With its third instalment The Promise, Messiah loses its way a little bit given the high standards of the first two serials
“I wasn’t alone, other people were there”
The problem with doing things so damn well, is that you then have to live up to those standards. Messiah found itself in such a position after a first and second series that helped to redefine the serial killer genre and with 2004’s The Promise, it struggled to meet that bar. Written again by Lizzie Mickery, it suffers from the unnecessary compulsion to cleave to the template of prior series rather than having the boldness to step outside.
So with Ken Stott’s Red and Neil Dudgeon’s Duncan pasts having figured so heavily in the last two series, it isn’t hard to work out that it is Frances Grey’s Kate to have a go through the emotional wringer. It starts sooner than you might think with a daring opening sequence set in a prison that is highly effective. And as deaths of people involved start to mount up, long buried secrets prove the key to finding the killer and saving the day. Continue reading “TV Review: Messiah – The Promise (2004)”
“For man is a giddy thing, and this is my conclusion”
Transferring into the Noël Coward theatre, Iqbal Khan sets his RSC production of Much Ado About Nothing in modern-day Delhi, as a fitting counterpart to the African-dictator-led take on Julius Caesar which is now touring the UK after its London run. It’s a lengthy take on the play which does little by way of apparent editing, which is mighty impressive given the strength of the vision here, but it turns out the commonalities with contemporary India make this a great (arranged) marriage which is full of interesting scene readings which make this an intellectual, as well as visceral, pleasure.
I found lots of to love, but particularly what had been done with the watch scenes, normally something tolerated with gritted teeth. Here, they are a group of social misfits, almost Napoleon Dynamite-inspired and it really really works, mainly because of the straightness of the bat with which the actors play it. We’re always laughing with, and not at them and they’re never played as stupid – in fact, something rather touching emerges from their determination of purpose. Niraj Chag’s music is also something wondrous to behold. Vivid, sensuous, powerful, it richly enhances the whole production and the six musicians who play throughout the show get a well-deserved bow at the end. Continue reading “Review: Much Ado About Nothing, Noël Coward Theatre”
“I want to be a gentleman”
English Touring Theatre’s production of Charles Dickens’ Great Expectations relocates the story of Pip’s advancement to nineteenth century India in this thrilling adaptation by Tanika Gupta. A poor village boy, Pip is given the chance to better himself after a frightening encounter with a convict and an engagement to regularly visit the reclusive Miss Havisham sets him on a new path that allows him to dream of being more than a village cobbler’s assistant. And when an anonymous benefactor allows him to move to Calcutta, the heart of the British Raj, he is free to pursue his dream of becoming a proper gentleman, part of the educated elite, in order to win the heart of the coldly alluring Estella.
Gupta’s reimagining works extremely well because Pip’s journey, with his aspirations to rise above his class and status, is given even greater impact by the fact that he is casting aside his cultural identity too, his Indianness, in the search to become the perfect educated gentleman, just like one of the ruling English. This makes the transformation he seeks to effect upon himself all the more dramatic, as depicted in a wonderful scene where he dons the waistcoat and cravat of his new station, and then provides a powerfully meaningful final transition in the last scene as he ultimately comes to recognise what his true self is. But also mixed in is another layer of racial tension: Magwitch becomes a black African convict, Estella is Miss Havisham’s “African princess” and so Gupta keeps the interplay much more universal than a simplistic Asian updating and she is unafraid to show both the comedy and violence in the story in its starkest forms.
Director Nikolai Foster (no relation!) manages the achievement of a great sense of fluidity to proceedings which is all the more remarkable when one considers that there’s 31 scenes here, reflecting the serialised way in which the story was originally published. Pulling in elements of traditional dance from Zoobin Surty and music from Nicki Wells (with Nitin Sawhney onboard as musical advisor too), the atmosphere is set perfectly and well-matched by Colin Richmond’s design with its saffron-dyed gauzy curtains which allows us to move effortlessly from murky graveyards to the burning sun of the village, from shadowed dusty corridors in mansions, to the bustling city streets of Calcutta and much more. Energy crackles from all aspects, from cast members bursting through the stalls to bowls of incense being lit in front of us, to create a real theatrical experience.
Tariq Jordan is exceptional as Pip, starting off as the naive youth oblivious to anything but his own desires and progressing slowly as experience is acquired, hearts broken, friends gained, dreams shattered, charting his maturing from boy to man and never letting us forget Pip’s humanity even when he is at his most blinkered. But this is a strong ensemble throughout: from Tony Jayawardena’s beautifully warm Joe Gargery and Kiran Landa’s wise-beyond-her-years Biddy, to Lynn Farleigh’s near-dessicated Miss Havisham and Simone James’ emotionally estranged Estella, there’s a real sense of clarity to all the characterisations here. Giles Cooper’s ever-so-English Herbert Pocket was a particular delight, as was Jude Akuwudike’s raw energy as Magwitch.
The only real criticism I found was that a couple of the more emotional moments were too heavily underscored by the swelling score that felt more akin to a Hollywood film, yanking at the heartstrings instead of playing to the more subtle poignancy of the actual play. But minor quibble aside, this is a superbly effective reimagining of Great Expectations which breathes a new vibrancy into this well-known story, which remains highly recognisable (the character of Orlick was the only one I could think of that has been omitted) and provides it with a timeless resonance, none more so than at the beginning of the final scene where a public speaker exhorts his crowd of listeners to “rise up brothers…break the shackles…we must argue our case for our right to determine the affairs of our own country”.
Running time: 2 hours 45 minutes (with interval)
Playtext cost: £3.50
Booking until March 12th then touring to Cambridge, Brighton, Richmond, Guildford, Oxford and Malvern