Guest stars such as Lesley Manville, Adam James and Elizabeth Berrington help elevate an interesting Series 3 of Silent Witness
“I’d’ve thought you’d learned by now, this is police work not yours”
Series 3 of Silent Witness brings a new recurring police team for us to get to know, a(nother) new handsome man from Sam’s past who is waiting to jump into bed with her, and a new set of cases for Sam to get overly invested in. It gets to beyond the point of mockery when almost every episode has a line like the above quote in it but you sense the writers acknowledging this, as the opportunity to work in a different capacity in London is presented at the end of the season.
Which is probably right as there can’t be many more police officers in Cambridge that Amanda Burton’s Sam Ryan hasn’t royally pissed off. And in a Midsomer Murders/Morse way, surely there’s a limit to the number of crimes that can take place in a single locale. The casting is on point in this series though – Adam James and Mark Umbers appearing as posh students and somone had clearly been watching Mike Leigh films as Lesley Manville, Heather Craney and Elizabeth Berrington all make appearances here.
Top guest appearences
- a baby Nicholas Hoult appears briefly as a grieving child
- a fresh-faced Adam James as an earnest undergrad who describes someone as “a bit of poof but he didn’t deserve to get beaten up” (1998 doesn’t feel that long ago…)
- there’s a performance of striking froideur from Lesley Manville in ‘Fallen Idol’
- Jimi Mistry makes up the numbers in the incident room for one scene in one of the cases early on, never to be seen again
- and no spoilers but Josette Simon is brilliant as the slick Drug Squad DCI at the heart of ‘Divided Loyalties’
Taron Egerton, Jonathan Bailey, Jade Anouka and Phil Daniels have been announced as the cast of C O C K, the first West End production of Mike Bartlett’s Olivier award winning play about love and identity which opened at the Royal Court upstairs in 2009 with Ben Whishaw and Andrew Scott and has also played Chichester and Washington DC.
Directed by Tony and Olivier award winning Marianne Elliott, it will have a limited run at the intimate-for-the-West-End Ambassadors Theatre. Given the intensity and intimacy of the play itself, it will fascinating to see how it fares in a bigger space. Audiences will be able to find out for themselves from Saturday 5 March 2022 to Saturday 4 June 2022,.
Tickets are on sale now here. Continue reading “News: Mike Bartlett’s C O C K re-emerges in the West End”
Streaming allows to me take in a transatlantic version of Mike Bartlett’s Cock, starring Queer as Folk’s Randy Harrison
“You want your boyfriend’s help with the woman you’re sleeping with?”
The subject matter of Mike Bartlett’s Cock is one which has proved satisfyingly timeless, at least over the last decade but in a socially distanced age, it turns out that its form has also future-proofed it. Though it has four characters that interact, its focus on verbal interplay rather than physical shenanigans allies itself with the manipulations needed for COVID-19 protocols much more than other plays.
And having mounted an award-winning production of the play for Washington DC’s Studio Theatre in 2014, director David Muse has returned to it to launch the theatre’s debut online season. The result is a finely tuned hybrid of film and theatre that slots well into the now-global pandemic programming and as mentioned, Bartlett’s exploration of sexual fluidity remains as pointedly pertinent as ever, particularly in how it refracts through our relationships. Continue reading “Review: Cock, Studio Theatre online”
Hattie Morahan makes a more than able replacement for Anna Maxwell Martin in Series 2 of The Bletchley Circle
“Well ladies, let’s get cracking”
Series 2 of The Bletchley Circle at least has one more episode in it than the first, as it takes the form of two two-part stories but as it is the last season, it is also tinged with sadness. It is also a little curiously structured as Anna Maxwell Martin’s Susan departs after the first story, allowing Hattie Morahan’s Alice Merren – who appears as the protagonist of the opening mystery – to step up and replace her in the group for their final case.
Alice just happens to be another former colleague from Bletchley Park who, as the series opens, is awaiting trial for killing her old flame from those Bletchley days. Julie Graham’s Jean is sure she must be innocent and so reconvenes Lucy, Millie and a reluctant Susan to try and prove her innocence and solve the mysterious connections to a place called Porton Down… Continue reading “TV Review: The Bletchley Circle Series 2”
Mike Bartlett’s Cock receives a stirring revival from director Kate Hewitt at Chichester’s Minerva Theatre
“I suppose I like both, but that’s okay isn’t it, that’s okay?”
Sometimes you look back at a cast you’ve seen and think wow, I’m glad I booked for that. The original Royal Court production of Mike Bartlett’s Cock – revived here at Chichester’s Minerva – had a cast that included no less than Katherine Parkinson, Andrew Scott and Ben Whishaw enclosed in the claustrophobic intimacy of Miriam Buether’s brilliant design. So no pressure for director Kate Hewitt to live up to, honest…
And it is pressure that she lives up to, mainly because Bartlett’s play remains as fresh as a daisy (chain) nearly 10 years after it was written. Its exploration of fluid sexuality feels ripped out of the frothing mouth of clickbait-muffin Piers Morgan, its rejection of conventional sexual identity labels still a key issue for many, the complication of the dating world in the 21st century as sharply pertinent as ever.
Continue reading “Review: Cock, Minerva”
|Photo: Gage Skidmore
All The President’s Men? is a singular theatrical experience for the politically engaged on 24 April, 7.30pm at the Vaudeville Theatre.
A staged reading edited and directed by Nicolas Kent and presented by the National Theatre, London and The Public Theater, New York, it features scenes from the U.S. Senate’s Confirmation Hearings
In January, one week before the president’s inauguration a fierce fight erupted in the Senate between Republicans and Democrats over the confirmation of the key figures for President Trump’s cabinet. These four powerful men lead the Trump administration’s policy on Russia, the Middle East, Iran and North Korea, on human rights worldwide, on the Paris Climate control agreement, as well as on the civil rights and the health of millions of Americans. Continue reading “Casting announced for All The President’s Men?”
“To do nothing is the hardest job of all”
It’s taken a little time to getting round to watching all of The Crown because, in a first for me, I found it impossible to binge-watch the show. Even with Netflix kindly providing offline downloads just at the point where I had a lot of travelling to do, Peter Morgan’s drama was lots of fun to watch but rarely captured the buzzy energy that has accompanied much online programming. Because it many ways it isn’t like much of Netflix’s previous output, it really is an encroachment into BBC Sunday night and as such, I felt it worked best spread out in almost weekly installments.
That’s partly down to the nature of the subject material, we’re not likely to get many surprises in a detailed retelling of the history of the House of Windsor. But it is also due to Morgan’s writing which tends a little to the formulaic, especially in the middle part of the series, which is when my interest was most in danger of waning. The opening two episodes started brightly but once the shock of becoming monarch was over, the rhythm became very much one of someone close to the queen has an issue and she has to weigh personal desires against public duty, the latter always winning out. Continue reading “TV Review: The Crown, Series 1”
“The country needs to be led by someone strong”
You’d be hard-pressed not to know that Netflix have a new series called The Crown as a substantial portion of the £100 million plus budget has clearly been spent on blanket marketing coverage. And like a good punter brainwashed by adverts, I’ve watched the first two episodes to get a sense of what it is like.
Written by Peter Morgan and directed by Stephen Daldry, its credentials are impeccable and there is a slight sense of stepping on the BBC’s toes here, something alluded to in pre-show publicity that informed us the Beeb were less than willing to share archive footage from Buckingham Palace. But with as considerable and lavishly-spent a budget as this, the comparison isn’t quite fair as the ambitions here are most grand. Continue reading “TV Review: The Crown Episodes 1 + 2”
“…now begrimed and black as mine own face”
For all the excitement of Kenneth Branagh’s announcement of his year long residency at the Garrick, the programme was lacking a certain diversity. So it’s pleasing to see that the Tricycle Theatre’s production of Red Velvet has been slotted in for a month, featuring a barnstorming lead performance from Adrian Lester and a fascinating insight into a piece of sorely neglected theatrical history.
My four star review for Cheap Theatre Tickets can be found here.
“One simple, elegant equation to explain everything”
Alongside The Imitation Game, The Theory of Everything offers a double whammy of Oscar-baiting, British-biopicing filmic goodness – Benedict Cumberwhatsit’s Alan Turing and Eddie Redmayne’s Stephen Hawking seem dead certs for Academy Award nominations alongside their respective films – and for my money, it is the latter has the edge on the Cumbersnatch-starring film as something slightly less Hollywoodised and thus more interesting. That’s not to say that James Marsh’s The Theory of Everything is all rough edges – it is based on Jane Wilde Hawking’s memoir of her marriage after all and both she and Hawking have ‘blessed’ the film – but it is a complex love story that doesn’t shy away from too much challenge.
The focus of the film is in fact the relationship and marriage between physicist Stephen and Jane Wilde, his contemporary at Cambridge University where she studied literature, and the severe pressure that it came under after his diagnosis with motor neurone disease and then his increasing fame as his discoveries broke exciting fresh ground. Redmayne’s physical performance as Hawking is undoubtedly astounding as his condition worsens but there’s something deeper there too that comes across later on, in the merest flicker of the lips and glints in the eye that come before the synthesised voicebox kicks in, an enigmatic level of emotion that we never get to truly discover and that is entirely beguiling.
Continue reading “Film Review: The Theory of Everything”