Series 15 of Silent Witness ends up being a bit of a dud with both Harry and Leo getting close to the end of the road
“This is police business”
As has become increasingly obvious, criticising Silent Witness for not being a show about forensic pathology is a fruitless task, the blurring of the lines between the lab and fieldwork (aka stepping on the toes of police investigations) has long been a significant part of the show but once the deliberate sainted antagonism of Sam Ryan had gone, I felt that the writing had managed to balance it fairly well, finding a sweet spot where it rarely bothered me too much.
Series 15 throws all that in the bin though. There’s police interview scenes with a single police officer but both Harry and Leo in there. There’s Leo marching into crime scenes without calling the police, chasing suspects through the forest out back and then casually walking right back into the house with nary a piece of PPE on him. I don’t mean to take it all so seriously but it is just so frustrating to watch, especially coming from so sanctimonious a character as Leo – I think Janet has eventually dodged a bullet here. Continue reading “TV Review: Silent Witness Series 15”
Ayad Akhtar’s clever writing in The Invisible Hand almost makes me understand the financial market and confirms what we all know about bankers…
“You see we are prisoners of a corrupt country that is our own making. But don’t pretend you don’t participate. You do. Of course you do”
In the way of these things, the Kiln Theatre has pretty much fallen off my radar somehow, I can’t remember the last thing I saw there so I should be grateful that their recent production of The Invisible Hand was captured on film by Sky Arts. Ayad Akhtar’s play was first staged at the Tricycle (as was) in 2016 and Indhu Rubasingham’s return to it earlier this year marks its first revival.
Basically a locked room play, we follow the trials of US banker Nick Bright who has been kidnapped by a Pakistani militant group. Trouble is, his employers aren’t interested in paying his ransom and so Nick has to barter his way to potential freedom, by offering to tutor one of the group in the ways of the financial markets so that they can earn the equivalent amount. Continue reading “#AdventwithClowns Day 13 – The Invisible Hand (Kiln Theatre via Sky Arts)”
A feast of visiting drama, dance, comedy, family shows and music for all tastes and ages is heading to Chichester Festival Theatre for the Winter 2021/22 season.
We’re particularly proud to offer a new home-grown production: the revival of one of the best plays of modern times, John Patrick Shanley’s Pulitzer Award-winning Doubt: A Parable, directed by Lia Williams and starring Monica Dolan and Sam Spruell in their Chichester debuts. Continue reading “News: Chichester Festival Theatre announce Winter 2021/22 season”
Vivienne Acheampong, Adelayo Adedayo, Ray Emmet Brown, Ernest Kingsley Jnr, Tamara Lawrance, Rudolphe Mdlongwa, Mark Monero and Cecilia Noble have been cast in the UK premiere of Is God Is written by Aleshea Harris and directed by Royal Court Associate Director Ola Ince.
Is God Is by Aleshea Harris will run in the Royal Court Jerwood Theatre Downstairs from Friday 10 September 2021 – Saturday 23 October 2021 with press night on Thursday 16 September 2021, 7.30pm.
With set design by Chloe Lamford, costume design by Natalie Pryce, lighting design by Simisola Lucia Majekodumni, composition by Renell Shaw, sound design by Max Perryment, movement direction from Imogen Knight, choreography by Jordan ‘JFunk’ Franklin and special effects design by Susanna Peretz. The associate designer is Shankho Chaudhuri, the assistant director is Leian John-Baptiste, the dialect coach is Dawn-Elin Fraser and the fight director is Philip D’Orléans. Continue reading “Late summer casting news”
Series 1 of The Windsors proves that Hugh Skinner can do no wrong, nor Haydn Gwynne for that matter
“We’ve outgrown our usefulness like nipples on men”
Despite starring several of my theatrical faves, I’d never quite got around to watching The Windsors. But given that I’m off to see the stage show The Windsors: Endgame tomorrow, I thought I’d give Series 1 a whirl since it is on Netflix. And I have to say I absolutely frigging loved it.
George Jeffrie and Bert Tyler-Moore’s parody of the House of Windsor takes the form of a fast-moving soap opera, which means that the joke rate is phenomenal and as in the fashion of many a comedy show, if you’re not enjoying a particular turn, you don’t have to wait more than a few minutes before the next one appears. Continue reading “TV Review: The Windsors, Series 1”
Irvine Iqbal has launched a new project called Same Voices Unite, which aims to raise awareness of the impact of Covid-19 in India and to get the message through, he has helmed a star-filled video featuring West End performers as part of its main campaign.
The video will feature a performance of Dan Gillespie Sells and Tom Macrae’s ‘It Means Beautiful’, from West End musical Everybody’s Talking About Jamie, sung by a cast of more than 30 performers. Audiences of the video will be directed to the One Family charity donation page. Continue reading “It Means Beautiful, for India Covid Relief”
The third edition of Royal Court’s Living Newspaper moves online only, with some seriously fierce political writing this time around
“You want me stuffing my face in Pret A Manger so your city can feel real again”
The flexible and modular nature of the Royal Court’s Living Newspaper series means that it is sufficiently adaptable to cope with ever-changing lockdown restrictions. Previous editions had the option of being consumed either digitally or in-person at Sloane Square but this third edition is online only. #3
As a multi-authored, rapid-response foray into theatre-making, structured loosely around the section of a newspaper, it possesses an up-to-the-minute urgency that is rarely captured seen onstage. Pithy soundbites from Boris Johnson are torn apart (in the corking Crocus of Hope that forms the first page), the hollowness of Emily in Paris is exposed, and there’s variety in the vitriol too. Continue reading “Review: Royal Court’s Living Newspaper #3”
Living Newspaper #3 is written by Travis Alabanza, Gurpreet Kaur Bhatti, Nick Bruckman, Anupama Chandrasekhar, Zain Dada, Josh Elliott, Rabiah Hussain, Sami Ibrahim, Karen Laws, Eve Leigh, Chloë Moss, Anthony Neilson, Margaret Perry, and Rebecca Prichard.
The whole edition, which includes 15 filmed performances ranging from 2 – 15 minutes, is available to watch on the Living Newspaper Player until Sunday 11 April; so – much like an online paper – you can catch up on the news and supplements when it best suits you. Continue reading “News: writers and cast for Living Newspaper #3”
Whereas I was sad that the cast of The Crown had to regenerate at the end of Series 2, I’m kinda glad that Series 4 is the last we’ll see of this second generation
“Let’s just say, I can’t see it ending well for you”
I sampled the first few episodes of Series 4 of The Crown on release and whilst still appreciating much of the quality of this prestige drama, I couldn’t help but feel that it just isn’t quite up to par. An element of that is certainly personal, I just have zero desire to see depictions of Margaret Thatcher in anything. But there’s also something more nigglingly fundamental awry here, as we move to closer to the current day and increasingly feature people who are still alive.
Whether royalist or republican (do republicans watch The Crown…?), there’s something fascinating about the way in which Peter Morgan’s writing has challenged conventional notions of myth-building around the British Royal Family. What might previously have been called decorum has been jettisoned with little seeming sacrosanct now, particularly as we delve into the marriage of Charles and Diana and his enduring relationship with Camilla, plus going deeper into Thatcher’s psyche than one could ever care to. Continue reading “TV Review: The Crown, Series 4”
Good things come to those who wait! I hadn’t booked for Young Marx at the brand new Bridge Theatre for a couple of reasons. I was still hoping that I might get a response to my email to the PR and despite a cast that includes the splendid Nancy Carroll and the delicious Oliver Chris alongside lead Rory Kinnear, Richard Bean just really isn’t my cup of tea. ‘Don’t you love farce?’ Not much my dear…
So when an email popped into my inbox offering a sneak preview of the show and an opportunity to be the first ever audience in the theatre for a pre-preview test run of the new venue and its facilities, then I knew it was meant to be. Turns out I do love a farce, at £7.50 a ticket. Continue reading “Thoughts on a visit to the Bridge Theatre”