Thatcher in anything. But there’s also something more nigglingly fundamental awry here, as we move to closer to the current day and increasingly feature people who are still alive.
Whether royalist or republican (do republicans watch The Crown…?), there’s something fascinating about the way in which Peter Morgan’s writing has challenged conventional notions of myth-building around the British Royal Family. What might previously have been called decorum has been jettisoned with little seeming sacrosanct now, particularly as we delve into the marriage of Charles and Diana and his enduring relationship with Camilla, plus going deeper into Thatcher’s psyche than one could ever care to. Continue reading “TV Review: The Crown, Series 4”
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”
“The state of monarch and the state of lunacy share a frontier”
Alan Bennett’s play The Madness of George III is perhaps better known under its film moniker of The Madness of King George which featured a superlative performance from Nigel Hawthorne who originated the role on stage which was then later immortalised on film and criminally overlooked for an Oscar: a certain Mr Hanks winning instead for Forrest Gump. This Theatre Royal Bath production, starring David Haig as the eponymous monarch, is touring the country for the next couple of months, marking a rare outing for the play.
The year is 1788 and fresh from defeat in the American War of Independence, George III is increasingly afflicted by a mysterious ailment as he slides into mental decline. He is then subjected to the vagaries of 18th century medical practices which were only slowly making advances towards a more modern understanding of the body and mind and whilst undergoing treatment, power struggles rage between opportunistic politicians on both side and more crucially, his fiercely ambitious son and heir who has his eyes on an early assumption of power. Continue reading “Review: The Madness of George III, Richmond Theatre”
Pinter is one of those playwrights who I know I ought to like but I’ve never really got it with his plays, never had that light-bulb moment that made me see what others do in him. So quite why I let myself get talked into going to The Hothouse, a play he wrote in 1958 but didn’t get produced until 1980, I do not really know.
It is set in an undetermined institution, somewhere between mental institution and convalescent home I think, which is run by a staff who have more problems than those at Holby City and Casualty combined. When the governor decides to try and solve some of the problems when Christmas Day sees one inmate dying and another giving birth, it sets in chain a set of events that reveals how rotten each member of the staff is, no-one ends up being free from blame and an increasingly sinister tone leads to a bitter ending. Continue reading “Review: The Hothouse, National Theatre”