The second series of Jonathan Creek continues the good form of the first, even if the writing starts to verge on the misogynistic
“There’s always an explanation”
After the success of its first season, Series 2 of Jonathan Creek followed in short order in early 1998. And having firmly established its modus operandi of impossible crimes and simmering but awkward sexual chemistry between Akan Davies’ Jonathan and Caroline Quentin’s Maddy, it carries on ploughing that same furrow.
This series sees Stuart Milligan added to the mix as Adam Klein, replacing Anthony Head who got the job as Giles on Buffy and whilst he is a vividly entertaining character, his presence seems to allow writer David Renwick to indulge in some misogynistic touches over and above what might be ‘forgiven’ for being 20 years old, just look at the way Adam and indeed Jonathan treat the majority of the women in their life… Continue reading “TV Review: Jonathan Creek, Series 2”
“I shall do one thing in this life. That is love you, long for you and keep wanting you ’til I die”
A couple of weeks ago, Digital Theatre ran a January sale promotion which meant that you could get their plays for well under a fiver, which reminded me I had previously downloaded English Touring Theatre’s production of Thomas Hardy’s Far From The Madding Crowd but never quite got round to watching it. I’ve previously reviewed The Comedy Of Errors which was highly enjoyable and so I thought Digital Theatre was worth another try, especially since I’d paid for this one! This particular production was recorded at Guildford’s Yvonne Arnaud theatre on November 15th 2008
Having inherited her father’s farm, a spirited and feisty young woman – Bathsheba Everdene, finds herself playing mistress in a man’s world as she is determined to do things her way and her impetuous nature sometimes gets the better of her. She is pursued by three would-be lovers: the constant shepherd, Gabriel Oak; the obsessive landowner, William Boldwood and the reckless Sergeant Troy and as this is Hardy, real tragedy is never far round the corner. Continue reading “Review: Far From The Madding Crowd, ETT via Digital Theatre”
“You understand how the world turns on successfully practised duplicity? On cunning lies?”
I think Phil Willmott and I would be very good friends. Creator of two of my favourite musicals in recent months, joyous works both, and whilst I may not have entirely approved of F**king Men, I can see where he’s coming from as it were. So I was quite upset when Phil went and ruined our friendship by choosing Chekhov as his next project, why Phil why? Still, all is not lost as it is at least Chekhov once removed.
The Notebook of Trigorin is described as a ‘free adaptation’ of Anton Chekhov’s The Seagull by American playwright Tennessee Williams. It’s quite the moment for Williams rarities in London with one of his earlier plays Spring Storm at the National Theatre and this Notebook both being performed for the first time in the capital. It mostly follows the plot of Chekhov’s original, so Masha loves Constantine who loves Nina who loves Trigorin who is also loved by Arkadina. Williams’ conceit is to make Trigorin the focus of the play and with more than a hint of autobiographical detail, makes him a closeted homosexual. So the tangle of relationships, with the destructive mother/son dynamic between Arkadina and Constantine at its core, becomes centred around the self-possessed Trigorin who is in the midst of all the tragedy in the play, yet remains unscathed by it. Continue reading “Review: The Notebook of Trigorin, Finborough”
Thanks to the folks at whatsonstage.com, I got free tickets to F**king Men at the King’s Head theatre in Islington, a place I have been to several times and to be honest, usually find quite overpriced. So free tickets meant that I had no problem in trotting along to this play by Joe DiPietro, despite my reservations about both fringe theatre and gay theatre.
Firstly, whilst I do recognise that there is much good work being done in fringe theatres across London, I was quite badly burned on several occasions last year by some terrible experiences, and the main problem that I have is that their tickets are not sufficiently cheap for me to be forgiving. When somewhere like the National Theatre regularly has £10 tickets available, I find asking for £15 or £20 somewhat hard to stomach, especially when one is not assured of the quality. Continue reading “Review: F**king Men, King’s Head”