Series 11 of Doctor Who comes to an end and it’s a big yes from me – a hugely successful refresh for this beloved series
“I have to lay down the rules if someone’s new”
From the opening episode, I knew that Series 11 of Doctor Who was going to do it for me. New head writer and executive producer Chris Chibnall’s reset was most obvious in the casting of Jodie Whittaker as the Thirteenth Doctor but it was his other changes – namely a real widening of the pool of writers and a pronounced shift in tone – that really defined the shape of this new Doctor Who.
For all its sci-fi nature, that shape was decidedly human. The tragic death of Sharon D Clarke’s Grace was a defining moment in that opening episode, providing the trigger for this TARDIS crew to come together. And rather beautifully, the series really allowed for a full exploration of everyone’s different grief at her passing, culminating in the brutal power of Ed Hime’s ninth episode It Takes You Away.
And pivoting away from the oft-times densely packed complexity of the show’s mythology, the storytelling pointed less at grand alien threats but rather to the foibles of human nature – the enemy within. The racism of Rosa, written by Malorie Blackman with Chibnall, Vinay Patel’s exploration of the British colonial legacy around Partition in Demons of the Punjab, this was science-fiction as its most powerful, commenting powerfully on contemporary society (and naturally provoking the kind of outrage you’d expect). Continue reading “TV Review: Doctor Who Series 11”
“I’m afraid you’re not really the right sort of chap”
Laura Wade’s Posh took the Royal Court by storm in 2010 and then the West End in 2012 with a slightly amended version, each time slipping quite easily into the contemporary political narrative with its skewering of a fictionalised version of the Bullingdon Club, an elite Oxford student dining club that has boasted the likes of David Cameron, George Osborne and Boris Johnson in its ranks. Wade’s intimation is clear, that the reckless and thoughtless behaviour of these men as students is symptomatic of their charmed future political careers as a whole and enclosed in the claustrophobic dining room of a gastropub that they proceed to thoroughly trash, the play had a horrendously compelling energy to it.
Wade has adapted her own play here into The Riot Club and through the determined effort to make it work on screen, it has become quite the different beast. Personally, I wasn’t too keen on it, the changes detracting from the strengths of the story as I saw them, and the realities of making – and casting – a feature film have altered the whole underlying theme. A cast headed by model-handsome men (Sam Claflin, Douglas Booth, Sam Reid, Max Irons etc), most of whom get to ‘learn a lesson’ by the end, takes away from the vileness of their behaviour – it almost feels like director Lone Scherfig is letting them get away with it without ever really showing us the true ugliness of their political and personal prejudices.
Continue reading “DVD Review: The Riot Club”
“It’s not exactly Roman Holiday, is it?”
Victoria Wood’s That Day We Sang premiered at the Manchester International Festival in 2011 and it fair near captured my heart with its archetypal northern charm and its determination to find the special in the mundane. I wrote about the show back then but Sarah Frankcom’s production for the Royal Exchange features a reworked and recast version of this play with songs which has proven to be a canny choice indeed for the Manchester venue’s festive offering.
The show tells the story of how a group of Mancunian schoolchildren ended up performing with the Hallé Orchestra in 1929 on a Purcell recording and also the results of a get-together 40 years later for a Granada TV documentary. The two strands interweave and overlap as two of the choir engage in a putative romance after the reunion, the aspirations of their younger selves contrasted with the drabness of the older and the potential spark ignited after the long-awaited meeting. Continue reading “Review: That Day We Sang, Royal Exchange”
“The clock will tick away the hours one by one”
‘A French romance that just happens to be sung’ is the subtitle to Kneehigh’s adaptation of the 1964 film The Umbrellas of Cherbourg which has arrived at the Gielgud Theatre, following their hugely successful take on Brief Encounter a couple of years ago. The story is boy meets girl, they fall in love but he gets called to national service in Algeria, but she is…well, I can’t give it all away, but it is a nicely mature look at the ebb and flow of love and romance which rarely runs as smoothly as we would all like.
Perhaps predictably, the show is full of Kneehigh-isms, the tricks and stagecraft for which they have become so well-known, but perhaps with diminishing returns in this instance. We have finger-walking people, freaky puppet children, sailors carrying people around when they want to go somewhere, a man (badly) dragged up as the elderly aunt, a swish-looking video wall: all are professionally done, but hardly any of them feel genuinely part of the fabric of the show, an integral part of the story-telling and so consequently the feeling is often of ‘we know how to do it, so we will’. The video wall is really effective in the way it is employed but it is for the briefest of moments only and I couldn’t help wonder if the focus shouldn’t have been more on keeping the ticket prices down. Continue reading “Review: The Umbrellas of Cherbourg, Gielgud”