TV Review: Fearless, ITV

“I learned a long time ago not to trust what people tell me”

I did want to love Fearless, I really did. Any series with Helen McCrory in its leading role has to be worthy of consideration and ITV have been upping their drama game (qv Unforgotten) recently. But despite an intriguing opener, the six episodes of Fearless increasingly tested the patience as Patrick Harbinson’s script failed to deliver on its twistily complex promise, instead giving us a fairly run-of-the-mill thriller that ultimately proved less than thrilling.
 
With a playbook that threw out major themes with regularity – miscarriages of justice, the Syrian refugee crisis, institutional corruption, the war in Iraq, the ethics of the surveillance state, just to name a few – it was inevitable that some would fall by the wayside. But with the amount of personal backstory for McCrory’s Emma also shoehorned in there, the narrative was both painfully overstuffed and sadly inconsequential – it was increasingly hard to know what we were meant to care about.

Continue reading “TV Review: Fearless, ITV”

TV Review: Fearless Episode 1

“You let a terrorist’s wife live in your home and you set a murderer free”

Fearless is a new six-part drama on ITV and whilst some people might be excited by the fact that it is written by one of the writers of Homeland (Patrick Harbinson), all right-thinking people will of course be psyched that it is giving Helen McCrory a stonking leading role. She plays human rights lawyer Emma Banville who is utterly unafraid to butt heads with the world as she investigates miscarriages of justice.

Her latest case draws her into the orbit of Kevin Russell (definite fave Sam Swainsbury) whose conviction for murder looks to be a little iffy. With perhaps a little too much ease, she finds it unsafe and secures a retrial but looks set to have opened up quite the can of national security-flavoured worms as a serious-looking transatlantic phone call on a secure line seems to suggest that there is much more to this than meets the eye. Continue reading “TV Review: Fearless Episode 1”

Casting awareness for ITV’s Fearless

“There’s something else going on here”
 
I can’t call this a casting announcement as who knows when this news was actually revealed. But I’ve only just got around to looking at the cast for new ITV drama Fearless and oh lordy, it’s a good’un. Written by Homeland writer and executive producer Patrick Harbinson, Fearless has Helen McCrory in its lead role which of course makes it an instant winner, but by putting the likes of Sam Swainsbury, Jamie Bamber, David Mumeni and Sam Crane in the ensemble makes it a must-see – purely for the acting talent of course… đŸ˜‰
 
 

 

Album Review: Desperately Seeking Susan (London Cast)

“One way or another I’m gonna lose ya”

There’s something perverse about wanting to have been there for shows that have been deemed a flop, to see if it really was that bad (in Too Close To The Sun’s case, it really was, and worse) or more often than not, just discover that they’re not really working that well (c.f. any number of big title musicals of recent years). Arriving late 2007, Desperately Seeking Susan came at a time when I still only saw a couple of shows a month and so I didn’t get witness its full glory before it closed a scant month after opening.

Much like double denim, its twin hit of 80s classics was a lot to take: an adaptation of the 1985 film starring Rosanna Arquette and Madonna with a soundtrack of Blondie songs bolted on for good measure. By all accounts it was a troubled mixture, as evidenced by its early closure but listening to the soundtrack, there is at least the bonus of not having to figure out how the book (by Peter Michael Marino) fits in. What’s left is the jukebox selection of Debbie Harry’s band’s finest tracks (plus a few others), performed by a well-meaning cast. Continue reading “Album Review: Desperately Seeking Susan (London Cast)”

Review: The Motherf**ker in the Hat, National Theatre

“Look let’s just go there, to the pie place, and we’ll have, like, some pie, and we’ll just, like, talk, or not even talk, we’ll just eat pie first and be. And after that, we’ll talk.”

On the National Theatre’s website and nearby publicity, Stephen Adly Guirgis’ show is labelled The Motherf**ker with the Hat; inside the theatre, the accepted verbal version is The Mother with the Hat; I hear rumours that TfL have insisted on The Mother****** with the Hat for their posters (though I’ve yet to see one); and on Twitter, the official hashtag manages the neatly encapsulated #MoFoHat. But dammit, I’ve got to get it out just once at least, the title of this play is The Motherfucker with the Hat. And if that offends you, then seriously don’t book a ticket cos it’s just the tip of the iceberg, know whadda mean!

Premiered on Broadway in 2011 with a cast featuring Chris Rock and Bobby Cannavale, it’s a vibrant slice of Nuyorican life on the rough side and lays its card on the table in its opening seconds. Reformed drug dealer Jackie has just been released from Riker’s Island determined to turn over a new leaf but his beloved “Beautiful Boriqua Taino Mamacita Fuck Me Long Time Princess Fuckin’ Beauty Queen” Veronica is still using and just as they’re about to get on down under the covers, he spots another gentleman’s hat on the table and all hell breaks loose, drawing in Jackie’s cousin Julio, his sponsor Ralph and Ralph’s long-suffering wife Victoria.  Continue reading “Review: The Motherf**ker in the Hat, National Theatre”

Review: These Shining Lives, Park Theatre

“You’re acting like a guy”

In some ways, These Shining Lives seems like something of an odd choice to open the Park Theatre, a new London theatre in Finsbury Park, as what it seems to do is just add another solid drama to an overcrowded marketplace. That’s not to deny the quality of this piece of theatre but rather a hope that the programming of this venue is able to carve its own niche. Melanie Marnich’s play retreads familiar ground in telling the story of the women working in a 1920s Chicago factory who painted luminous radium paint onto watch dials, licking their brushes as they went, not realising that they are poisoning themselves.

It is certainly acted in a most engaging fashion. Charity Wakefield – not on our stages often enough – is radiant as Kate who becomes the reluctant leader of the cause as it slowly becomes clear what is going on, fragile but capable of bright emotion and fierce determination, well accompanied by the bright Alec Newman as her husband. Nathalie Carrington reveals herself as a luminous performer as the wise-cracking Pearl, Honeysuckle Weeks shines as the seductive Charlotte and Melanie Bond has a certain glow as Frances.


But radioactive puns aside, there’s little of substance to hang the acting on – even with just four key characters, two of the women are poorly characterised and Marnich adds little of dramatic interest to the story as a whole. This is a tale that is appallingly fascinating – management’s lack of concern about the health of its employees versus its profit margin remains as true as it ever was – but the play brings nothing new to it, the dialogue pedestrian, the structure uninspired. Loveday Ingram’s production is solid and simple but one can’t help but wish that the Park had gone for a bolder opening gambit. 

Running time: 90 minutes (without interval) 

Booking until 9th June

DVD Review: Bright Young Things

“Reader, be glad that you have nothing to do with this world. Its glamour is a delusion, its speed a snare, its music a scream of fear.”

Whilst recently sitting through the 1930s-set play I Am A Camera at the Southwark Playhouse, I had that frustrating sensation of being reminded of a film that I couldn’t quite recall, mainly in the carefree attitudes of its lead characters. A post-show drink or three finally got me there, the film was Bright Young Things and so I popped it onto my Lovefilm list as it had been quite a while since I last saw it and I was keen for a rewatch.

Based on Evelyn Waugh’s novel Vile Bodies which written in 1930, the film marked the screenwriting and directorial debut of a certain Stephen Fry. Positioned as a satire on this section of society, the plot circles around a fast-living decadent set of aristocrats and bohemians living the high life of cocaine and champagne-fuelled parties completely divorced from the realities and responsibilities of the real world around them. Would-be novelist Adam Fenwick-Symes and party girl fiancée Nina Blount are the central couple whose wedding is forever being put off as he keeps losing the money for it, but the Jack and Karen in their lives – the Hon Agatha Runcible and the fey Miles – are much more fun. Continue reading “DVD Review: Bright Young Things”

Review: King Lear, Donmar Warehouse

 “The weight of this sad time we must obey. Speak what we feel, not what we ought to say”
 
So what ought I say? Well, this is actually my first time seeing King Lear, it was never a play I studied at school, college or university and it was never been one that I’ve ever really wanted to see. Consequently, I’ve managed to avoid it and its story but when Sir Derek Jacobi was announced in the role in a Donmar Warehouse production directed once again by Michael Grandage, the lure of seeing this play, oft regarded as one of Shakespeare’s greatest works, finally proved too great and so I booked for the first of three previews and it was well I decided when I did as this has become one of the hot tickets of the winter.

It was actually a genuine pleasure seeing such a play without knowing the plot, I was gripped in a way I’ve rarely been whilst watching Shakespeare as an adult and this tale of murder, malice, love, families, avarice, maiming, madness, deceit, remorse and so much death surprised me time and time again with its examination of human frailties. For those of you (and I don’t imagine there are many) who don’t know the plot, Lear is the aged King of Britain who chooses to abdicate and divide his kingdom into three to share amongst his daughters. But when the youngest refuses to make a public declaration of love and the Earl of Kent defends her, both are banished from the kingdom, leaving the older two daughters to inherit with their husbands and thus the seeds of treachery and revenge are planted as their ambition grows, throwing Lear’s world into chaos and threatening his very sanity. Continue reading “Review: King Lear, Donmar Warehouse”

Review: Danton’s Death, National Theatre

“I’m sick of this rigmarole”

Danton’s Death, the 1835 play about the French Revolution by Georg Büchner, marks an impressive brace of debuts: Toby Stephens making his first bow on the stage here in the title role and Michael Grandage, Artistic Director of the Donmar, making his directorial debut here on the South Bank. Setting up in the Olivier theatre for the summer, it is part of the Travelex season so there’s been plenty of £10 seats available. This was the first preview that I saw, I acknowledge this freely but stand by everything I say here.

The story is set in 1794, a period between the first and the second terrors during the French Revolution. The Committee of Public Safety has been set up in the name of the revolutionary new order and is summarily executing people whether the accusations against them are true or not. Its creator, Georges Danton, has come to regret his part in the genesis of something responsible for the killings of so many people and has been shocked at the way in which the revolution has been increasingly radicalised. His former friend and colleague Robespierre is at the head of this new faction leading the way and when Danton makes a stand for what he sees as too much, the stage is set for an almighty power struggle between the two political rivals. Continue reading “Review: Danton’s Death, National Theatre”