Spooks comes to an end with a shortened series 10 which, while not perfect, is effective in many ways
“Wait Harry, this can’t be the end”
And so after a decade, it comes to an end. Series 10 of Spooks, a shortened order of six episodes, sees the writers flip from the Lucas North show to the Harry Pearce show. This naturally makes more sense, with Harry being the head of Section D after all, but I’m not 100% sure that it completely works as it goes against the ensemble ethos of the show at its best.
The argument here is that Harry is the heart of the show and given the jib of his recent decision-making at this point, you have to wonder if this is all that wise. Given all that transpires, the final scene of the show hardly inspires confidence. That said, the memorial is a beautiful touch and Lara Pulver’s new chief Erin Watts proved a strong addition to Thames House.
A tough one this, Walker rises brilliantly to the challenge of essentially co-leading the series as a result of the Harry focus. But her treatment in the final moments of the series can’t help but feel a little unnecessary, essentially cheapened by her reduction to nothing but an adjunct to Harry. She only gets killed because of the personal connection rather than a heroic act of Queen and country she deserved (if she had to die at all). Continue reading “Lockdown TV Review: Spooks Series 10”
“We have to ask you to be gender-blind, colour-blind, age-blind, shape-blind, but in all other ways perceptive”
I actually saw a reading of Timberlake Wertenbaker’s new play Jefferson’s Garden in 2013 when it formed part of the extracurricular activities surrounding the run of Out of Joint’s Our Country’s Good at the St James and blogged quite extensively about it as it was a play that really struck me as one to look out for. Less than two years down the line, it has now received its first production at the hands of director Brigid Larmour and the Watford Palace Theatre where it runs until 21st February and doesn’t appear to have any life anticipated beyond that.
Which is a shame as I do think it is a fine piece of writing. Wertenbaker’s history play takes place during the American War of Independence but makes a sterling case for how the compromises in the creation of a society then have echoed throughout time to become the issues that still blight the USA today. She also plays with the way in which historical narratives are constructed (theatrical ones too) through the voice of a Chorus who stalk the action, identifying the difficulties of converting the dreams of idealism into the practicalities of the real world. Continue reading “Review: Jefferson’s Garden, Watford Palace Theatre”
“Is that blood on the ceiling?”
Like many things in this country, the National Health Service is something that we all love to complain about – long waiting lists, jam-packed A&E departments, staff without any time to pay enough attention. But it is also an institution that many of us have cause to give huge thanks for, so to see it gradually decimated from within by insidious Coalition politics is a bitter pill indeed to swallow, though it is one which we have taken without too much complaint. Stella Feehily’s This May Hurt A Bit marries her own recent experiences of our health service with an overtly political study of how it has gotten into its current state and how we have let this happen.
Perhaps unsurprisingly, the personal inflections to her writing produce the most effective part of the play. Her partner, who just happens to Max Stafford-Clarke who directs here, suffered a stroke a few years ago and from their interactions with the NHS, comes the story of the elderly Iris and her family who are sucked into the system when she falls ill with a suspected stroke. Stephanie Cole brings a hugely affecting dignity to the role, laced with a cutting sense of humour, as she tolerates the mayhem of a modern overstretched hospital ward and her two adult children (Brian Protheroe and Jane Wymark) bicker by her bedside about whether they should go private or not. Continue reading “Review: This May Hurt A Bit, St James Theatre”