Series 21 of Silent Witness is an absolute corker, some of its strongest work in years as it touches on the profoundly personal for the Lyell team
“You interfered in my investigation”
After a couple of good but not great seasons, Series 21 of Silent Witness finally cracks the code for this iteration of the Lyell team to come up with a superb string of episodes, its best in years. For me, this is mainly because the writers identified personal stories that actually resonated, that made sense for the characters for once, instead of just being bolted onto cases of the week.
So Nikki suffers badly from PTSD from the traumatic events of the Series 20 finale in Mexico (a rare occasion where past consequences are actually played out instead of just forgotten) and her shame at seeking therapy plays a crucial part in ‘Duty of Candour’. And Thomas’ role as a father is interestingly interrogated when his daughter comes to stay, navigating the issues that arise from his ex-wife starting a new family with her new fella. Continue reading “TV Review: Silent Witness Series 21”
Thought I’d share this rather lovely collection of reactions to Helen McCrory’s untimely death at the age of just 52.
The National Theatre has announced a further five productions that will be streamed as a part of the National Theatre at Home series. Established in April to bring culture and entertainment to audiences around the world during this unprecedented period, National Theatre at Home has so far seen 10 productions streamed via the NT’s YouTube channel, with over 12 million views to date. These will be the final titles to be shared for free via YouTube in this period. However, future digital activity to connect with audiences in the UK and beyond is planned, with further details to be announced soon.
The productions will be broadcast each Thursday at 7pm BST for free and will then be available on demand for seven days. Titles added to the programme today include A Midsummer Night’s Dream from the Bridge Theatre, alongside Small Island, Les Blancs, The Deep Blue Sea and Amadeus from the National Theatre. Continue reading “News: National Theatre at Home final phase”
With major fluctuations in the force, Series 8 maintains a strong level for Spooks – you could argue it should have stopped here
“They think you’ve got Harry Pearce in the palm of you hand and you’re making moves”
Finally, after too many years of yoyo-ing between good series bad series, Spooks finally put together two strong instalments back to back. I think the shorter run (8 episodes) really does focus the writing which now goes all-in on the serial plot line running through the whole series, yet still finding time to blend in self-contained storylines here and there.
Big betrayals cut deep, harsh on a team barely recovered from Connie’s recent deception. Personnel changes rock the team equally hard, as Malcolm is (metaphorically) sacrificed to bring back Ruth, Jo is (literally) sacrificed for big business and Ros (understandably) goes in hard for Tobias Menzies. And Richard Armitage’s Lucas North gets his arse out – quality TV all round. Should Spooks have gone out all guns blazing here?
She’s back! There’s a measure of contrivance in Ruth’s return to the show, necessary to undo the finality of her previous departure and to extricate her from the cushy life in Cyprus which she’d established forself. So cheerio to handsome new partner (they weren’t married so it’s OK he got killed), sayonara to her step-child in all but name, and welcome back to sweet emotional lrepression with Harry. Continue reading “Lockdown TV Review: Spooks Series 8”
In which the rollercoaster of quality rockets sky-high again, Series 7 of Spooks ranks as one of my favourites
“I want my team to know why I acted the way I did”
The introduction of series-long plots didn’t necessarily work first time round for Spooks but in Series 7, the magic certainly happens to produce one of the best seasons across its decade-long life. Perhaps the reduced episode order from 10 to 8 helped to refine the effectiveness of the storytelling, recognising that it was Adam’s time to go definitely worked and finally made the right kind of room for Ros to rise, and giving Gemma Jones this material was an absolute masterstroke.
Undoing the silly fakeouts of Ros and Jo’s ‘deaths’ right from the off, the introduction of Richard Armitage’s Lucas North also works well, his time in Russian captivity casting a nice shade of doubt over his presence in the team, a marked difference to the alpha males of Tom and Adam. And the ongoing Sugarhorse mystery is skillfully wound throughout the whole season, coiling ever-tighter until the hammer blows of a properly fierce finale.
She’s just a distant memory at this point – Harry really is such a fuckboy. Continue reading “Lockdown TV Review: Spooks Series 7”
As ever, the wait for the end-of-year lists of favourite plays and performances has to continue until I’ve actually stopped seeing theatre in 2017. But in the meantime, here’s a list of 11 of my top moments in a theatre in 2017, the things that first pop into my mind when someone says ‘what did you enjoy this year’. For reference, here’s my 2016 list, 2015 list and 2014 list.
Continue reading “11 of my top moments in a theatre in 2017”
“There’s nowt so queer as folk”
Only about a week behind schedule, I wanted to round up my thoughts about the National’s Queer Theatre season – links to the reviews of the 5 readings I attended below the cut – and try a formulate a bit of a response to this piece by Alice Saville for Exeunt which rather took aim at the season alongside the Old Vic’s Queers (also I just want to point out too that there are two writers of colour involved – Tarell Alvin McCraney and Keith Jarrett). As a member of the ‘majority’ within this minority, I tread warily and aim to do sowith love and respect.
It feels important to recognise what the NT (and the Old Vic) were trying to achieve though. Queer Theatre looked “at how theatre has charted the LGBT+ experience through a series of rehearsed readings, exhibitions, talks and screenings” and if only one looked at lesbian women, two of the readings were written by women. Several of the post-show discussions at the NT talked specifically about this issue but in acknowledging it, also quite rightly pointed out that there just isn’t the historical body of work to draw from when it comes to wider LGBT+ representation. That’s where the talks and screenings came into their own, able to provide some of that alternative focus. Continue reading “Queer Theatre – a round-up”
#3 in the National Theatre’s Queer Theatre season of rehearsed readings
“Well join the radical wing of the movement where to be really queer you have, as it were, to nail your foreskin to the transgressive mast. Literally it seems, on occasion.”
I have to admit to not necessarily being the greatest fan of Peter Gill’s writing and seeing a reading of one of his plays after having partaken of a little of the Pride festivities on Saturday afternoon was definitely not one of my wiser moves. But I wanted the complete set of these readings and so I sat down for 2009’s Certain Young Men.
Following the lives of four gay couples and told predominantly in duologues, it had the slight sense of yet another version of La Ronde as established pairings disintegrate and new ones reform. It is more complex than that, as it seeks to present varied and various forms of gay personalities and relationships, resisting the easy definition of a gay community to present a heterogenous grouping of homosexual men with multiple and conflicting desires. Continue reading “Review: Queer Theatre – Certain Young Men, National Theatre”
“You believe in laws but there are only lechers”
For some reason or other, I stopped watching the second series of Ripper Street midway through and it’s taken me until now to finally finish it. It wasn’t that I didn’t enjoy it, it’s more likely to do with running out of time to watch it on the iPlayer or something but anyhoo, I’ve managed it now. My review of Series 1 (which I thoroughly appreciated) is over here and I have to say that that enjoyment has continued, even if I do have a few reservations about its female voices.
It’s a shame that in a crime procedural led by three men, two of the leading supporting female characters did not return for this second series. DI Reid’s wife and kind-of-mistress (Amanda Hale and Lucy Cohu) are both MIA, losing all the work done to establish them, and though Leanne Best is introduced as a local politician who can’t help but flirt with Reid (he’s played by Matthew Macfadyen after all), the overall weight of the series does thus feel a little unbalanced. Continue reading “DVD Review: Ripper Street Series 2”
“My God, how I hate getting tangled up in other people’s emotions.”
For such a enduringly magnificent play and a lead part considered “one of the greatest female roles in contemporary drama”, it’s then a little surprising (and sad) that it has been a good while since we’ve seen a major production of The Deep Blue Sea, especially given the number of Hamlets and Lears we continually get. 2011 saw Maxine Peake and Amanda Root take on Hester in Leeds and Chichester respectively but now, Helen McCrory stakes her claim as one of the finest living British actors in playing the part at the National Theatre.
The production sees her reunite with director Carrie Cracknell after their striking Medea, and their collaboration similarly heightens the blistering emotion of the drama. Terence Rattigan’s story of shattered lives in a shattered post-WWII society drew heavily on his own tumultuous romantic life, homosexual subtext thus coded into the tale of a woman unable to maintain the veneer of respectability to a judge she does not love, instead opting to plunge into the instability of an affair with a troubled former RAF pilot. Continue reading “Review: The Deep Blue Sea, National Theatre”