God-tier guest casting, daring deviation in the storytelling and Leo getting hit on the head, Series 13 of Silent Witness is probably one of my absolute faves
“Your kind think you’re some kind of heroic martyr, you won’t be told or fobbed off. If people get dragged into your mess then it’s jolly unfortunate but you don’t give a shit because you have right on your side”
Now this is the good stuff. Series 13 of Silent Witness opted to shake things up just a little more than usual and the result, for me, is one of their most effective seasons to date. For one, having Leo be the one who is attacked rather than Nikki is (three series on the trot in case you’d forgotten) is just nice for the variety but adding a note of frailty into this most sanctimonious of characters works well.
It also sets up a cracking episode which sees Nikki and Harry at loggerheads as they take the same evidence and end up with wildly different conclusions which they’re then forced to defend in court. And a campus shooting episode, whilst having hardly anything to do with forensic pathology, is brilliantly conceived and chillingly executed. Fresh takes on the storytelling really makes this series feel alive. Continue reading “TV Review: Silent Witness Series 13”
Lots of exciting news coming out of the National Theatre today, including actors Nicola Walker, Giles Terera and Kristin Scott Thomas, directors Simon Stone, Lynette Linton and Nicole Charles, and returns for Small Island, Beginningand The Ocean at the End of the Lane
The National Theatre has today announced nine productions that will play on the South Bank in 2020-2021 alongside previouslyannounced shows. These run alongside their international touring productions, three plays that will tour to multiple venues across the UK and a West End transfer. The NT also announces today that it will increase the quantity of low-price tickets on the South Bank by 25%, with 250,000 available across the year at £20 or less.
A free adaptation of Lope de Vega’s Fuenteovejuna by April de Angelis, Nadia Fall’s debut season as AD of Theatre Royal Stratford East starts off in fine style with The Village
“I’d rather spend my nights with a saag aloo”
A free adaptation of Lope de Vega’s Fuenteovejuna by April de Angelis, Nadia Fall’s debut season as AD of Theatre Royal Stratford East starts off in fine style with The Village. Harking back to the past as Joan Littlewood directed it here in 1955, it also looks firmly to the future as a statement of intent about how things are going to be different out East.
The play has been resituated from Spain to northern India and set in the modern day. And in these Kavanaugh-plagued times, there’s something of a gut punch about the way how, even with fast-forwarding half a century, this kind of story can remain so horribly pertinent. What is does remind us though, is of the importance of resistance and the strength that can come from a community. Continue reading “Review: The Village, Theatre Royal Stratford East”
Can I recommend Goats, even with live goats appearing onstage with the cast? Not by the hairs on my chinny chin chin. There’s definitely something interesting at the nub of Liwaa Yazji’s play, based on so many real events from her native Syria, but it has yet to achieve dramatically effective form. Whether lost in translation into English (by Katharine Halls) or onto the stage (by Hamish Pirie), it is hard-going indeed.
The problem is a pace that is stultifyingly slow. And in a society completely riven by conflict, increasingly divested of its young blood by rising death tolls, it shouldn’t be so. As Yazji interrogates the madness of an ongoing civil war, where the families of dead soldiers are rewarded for their sacrifice with the gift of a goat, where neither side can really be considered ‘good’, where the role of propaganda muddies the water even further, the potential is clear. Continue reading “Review: Goats, Royal Court”
“Heroism is danger and risk, and frankly, until now, it’s been male”
Plays set in places I knew well as a child unexpectedly looks like it might be one of the theatrical memes of the year – Years of Sunlight explored the history of the neighbouring town where I learned to swim and now we have Timberlake Wertenbaker’s new dramaWinter Hill, named for the West Pennine peak that was the location of many a childhood walk.
Wertenbaker’s play is set on the Winter Hill of the near future, as opposed to the not-so-near past, where a chunk of the land has been sold to developers who are constructing a luxury skyscraper hotel there, set to completely alter the way that the hill dominates the landscape and the town of Bolton below it. As a local women’s reading group sneaks onto the building site to have their meetings, hidden agendas bubble to the surface to make matters a little more serious than whether they’ve got enough wine to get through the evening. Continue reading “Review: Winter Hill, Octagon Theatre”
Whilst other people wind down for the end of the year, Nina Raine is certainly keeping busy as her self-penned and self-directed Tiger Country returns to Hampstead Theatre, in advance of Donkey Heart – written by her brother Moses and also directed by her – transferring to Trafalgar Studios 2 in the New Year. Declared one of Hampstead’s most popular commissions, I must confess to being a little surprised to see this 2011 play return as it didn’t stick out as particularly memorable but with the promise of a new cast, I was interested to see how it stacked up nearly four years later.
And it seems that some time away has done it some good – the play feels cleaner, sharper and less encumbered with expository dialogue clearing a path through the medical terminology. I don’t know how much the script has been updated or edited but its spin through the state of the modern NHS feels as keenly observed as ever, visiting the stresses it imposes on those who work within it as well as those who use its services. Raine’s production recaptures the frenetic energy of a hospital and its staff at full stretch – metaphorically, physically, emotionally. Continue reading “Review: Tiger Country, Hampstead Theatre”
Our enduring fascination with the Greek tragedies continues with this three-part adaptation of Aeschylus’ Oresteia which sees three writers create contemporary reworkings for radio, starting with Simon Scardifield’s take onAgamemnon. It’s a cracking version, featuring a brilliantly conceived three person Chorus who merge almost seamlessly into the narrative – they pass comment and provide rich detail as per usual, but feeling so much a part of the fabric of this version of Argos makes their storytelling truly integral to the work.
Elsewhere, the story follows the familiar laugh-a-minute path of Aeschylus. After taking a decade to conquer Troy, Agamemnon (Hugo Speer) returns victorious to Argos with a new concubine the prophetess Cassandra (the mellifluous Anamaria Marinca) in tow. But far from happy to see him, his wife Clytemnestra (a calculatedly fierce Lesley Sharp) has long been plotting revenge on him as he sacrificed their eldest daughter Iphigenia on divine orders. It is bloody, brutal stuff and little is spared in this effective retelling. Continue reading “Radio Review: The Oresteia – Agamemnon / The Brick”