“All we can do is what feels right”
There’s been something really quite moving about the second series of Humans, the Sam Vincent and Jonathan Brackley Channel 4 drama which has just wound to a close. In a world that started off examining the diametrically opposed differences between humans and synths (series 1 review), the stark black and white palette of the show has moved markedly to a murky shade of grey on both sides, complicating the actions of both parties to make us really appreciate the difficulties in deciding right and wrong.
So where the renegade synth Niska (a brilliant Emily Berrington) has decided to subject herself to human justice in order to try and find some common ground, newly awakened Hester goes fully rogue in defining humans as the absolute enemy, to brutal effect in a chilling performance from Sonya Cassidy. And questions of identity are no less complex on the human side, as the show toys with ideas of humans opting to live life as a synth and experimenting even further with technology. Continue reading “TV Review: Humans Series 2”
“It’s as if I have lived my whole life with the handbrake on”
On booking for The Red Barn, you’re advised that “due to the tense nature of the play, there will be no re-admittance”. The play – written by David Hare from the 1968 novel La Main by Georges Simenon – is also described as a psychological thriller on the website. It all adds up to a certain degree of expectation about what kind of show it is one is going to see and even though this isn’t my first time at the rodeo, I’ve seen a few shows and know the danger of anticipation, it is often hard not to carry the weight of those expectations with you as you take your seat.
Which is a roundabout way of saying that Robert Icke’s production of The Red Barn was not the play I thought it would be. And that my initial slightly cool reaction was as much a response to that as it was to the material itself. Set in the depths of a Connecticut winter, two couples make their way home from a party and when one of the men doesn’t make it back, it is the consequences of that that makes up the meat of the play. Specifically, it’s how the other man of the group reacts, both right then and from then on, that Simenon and Hare and Icke probe into. Continue reading “Review: The Red Barn, National”
“I’m halfway up a tree and completely in a jam.
I’m out here in a desert and nobody gives a damn”
After the abortive first run on Broadway, dubbed “a very expensive out-of-town try-out” by composer David Yazbek, a reconceived version of Women on the Verge of a Nervous Breakdown made its way to the West End in early 2015 but it only managed the same 4 months of a run there before closing in ignominy once again. Some things just aren’t meant to be it would seem.
I saw the show at the Playhouse and saw first-hand how ill-conceived this reconceived conception was and listening back to the score, you’re just reminded of how very random the whole thing is. At times, it seems on the verge of working – the manic patter of ‘Model Behavior’ is well delivered by Anna Skellern and Haydn Gwynne brings her customary class to Lucia and her lament to ageing in ‘Invisible’. Continue reading “CD Review: Women on the Verge of a Nervous Breakdown (2015 Original West End Cast Recording)”
“The car’s OK but where’s the wheels…?”
The Broadway production of Women on the Verge of a Nervous Breakdown was less than a stellar success so it is little surprise that it is a majorly reworked version of the show that has opened at the Playhouse Theatre four years later. But even after all the reconstruction and renovation that has been done to Jeffrey Lane’s book and David Yazbek’s score, it is hard to feel that director Bartlett Sher has really nailed it here either.
For something based on a Pedro Almodóvar film, there’s a shocking uncertainty of tone, or more accurately a lack of any real sense of tone at all. The story in set in late 80s Madrid but there’s little concession to either this particular decade or country (though there is bafflingly one incongruously Hispanic accent). One could argue that this is a wise decision but the issue lies in that no overarching conceit of any substance has replaced it. Continue reading “Review: Women on the Verge of a Nervous Breakdown, Playhouse”
“Is it possible that some people just aren’t supposed to be married”
Joseph Millson having a threesome and Jane Asher swearing are the main high points in Dan Mazer’s I Give It A Year, a film that could do with a whole lot more. The sheen on Nat and Josh’s whirlwind marriage has worn off a little, leaving them facing serious questions as they approach their one year anniversary. With former loves reappearing, new current attractions popping up and friends and family placing bets on whether they’ll make it to the landmark 12 months, the odds seem unlikely.
Which adds up to the film’s major problem, a distinct lack of any real dramatic imperative in hoping that Nat and Josh stay together. Rose Byrne does her best with a thanklessly constructed part who seems solely designed to frustrate Rafe Spall’s hangdog novelistic intentions but as the film opens with a fast-forward through the heady days of early romance, we’re not left with anything to convince us that we should be rooting for them to actually make it to a year, hell, even the end of the film! Continue reading “DVD Review: I Give It A Year”
“I may have killed the man I love”
Importing the two main leads and the director from the highly successful Australian production, Holding the Man makes its UK debut at the Trafalgar Studios. Written by Tommy Murphy but based on Tim Conigrave’s 1995 memoir of the same name, it is a love story charting the high and lows of the relationship between Tim and John Caleo, the captain of the football team at their high school no less, over 15 years. It has garnered much acclaim in its native country, but added to that with this transfer is the UK stage debut of comic genius Jane Turner, Kath out of Kath and Kim, as you will not have failed to notice if you’ve seen any of the advance publicity for this show!
I went to see this play without knowing anything about it or the circumstances in which it was written and so therefore, its impact on me was phenomenal. If you don’t know anything about it either, then I have to say I would recommend coming back here at a later date to read this review, but rest assured that this is probably the first stone-cold must-see play of the year. Continue reading “Review: Holding the Man, Trafalgar Studios”