TV Review: Silent Witness Series 23

What the… Series 23 of Silent Witness maintains a rich vein of form but then really upends the apple cart 

“What would Thomas do?”

All good things must come to an end, eh? Having settled into an excellent run of form with all four members of the Lyall team firing on all cylinders, Series 23 of Silent Witness culminates in some serious upheaval with the departure of no less than two of them in a brutally effective final story that probably ranks as one of the best ever.

So farewell to Clarissa, leaving on her own terms to pursue new opportunities, Liz Carr’s performance hands down one of the best on TV in and of itself before you even factor in the shot in the arm it has been for representation. And with a pleasingly meaty storyline involving her mother, it proved a satisfying journey although a gutting loss for the show. Continue reading “TV Review: Silent Witness Series 23”

Review: Electra, Bunker Theatre

Dumbwise’s Electra fills London’s Bunker Theatre with plenty of noise but struggles with its mix of old and new

The ambition behind actor-musician company DumbWise’s Electra is unquestionable as they introduce a “live punk-rock score” to their dynamic adaptation. The reality is a tad murkier as the old smashes up against the new with sometimes messy results.

John Ward serves as both adaptor and director and you wonder if a fresh set of eyes might have help to wrangle this further into shape. Ward has taken elements of both Euripides and Sophocles’ versions of the Greek myth and added in a framework of contemporary references, but punk-like energy is hard to sustain as you approach your third hour, still referring to the gods. Continue reading “Review: Electra, Bunker Theatre”

Review: Romeo and Juliet, Shakespeare’s Globe

“Everything in extremity”

It’s something of a shame that the shadow of Emma Rice’s torrid experience as AD of the Globe looms large over her second (and final) season there. The opening production in the ‘Summer of Love’ is Daniel Kramer’s Romeo and Juliet and following Rice’s lead, it is bold and brash, full of light and sound, and the kind of ferocious energy that you can easily imagine raising the hackles once again of those influential precious few.

And as such, it’s a production that encapsulates the wide-ranging issues of such a radical approach. With its YMCA dance routines and clown make-up, dinosaur costumes and middle-aged lovers, Kramer clearly has no problem in roughing up Shakespeare. And it’s no secret that the Bard can take it, one of the smartest innovations here is to run scenes in parallel – the marriage is intercut with the deaths that doom it, action and reaction played out simultaneously. Continue reading “Review: Romeo and Juliet, Shakespeare’s Globe”