TV Review: Silent Witness Series 1

Is Silent Witness the new The Bill in terms of most actors having a credit on their CV? I start a rewatch of the last 24 years with Series 1…

“They say a victim dies only once, but a scene can be murdered a thousand times”

As it approaches its 25th anniversary, and since the BBC have kindly put all 219 episodes on the iPlayer, my infinite wisdom has decided that I’m going to do a watch/rewatch of Silent Witness. I can’t be fully precise because I don’t really remember exactly when I started watching the show – it arrived on BBC1 in 1996 but my first clearest memory is actually of the brilliant, and sadly not online, French and Saunders spoof Witless Silence. (Seriously, if anyone can point to where I can watch it again, get in touch!)

Creaated by former police officer Nigel McCrery, Series 1 introduces us to the world of forensic pathology through the eyes of the Northern Irish Dr Sam Ryan, Amanda Burton getting her name above the title in the iconic leading role. And as she moves to Cambridge to take up a position aiding the police with their enquiries and also to be closer to her mother who is ailing with dementia, there’s something really quite bold in just how chilly and spiky Ryan is as the central figure. Uber-professional to be sure but defiantly uncompromising with it. Continue reading “TV Review: Silent Witness Series 1”

Film Review: Spectre (2015)

After the emotional triumph of Skyfall, the lethargic pacing of Spectre can’t help but feel a letdown

“Why, given every other possible option, does a man choose the life of a paid assassin?”

After the rip-roaring success of Skyfall, it seems little surprise that director Sam Mendes and lead scribe John Logan would return for the next instalment of the Bond series. But Spectre ends up as part of the yoyo-ing trend of Daniel Craig’s tenure which had previously seen the excellence of Casino Royale followed up by the not-excellence of Quantum of Solace. Delving deep back in Bond folklore, its overlong running time and stultifying pace sadly makes it a bit of a challenge.

This time round, surveillance networks are the villain as Bond investigates global conglomerate Spectre and their nefarious plans under Blofeld, whilst M and co do battle with the enemy within in the form of Andrew Scott’s smarmy C. Despite his class, Ralph Fiennes is a much less impactful M than Dame Judi but Ben Whishaw, Naomie Harris and Rory Kinnear are all settling well into their MI6 roles, popping in and out as needed. Christoph Waltz’s Blofeld is vividly effective but the problem lies in an ineffectual plot that doesn’t grip anywhere near as much as Skyfall did. Continue reading “Film Review: Spectre (2015)”

Film Review: Blithe Spirit (2020)

Despite a talented cast including Judi Dench and Dan Stevens, this cinematic version of Noël Coward’s Blithe Spirit is a big miss

“I’ll have a grilled grapefruit and a strong coffee please”

On the one hand, I knew I wouldn’t enjoy Blithe Spirit, Noël Coward’s enduring play offering increasingly diminishing returns every time it reappears. On the other, I don’t think anyone would have predicted how misjudged this film version would be, directed by Ed Hall and adapted for the screen by Piers Ashworth, Meg Leonard and Nick Moorcroft.

Coward’s plays do what they do, offering safe options for audiences (and theatre programmers) and usually attracting top actors (Jennifer Saunders and Angela Lansbury are the last two to have starred in the West End in this play). And on the face of it, the same ought to be true of a filmed version, here with Dame Judi Dench stepping into the feathered caftan of Madame Arcati. Continue reading “Film Review: Blithe Spirit (2020)”

News: stars come out to support the Jermyn Street Theatre

Stars of stage and screen including Olivia Colman, Helena Bonham Carter, David Suchet, Dame Penelope Keith, Timothy West, Jamael Westman, Tobias Menzies, Aimee Lou Wood, Grace Saif, Dame Penelope Wilton, and Julie Hesmondhalgh have joined forces to perform Shakespeare’s 154 sonnets for Jermyn Street Theatre, a 70-seat studio in London’s West End.

The Sonnet Project launched on the theatre’s social media channels on 21 March, when Hannah Morrish performed Sonnet 1. One sonnet has appeared every day since then, with the cycle due to complete with Sonnet 154 in late August. David Suchet, star of Agatha Christie’s Poirot but also a veteran of numerous Royal Shakespeare Company productions, performed Sonnet 34 on Shakespeare’s birthday. Continue reading “News: stars come out to support the Jermyn Street Theatre”

Review: The Tempest, Jermyn Street Theatre

Michael Pennington and Kirsty Bushell shine in a clever take on the The Tempest at the Jermyn Street Theatre

“Thy food shall be fresh-brook mussels”

It is not one of my favourite Shakespeare plays and so I rarely seek it out these days, but the prospect of seeing actors of the calibre of Michael Pennington and Kirsty Bushell in the intimacy of the Jermyn Street Theatre got me along to The Tempest there. It also helped that it was directed by Tom Littler, whose inventive reworking of All’s Well That Ends Well last year was its own little piece of magic. 

Aging Prospero upwards a little has a distinct impact on the tenor of the play. From the opening scene where he wreaks stormy havoc with a touch of malevolence via a toy boat to the air of almost-relieved resignation that comes at the close, there’s a palpable sense of the prospect of vengeance having fired him on in later years yet Pennington balances brutality with benevolence throughout, suggesting perhaps it was closure rather than revenge that was actually his driving force. Continue reading “Review: The Tempest, Jermyn Street Theatre”

Review: Miss Littlewood, Swan Theatre

A hugely fascinating new musical from the RSC, Miss Littlewood impresses at the Swan Theatre – might we see it London before too long?

“I’ve come about the theatre”

The last musical to come out of the RSC is a little know thing that is still kicking around somewhere, Matilda I think it’s called… So Miss Littlewood might have a little expectation carrying on its shoulders, although it is clearly a completely different kettle of fish.

In the Swan Theatre, Sam Kenyon (book, music and lyrics) tells us the story of Joan Littlewood. Or rather, given the format of the show, hands the reins over to Joan to tell her story. Clare Burt stars as an older Littlewood who acts as a narrator, a maestro, as she directs six other performers, all of whom take turns in donning the blue cap to embody this most totemic figure of British theatre.  Continue reading “Review: Miss Littlewood, Swan Theatre”

Review: Sunny Afternoon, Harold Pinter Theatre

To the tune of ‘Waterloo Sunset’

“First on in Hampstead, now Harold Pinter, this is a musical
‘Bout how The Kinks did, become a huge band, back catalogue got full
So a show, it got wrote
Joe Penhall’s book and, Ray Davies’ music, tell us their ups and down
Brothers Ray and Dave and their friends Mick and Pete, oh
They really, really wrote some good music though, lots of it sounds the same

Stalls in the theatre, have regular seating, apart from front and rear
Where seats are nailed down, round cabaret tables, chairs that don’t move are weird

But the show, it is strong
Three hours fly by, telling the story, most entertainingly
John Dagleish is good as Ray, George Maguire’s Dave too
But really, really Ed Hall’s cast is all fine, Dominic Tighe is mineWent with my friend Chris, liked it but I wish, I could have brought my dad
Music is more of, his generation, would have made him feel glad
But I will, see him soon
And maybe I’ll take him, one day to this show, it’s bound to run and run

Sunny Afternoon’s fine.”

Running time: 2 hours 50 minutes (with interval)
Booking until 23rd May
Photo: Kevin Cummins
NB: in all seriousness it is most enjoyable, even for someone who still can only really recognise 4 songs by The Kinks even though this is the second time I’ve seen the show. The accapella rendition of ‘Days’ is a spellbinding moment (pictured below) and I suppose it would have been nice to have had a little more of that musical invention though I’m just being extremely picky now. The soundtrack has been recorded by the cast and is available to buy here, feel free to buy me a copy 😉

 
 
 

Review: Sunny Afternoon, Hampstead Theatre

“I am so lazy, I don’t want to wander, I stay at home at night”

I am the wrong age for a Kinks musical to make me particularly excited, nor were they really a part of my family’s soundtrack whilst growing up so there was little reason for me to get too excited about Sunny Afternoon at the Hampstead Theatre. Indeed, even my personal alert service notifying me that Dominic Tighe appears in a police uniform (albeit briefly) scarcely raised my attention which is most unlike me. But with the end of the run fast approaching, a rumoured transfer as yet unconfirmed and someone willing to queue, I found myself at the final show.

Where I enjoyed myself mostly. Aiming itself above the jukebox format but still coming across as a luxury version thereof, it is paper-thin stuff, clearly far too in reverence of its still-living protagonists (one imagines Joe Penhall writing the book with Ray Davies hovering over his shoulder). The focus is far too much on Ray rather than the band as a whole or even the excitement of 60s Britain and so one is left waiting for the songs, which are undoubtedly extremely well done. Miriam Buether enjoys the chance to reconfigure the auditorium once again with her design and Ed Hall keeps a pulsing energy about the piece although it would be nice to see a show like this that doesn’t force the jollity quite so much at the end… 

So whilst glad I caught it, my instinct that it was missable was on the nose. And for my money, ‘Waterloo Sunset’ is a Cathy Dennis song (and I had the cassingle to prove it).

Running time: 2 hours 45 minutes (with interval)
Booking until 24th May