Bodyguard reaches a thrilling climax that is sure to disappoint some but left me on the edge of my seat
“I wanted to know who did it, I don’t know who did it”
Except we do finally know who did it. Jed Mercurio’s Bodyguard – an unexpected massive hit and a reminder that the appointment-to-view model is far from over – reached its climax tonight in typically high-tension style, confounding expectations to the end and dashing the dreams of many a conspiracy theorist to boot. Seriously, so glad that Julia Montague remained dead (at least until a sequel is announced and we have to go through this whole farrago again).
And though it is bound to have its detractors, I have to say I found it all hugely entertaining. If it just wasn’t realistic enough for you, then WTF are you doing watching dramas? If you’re getting swept up in locations in this fictionalised version of London not being where they are in real life, turn the damn thing off! Its not for everyone, that’s absolutely fine, but you don’t have to drag everyone else down with your misery. Continue reading “TV Review: Bodyguard Series 1”
Jed Mercurio hits the mark once again with new drama Bodyguard, led by two excellent performances from Kelley Hawes and Richard Madden
“Looks like the Home Secretary couldn’t be in safer hands”
The weather taking a turn for the blessedly British feels like a most appropriate herald for the return of proper drama to our tellyboxes and first out of the gate for this year’s slate of autumn dramas is Jed Mercurio’s Bodyguard with a properly nail-biting opening 20 minutes which serve as a remarkable statement of intent for this series.
In an expertly tense sequence, Afghan vet turned special protection officer David Budd (Richard Madden) negotiates the peaceful surrender of a suicide bomber of a train in Euston. The perpetrator(s) (as it turns out) may be Islamists but its the gung-ho approach of the police that emerges as much as a threat to a peaceful resolution. Continue reading “TV Review: Bodyguard, BBC1”
“Are you one of those? They’re everywhere in Brighton aren’t they.
‘Yeah, not so many in Halifax though, cos of the weather’”
I really enjoyed the opening half of new BBC police drama Cuffs and so whacked up a review of those four episodes whilst they were still watchable on the iPlayer. The show has now finished its run, 8 episodes being the default setting for a ‘long’ series here in the UK, and whilst it may have lost a little of the fast-paced energy that characterised its arrival, its bevy of boisterous characters ensured I was fully engaged right through to the end of the last episode.
With such a large ensemble making up the South Sussex team, Cuffs did sometimes struggle in giving each of them a fair crack of the whip. For me, it was Amanda Abbington’s Jo who got the shortest end of the stick, too much of her screen-time, especially early on, being taken up with the fallout of her illicit affair instead of showing her as the more than capable police officer we finally saw in the latter episodes. Continue reading “TV Review: Cuffs Episodes 5-8”
“The piece is supposed to be a complete picture of who Teddy was, right?”
You can almost feel the checklist of issues ready to be ticked off as we go through Christopher Shinn’s gay student play Teddy Ferrara and its dramatis personae – the president of the Queer Students group, the campaigning journalist, the faux-liberal authority figure, the one in the wheelchair, the transgender one, the hot, maybe closeted straight guy… And sure enough, each issue gets its moment in the spotlight, the show being faithfully representational to the last.
But issues alone do not a good play make. And though Dominic Cooke’s production for the Donmar looks good and is powerfully acted, it never truly engages the emotions, it never converts those issues into believably human stories. Which is particularly pertinent as the main inspiration for Shinn was the real-life case of Taylor Clementi, a student who took his own life after his college roommate broadcast webcam footage of him kissing another man. Continue reading “Review: Teddy Ferrara, Donmar Warehouse”
“I am Muslim, but my humanness is shared with anyone and everyone. If we choose to love one special person, does it mean that they are the only person worth loving? ‘To you, your religion, to me, mine’. ‘There is no obligation in religion’ – straight from the Quran. We cannot force our religion upon others.”
For all the gnashing of teeth about how ‘national’ Rufus Norris’ newly announced debut season as AD at the NT is or isn’t, there’s actually something much more significant happening right now as part of Nicholas Hytner’s finale. The press attention may be on Tom Stoppard’s return to the stage but over in the Lyttelton, the first South Asian play to run at this South Bank venue is doing that most idealised of theatrical practices – reaching out and engaging with new audiences.
I saw a late preview of Shahid Nadeem’s Dara and I was blown away at how mixed a crowd I was taking my seat with – there’s undoubtedly a more sophisticated debate to be had about people wanting to see stories they can directly connect with rather than being more adventurous but still, it felt like a significant enough matter that I wanted to make mention of. And as critics will be seeing the show with a more than likely traditional press night audience, it isn’t something they’ll necessarily pick up on. Continue reading “Review: Dara, National Theatre”
“The world doesn’t work in our favour”
Rufus Norris is set to take over the artistic directorship of the National Theatre in April next year but makes an admirably bold move in Behind the Beautiful Forevers. Adapted by David Hare from the 2012 non-fiction work of the same name by Katherine Boo, who spent three years living, investigating and writing about life in the Indian slum of Annawadi which lies in the shadow of Mumbai airport, it’s sprawling and scrappy yet epic and enlightening as it elucidates something of what it means to be this far below the poverty line. It is rarely comfortable viewing but its unflinching and unsentimental approach feels essential.
Whether accurate or overemphasised, a strongly matriarchal societal structure emerges in this version of Annawadi as wives and mothers seize the initiative in the face of feckless husbands and sheer necessity. Which results in the pleasing preponderance of excellent female roles – Stephanie Street’s Sikh Asha is the fixer for the entire neighbourhood, putting work at the expense of even a special birthday party her kids have put on; Thusitha Jayasundera’s crippled Fatima is a cyclone of malevolent anger that dominates her household; and Meera Syal’s practical Zehrunisa looks set to secure her family’s future out of the slum with some canny deal-making. Continue reading “Review: Behind the Beautiful Forevers, National Theatre”