“All these cases where people pretends to be one thing for half a century and then turn out to be something else”
The insanity that is the scheduling wars between the BBC and ITV often throws up random anomalies but rarely has the result been something as rewarding as a surfeit of Nicola Walker. Having recently made River for the BBC and Unforgotten for ITV, both police dramas were premiered in the same week and as six-part dramas, are reaching their climax at the same time too. And what has been particularly pleasing is the fact that both have proved to be highly watchable and interesting takes on the genre.
Chris Lang’s Unforgotten focused on a cold case from nearly 40 years ago as skeletal remains are found in the basement of a derelict house and in the cleverly constructed first episode, the four disparate characters that we have been following are eventually tied together as their phone numbers are found in the victim’s diary. Walker’s DCI Cassie Stuart and Sanjeev Bhaskar’s DS Sunny Khan soon identify him as a Jimmy Sullivan but the show focuses as much on the effect of long-buried secrets on the potential suspects as it does on the case itself. Continue reading “TV Review: Unforgotten”
“My nature may be flawed but I struggle to overcome it”
Is there anything more annoying than someone else having the same good idea as you at more or less the same time. Given the length of time it must take to actually commission a new version of a play and bring it to the stage, who knows when or whether these two coincided but either way, London now has its second new adaptation of Strindberg’s The Dance of Death in six months. Conor McPherson refreshed the play as part of the Donmar’s residency at the Trafalgar Studios 2 but here at the Gate Theatre, Howard Brenton has taken a slightly different tack, incorporating the lesser seen second part to create Dances of Death.
The play, as with much of Strindberg’s work, is a barrel of laughs. Edgar and Alice live on a remote Swedish island which is dominated by a military barracks but though they have been married for nearly 30 years, their relationship has deteriorated into a bitterly toxic mess as their disappointments in each other and the world around them has poisoned them to the point where it is this very hatred that sustains them. So much so, that the arrival of Kurt, a figure from their past, merely offers a new dimension to their war games as opposed to a potential exit strategy. It is vicious, bitter stuff, and in the intimacy of the Gate, ought to be near-unbearable. Continue reading “Review: Dances of Death, Gate Theatre”
“What do you think politics is? It’s ‘a little bit here’ and ‘a little bit there’, it’s all short-term measures.”
Generous, by Michael Healey, won the Best New Play award in its native Canada in 2007 but has been somewhat neglected here in the UK, so the Finborough Theatre in Earl’s Court with its long tradition of supporting Canadian playwrights has given it its first full run.
Structurally, it is described as 2 four-act plays which is just a fancy way of saying there’s four stories on show here. It’s an examination of altruism, the desire to help people and the motivations behind this. The first act of each story makes up the first half and then after we return from the interval, we see the concluding parts, some of which take place 15 years later, and suddenly we see that these disparate stories actually have some connections. Continue reading “Review: Generous, Finborough Theatre”