“Donna Noble has left the library. Donna Noble has been saved”
And here we are, my favourite series of Doctor Who. So much huge wonderfulness and even its less good moments are still more than halfway decent. Key to the series’ success is Catherine Tate’s Donna Noble – gobby and one-dimensional in her introductory episode the Christmas special The Runaway Bride, her character journey throughout this season is magisterially constructed, a true awakening of self (with thankfully no romantic inclinations towards our Time Lord) and one given unbearable poignancy due to its frustratingly tragic end.
It’s also one of the best constructed series in terms of its over-arching season arc, its warnings and clues layered meaningfully into several stories and building into a momentous and properly climactic finale, which lands just about the right level of grandiosity. There’s also the first companion-lite episode (the superbly creepy Midnight) to go with the Doctor-lite one (the achingly beautiful dystopian Turn Left); a typically brilliant Moffat double-header in Silence in the Library and Forest of the Dead with gorgeous work from Alex Kingston as the soon-to-be-hugely-significant River Song; and if the return of Rose undoes some of the emotional impact of the Series 2 finale, Billie Piper’s work is spikily powerful. These are episodes I can, and have, watched over and over again.
Continue reading “Countdown to new Who: Doctor Who Series 4”
“The problem with the young is not just that they think they’re right, but that they know they’re right”
A Daughter’s A Daughter, one of Agatha Christie’s lesser known and rarely performed plays , which was a very late addition to the programme at the Trafalgar Studios, running for just four weeks before The Caretaker takes over. It was written under the pseudonym Mary Westmacott, who was Christie’s alter ego for more romantic material, and is seen here for the first time in over 50 years in only its second ever large-scale staging.
It eschews the familiar thriller territory of Christie’s regular work for a more intimate drama, a tale of the relationship between a mother and daughter who allow bitterness, jealousy and resentment to challenge the bonds between them. Returning from 3 years in the army at the end of the Second World War, Sarah Prentice discovers a cuckoo in her family nest, her mother Ann is now engaged to a chap who is equally unfond of the new arrival in the life of his betrothed. In a battle of wills, Sarah’s behaviour then forces Ann into making the choice between her daughter and her fiancé: Sarah ‘wins’ but at a massive price, as we follow the pair for the next few years as they futilely search for happiness and comfort in men and booze whilst not letting go of the resentment and selfishness between them. Continue reading “Review: A Daughter’s A Daughter, Trafalgar Studios”