The new David Hare political drama Roadkill proves to be the scariest thing about this year’s Hallowe’en, and not in a good way
“You can get away with anything if you just brazen it out”
Throwing in a cast like this can usually get me to forgive a lot but not even the combined thrills of Helen McCrory, Sylvestra Le Touzel, Sidse Babett Knudsen and Saskia Reeves could get me to like Roadkill. Maybe its the closeness of it all, Tory political corruption is headline news pretty much every day now, so why would we want it on our TV screens as drama as well.
Potential timing issues aside (though when are the Tories never out grasping for themselves…), there are more fundamental problems at play here though. David Hare’s writing feels particularly aimless here, there’s little sense of accretion in watching Hugh Laurie’s Teflon-coated minister Peter Laurence ride out any number of potential scandals, just a relentless, remorseless journey of scum rising to the top. Continue reading “TV Review: Roadkill”
As the clocks go back, the prestige TV shows come out, so I checked out the first episodes of The Undoing, Roadkill and The Sister to find not one but two Scandiqueens
“Sounds like we’re digging in for a long answer”
With a company that includes Noma Dumezweni and the empress of jumpers Sofie Gråbøl, I was initially a little disappointed that neither appeared in the first episode of new HBO show The Undoing. But when your leads are Nicole Kidman and Hugh Grant, your writer is David E Kelley and your director is Susanne Bier, then there’s little to complain about. Based on a Jean Hanff Korelitz novel and set in the dripping wealth of the Upper East Side, the tantalising promise of murder and adultery is skilfully woven across this opening episode and I’m definitely hooked. Continue reading “New TV shows for winter”
The neglect of Stanley Tucci aside, The Children Act does a decent job of bringing Ian McEwan’s novel to the screen, with Emma Thompson on fine form
“I think it’s my choice
‘I’m afraid the law doesn’t agree'”
The first half of The Children Act is astounding. Family court judge Fiona Maye is utterly devoted to her career, deciding carefully but firmly on the most delicate of ruilngs. But the case of Adam Henry gives her cause, a 17 year old cancer victim whose Jehovah’s Witnesses’ beliefs are leading him to refuse the blood transfusion that could save his life.
As Maye, Emma Thompson makes you feel every inch of the emotional stoicism she has developed in order to rise through the judicial ranks so. There’s admiration sure but also a touch of apprehension – the brittleness with which she interacts with her devoted clerk (Jason Watkins) and the casual callousness with which she takes her long-suffering husband (Stanley Tucci) for granted. Continue reading “Film Review: The Children Act (2017)”
In which Imperium II: Dictator continues a compelling look at (Roman) politics at the Gielgud Theatre but in which I also feel obliged to point out just how male-heavy Imperium skews
“We are at the mercy of the people of Rome”
Previously on Imperium:
- we enjoyed ourselves
- we struggled to differentiate between the many names beginning with C
- we puzzled at why people wore their togas with one bit draped impractically over a forearm
- we marvelled at how shiny everyone’s leather sandals seemed to be
- and we grieved at how woefully the wonderful Siobhán Redmond was underused, at how indeed the whole production treats women
The second part of this summer’s Roman epic – Imperium II: Dictator – continues much in the same vein as the first. Mike Poulton’s adaptation capturing much of the sweeping vistas of Robert Harris’ Cicero novels, and Richard McCabe excelling as that noble Cicero who increasingly reveals himself as all-too–hubristically-human.
But as we reach the seventh hour of drama in this testosterone-heavy world, you can’t help but feel that the women, both of the time and of this company, are relatively hard done by. Between the male gaze of Harris to Poulton to Doran to McCabe, the relentless focus on the political over the personal doesn’t give us much sense of Cicero the man versus Cicero the politician. Continue reading “Review: Imperium II – Dictator, Gielgud Theatre”
Imperium I: Conspirator is the entertaining first part of the seven hours of a proper Roman epic from the RSC (thankfully with air-con in the Gielgud Theatre)
“Stupid people tend to vote for stupid people”
With the weather as it is, there are worse ways to spend a day in London than in the blissfully air-conditioned Gielgud Theatre. There, you can partake in the near seven hours of the two-part theatrical extravaganza that is Imperium. First seen at the RSC last winter, Mike Poulton’s adaptation of Robert Harris’ Cicero novels have a suitably epic feel to them and, anchored by an excellent lead performance from Richard McCabe, also have a real thrill factor.
The first part – Imperium I: Conspirator – follows Roman consul Cicero’s valiant efforts to defend the republic and the rule of law against rebellion and rivalries. And in the hands of McCabe, his silky rhetoric is a joy to behold as he secures his primacy, relying on political manipulation where necessary. Whether defeating Joe Dixon’s Catiline, trying to outmanoeuvre Nicholas Armfield’s slippery Clodius or pin down the wildly ambitious young buck named Julius Caesar (a superb Peter de Jersey), his actions are gripping. Continue reading “Review: Imperium I – Conspirator, Gielgud Theatre”
“I wasted time, and now doth time waste me”
I am aware that I’m flying in the face of received wisdom here but I really wasn’t a fan of the RSC’s Richard II. The announcement of David Tennant in the leading role ensured its sell-out success (regardless of the actual strength of the production) and its transfer to the Barbican after its initial run in Stratford-upon-Avon likewise proved to be the quickest of sellers. Its critical notices have been close to superlative too, so the level of expectation was certainly high.
But for all of this, I found Gregory Doran’s production to be largely quite dull, it hardly ever provoked excitement or even piqued my interest in the slow-moving telling of its tale of regime change and the corrosive effects of absolute monarchy on the individual. The inferences of a Christ-like demeanour to this King are heavily played and Tennant laps this up, irascible and irritable throughout and increasingly given to thoughts of his own divinity. Intentional perhaps, but hard to like. Continue reading “Review: Richard II, Barbican”
“I will put my law in their inward parts, and write it in their hearts”
In perhaps one of the more surprising transfer moves of recent months, the RSC have brought last year’s production of David Edgar’s new play Written on the Heart into the West End to take up residency in the Duchess Theatre. I say surprising because it is a good while since the show ran in Stratford and though it received relatively good notices, they hardly set the world alight. But to town it has come and to be honest with you although it is nice to see a wealth of plays occupying West End houses, I can’t see it lasting very long in the cut-throat theatrical ecology.
Edgar’s play is an almightily verbose work about the creation of the King James Bible. We start with James I’s decision to commission an authorised English Bible nearing its end in 1610 in the midst of endless committees debating the translation of every word. We then move around in time to see William Tynedale reaping the grim consequences of creating his own version in the reign of Henry VIII and also dip into the reign of Elizabeth I during the decatholicisation of many churches, where a young clergyman sees Tyndale’s work for the first time. As we then return to 1610, we see that that young man, Lancelot Andrewes, is now spearheading the Authorised version and recognise the debt that he owes to Tyndale. Continue reading “Review: Written on the Heart, Duchess Theatre”
“People don’t stand for anything; they just exist”
The Country, by Martin Crimp is another collaboration between the Arcola Theatre and Iceni Productions (last year saw them do Mamet’s The Shawl) but actually marks the first time I have seen a Crimp play. I have seen plays that he has translated but never one of his original works so I was intrigued to see how I would react to this rather polarising playwright in his own words. But there was another reason I wanted to go, as the building is being converted (into luxury flats, what else) and so the Arcola is on the move. Although not too far, to the Colourworks building (which is next door to the Printhouse where I used to work) right by the new Dalston Junction station, but change is most definitely afoot and I wanted to make sure I make the most of its current set-up as it has been one of my favourite venues to visit in the last couple of years.
The play follows a middle class family as they relocate from an urban lifestyle to one in the countryside. Richard is a doctor and Corinne a housewife but their domestic quiet is shattered when he brings home an unconscious young woman late at night. For Rebecca, as we find out her name to be, is much much more than just a stranger and her arrival provokes an unravelling of secrets from the past and uncertainties in the present as her presence forces a reassessment of the turmoil that we now see in beneath the paper-thin façade of this marriage. Continue reading “Review: The Country, Arcola Theatre”