I turn to a rewatch of Jonathan Creek to get me through Week 2 of Lockdown #2 and enjoy the freshness of the first series
“No one could have killed your husband and then left this room”
Starting in 1997 and memorably co-opting Saint-Saëns’ renowned ‘Danse Macabre’ for its theme tune, mystery crime thriller Jonathan Creek occupies a happy place in my TV memories, so I was a little hesitant at first in case it didn’t match up to how I remembered.
From cracking seemingly impenetrable alibis, to working out how to escape a nuclear bunker, to locked room mysteries of all sorts, it turns out David Renwick’s writing holds up rather well. The plotting is sufficiently twisty that it is nigh on impossible to figure out who and certainly howdunnit and I remembered none of the important details so it was like watching it anew. Continue reading “TV Review: Jonathan Creek, Series 1”
I look ahead to some of the 2020 shows exciting me most with an emphasis away from the West End, looking mostly instead at the London fringe and across the UK
Sure, there’s all sorts of big ticket shows coming to London in 2020 (with big ticket prices too to go with their big names), like Sunday in the Park with George with Jake Gyllenhaal, Sister Act with Whoopi Goldberg, A Doll’s House with Jessica Chastain. But there’s so much more to discover if you venture away from Shaftesbury Avenue…
1 The Glass Menagerie, Odéon–Théâtre de l’Europe at the Barbican
Not that I want to be predictable at all but Isabelle Huppert! Acting in French! Right in front of you! I understand that van Hove-fatigue might be setting in for people but only a FOOL would pass up the chance to see one of our greatest living actors. A FOOL!
2 The Glass Menagerie, Royal Exchange
And if you wanted to do a direct compare and contrast, Atri Banerjee’s revival for the Royal Exchange will be worth checking out too for an alternative perspective.
3 The Wicker Husband, Watermill
Even before Benjamin Button tore my heart apart, I was excited for the arrival of this new musical by Rhys Jennings and Darren Clark but now, the bar has been raised even higher. And the gorgeous intimacy of the Watermill feels like a perfect fit.
4 Children of Nora, Internationaal Theater Amsterdam
Me: “I don’t need any more Ibsen in my life”
Also me: Robert Icke revisiting the world of A Doll’s House through the eyes of the next generation? Yes please.
5 Romantics Anonymous, Bristol Old Vic
I don’t think I thought this delicious Koomin and Dimond musical would ever actually return, so this short run in the UK ahead of a US tour feels like a real blessing. Now where did I put my badge? Continue reading “20 shows to look forward to in 2020”
Flying against the wind with this I know, but the second series of Fleabag leaves me rather cold…
“I think you’ve played with my guinea pig long enough”
I’m not sure why I’ve never succumbed to the Fleabag love that has swept the nation. Whether onstage or on screen, Phoebe Waller-Bridge’s magnus opus has never quite done it for me but what do I know – the return of the show, to a West End theatre no less, sold out quickly and the column inches about this second series of the TV show have been mounting up.
And ever the contrarian, this follow-up hasn’t really tickled my fancy either. The one thing that I think it did brilliantly was in its use of the fourth wall, particularly how Andrew Scott’s hot vicar was able to see through it for the loneliness avoidance technique it was and for pure storytelling, I thought it worked very well in terms of humanising a character who has always been rather arch. Continue reading “TV Review: Fleabag Series 2”
“For women are as roses…”
It is seriously impressive how sparklingly fresh Jonathan Mumby has managed to make Twelfth Night in his production for English Touring Theatre which I caught at Richmond Theatre this week. The familiarity, even overfamiliarity, which many have with Shakespeare’s work means it can often be hard to get too excited about yet another production but Mumby’s work here has all the hallmarks of a successful and subtle reinvigoration.
Colin Richmond’s artfully distressed design and an original suite of songs from Grant Olding locate this version of Illyria in the folky fancies of Brian Protheroe’s Feste, a move which pays dividends in extending its oft-melancholy mood to all and sundry. So Hugh Ross’ Malvolio is more tragi than comic, a deep sadness apparent under the prickly exterior. Milo Twomey’s Aguecheek is a rueful soul indeed and Doña Croll’s Maria has a marvellous pragmatism.
Continue reading “Review: Twelfth Night, ETT at Richmond Theatre”
“There’s a limit to what you can do”
Good theatre makes you think, but great theatre makes you dig deep to really contemplate the deeper questions in life and how you might react in a similar situation. Peter Nichols’ 1967 play A Day In The Death of Joe Egg sits firmly in the latter category and in this magnificent production – a joint effort between the Rose Theatre Kingston and the Liverpool Everyman and Playhouse and directed by Stephen Unwin – it deals sensitively but firmly with the challenging reality of being parents to a severely disabled child.
Schoolteacher Bri hates his job and dreams of becoming a stand-up comedian – a juxtaposition which is beautifully realised in a highly amusing opening sequence – but his dissatisfaction has much deeper roots. His 10 year old daughter Josephine can’t do anything unaided or communicate with the outside world and the strains on his marriage to Sheila are really starting to show, they get by turning their life into one big comedy routine to numb themselves from the brutal truth of their situation. Continue reading “Review: A Day in the Death of Joe Egg, Rose Theatre Kingston”
“He’s always taciturn after a matinée”
I’m unwilling to write it off just yet, but I really do have problems with the Rose Kingston as a theatrical space. Its very design seems inimical to fostering the sense of emotional connection that marks truly great productions and very few directors I have seen work there have been able to substantially address this. As the AD of the place, Stephen Unwin has tried more than most but in a play like The Vortex, which unusually for Noël Coward coils ever tighter into the most intense of two-handers in its final act, it proves a serious issue.
Coward’s 1924 debut work caused shockwaves with its portrayal of casual marital infidelity and cocaine addiction and though it may have lost some of that power now, it still has the power to move. Nicky Lancaster is a disaffected young music student who returns from a sojourn in Paris with a fiancée, a drug habit and an uncertain amount of sexual confusion. He is shocked on his arrival though, to find his mother Florence engaged in a heady affair with a much younger Guards Officer and determined to live her life free from societal pressure or marital responsibilities. Over the course of a weekend, their lives and the secrets they both possess clash to devastating effect.
Though the production never really moved me as I thought it might, it did have flashes of inspiration. There are several gorgeous touches like having Nicky play Someone To Watch Over Me as a desperate plea to his self-involved mother and making Rebecca Johnson’s über-honest Helen – unexpectedly the production’s highlight – not just Florence’s confidante but someone who would be more than just a friend. And it is moments like these that sit beautifully alongside the strong performances of the leads.
The divine Kerry Fox – an actress whose CV is admirably if frustratingly sparse – makes Florence a fearsomely determined figure, less flighty society hostess and more a woman utterly convinced of her infallibility, which makes the stripping back of her certainties all the more effective. And David Dawson nails the quicksilver changes of mood of Nicky, one moment the epitome of Coward-esque charm, the next lost in the haunting depths of his despair.
But where the show ought to ratchet up the intensity, the atmosphere is broken by the insertion of two regular-sized intervals which undo so much of the good work that has been done. And the other members of the company often just seem marooned on the platform of the stage, raised and removed from the audience and so not always able to bridge that gap to draw us into their world. Solid rather than superlative, the lead performances make it worth a visit.
Running time: 2 hours 10 minutes (with 2 intervals)
Booking until 2nd March