Playwright and scriptwriter Ming Ho takes on 10 questions and reveals the unlikeliest of Josephs you ever did hear…!
I love a show that completely takes you by surprise and the aural adventure (plus snacks!) of Citizens of Nowhere? – a show commissioned and produced by Chinese Arts Now – did just that, lingering long in the mind. So I thought I’d invite writer Ming Ho to speak a little about that show, and much more besides:
“Getting to work with the lovely cast, Jennifer Lim, Siu Hun Li (who inspired the character of Jun in the play!), and Pik-Sen Lim, a rare East Asian face on TV when I was growing up.”
Where were you 10 years ago?
In the wilderness. Having started out as a script editor in TV drama and moved into scriptwriting, I’d had a solid few years working on long-running series (Eastenders, Casualty etc), but my mum had been developing symptoms of dementia for probably over a decade, and her needs became pressing; as an only child with no other immediate family, I found myself spending more and more time supporting her, shuttling back and forth from our family home to my flat in London, and eventually having to arrange residential care for her and sell the house. She’s been in care for 8 years now in two different homes and is at a very advanced stage. In 2013, I started a blog about our experiences, Dementia Just Ain’t Sexy, and have since become heavily involved in campaigning re dementia and carer issues, sitting on the Carers Advisory Panel of Dementia Carers Count and the Advisory Board of Raising Films.
I never consciously withdrew from TV writing, but fell out of circulation on the long-runners, and that year of 2009 also had major surgery that I’d been putting off for some time, due to mum’s condition. I kept up contact with the business through involvement with the Writers’ Guild, sitting on the TV Committee and Executive Council, and being Deputy Chair from 2012-14. It was a traumatic time, but arguably, with hindsight, it has given me pause for thought about the kind of work I really want to do. I’ve realised that autonomy and truthfulness of content are the drivers for me and have since been focusing on original work for stage, screen, and radio.
Continue reading “10 questions for 10 years – Ming Ho”
If female-fronted lawyer shows are your bag (and why wouldn’t they be!), the twin joys of The Split and The Good Fight have marvellous to behold
“Kill all the lawyers”
If I’m completely honest, Abi Morgan’s The Split did leave me a tad disappointed as it veered away from its legal beginnings to something considerably more soapy over its six episodes. The personal lives of the Defoe clan well and truly took over at the expense of any of the cases they were looking after and even if that family includes Nicola Walker, Annabel Scholey and Deborah Findlay, it’s still a bit of a shame that it ended up so schlocky. Continue reading “TV Review: The Split / The Good Fight”
All hail the return of Nicola Walker to our TV screens in new Abi Morgan drama The Split
“Divorce shouldn’t be easy”
Just a quickie to cover the first episode of this new legal drama which looks extremely promising, not least because of a swooningly wonderful cast. The aforementioned Nicola Walker, Annabel Scholey and Fiona Button as sisters, the ever-marvellous Deborah Findlay as their fearsome mother, people like Stephen Tompkinson and Meera Syal as clients, hunky Dutchmen like Barry Atsma looming on the sidelines, and the likes of Rudi Dharmalingam and Kobna Holdbrook-Smith also on the fringes.
Photograph: Mark Johnson/BBC/Sister Pictures
“I hate her being the mistress of a rich, old voluptuary”
I wasn’t intending to revisit Love In Idleness, newly transferred to the Apollo Theatre for a limited 50 performance run, as first time round, I wasn’t the biggest fan of the show at the Menier Chocolate Factory. I got a little caught up in the strange genesis of the show and the fact that I was half-remembering the plot of Less Than Kind in real time, which proved to be rather distracting. But there’s no denying the sheer star quality of Eve Best and who am I to turn down any chance to see her.
And I’m glad I returned as I found myself enjoying the play a lot more second time round. Taking it for what it is, which is a Rattigan curiosity rather than a revelatory (re)discovery, this light-hearted comedy is actually an interesting addition to the West End’s early summer. Its main joy remains the relaxed but realistically palpable chemistry between Best and Anthony Head, as widow Olivia and government minister Sir John Fletcher whose relationship comes under strain when her son Michael returns from four years evacuated to Canada. Continue reading “Re-review: Love in Idleness, Apollo”
“Some things are worth getting your heart broken for”
David Tennant’s opening season took the template of the opening series and ran with it, Russell T Davies’ vision finding its ideal mate in the Scottish actor. The typically adventurous sweep was tempered with a more tender vision, which considerably upped our emotional investment (previous companions returning, romantic connections whether past or present).
Bringing back the Cybermen was an interesting move, as was the introduction of the notion of parallel worlds (and how important that became…). And if the series-long motif of Torchwood didn’t really pay off, especially not when one considers what Torchwood the show became, the finale to Doomsday is pretty close to perfection. Continue reading “Countdown to new Who: Doctor Who Series 2”
“There’s no situation in the world that can’t be passed off with small-talk”
Overlord of all that is authentic in British theatre, Trevor Nunn is now further redefining authenticity by presenting us with a Terence Rattigan premiere, cobbled together from two pre-existing versions of the same play. Love in Idleness was originally known as Less Than Kind (which itself was seen at the Jermyn Street back in 2011) but was rewritten at the behest of its stars, a commercially minded decision which proved fatal to Rattigan’s reputation. And rather than choose one or the other, Nunn has fashioned something new (but assumably still authentic), named for the later version.
Sadly, that sense of compromise lingers strongly here. Fans of Rattigan were utterly spoiled by pitch-perfect interpretations of After the Dance and Flare Path (also by Nunn) at the beginning of this decade and again last year with an excoriating The Deep Blue Sea, so knowing the emotional force with which he can devastate us can only leave you disappointed at the tonally strange and inconsequential comedy of sorts with which we’re presented here. Only the long-awaited return of the marvellous Eve Best to the London stage imbues the evening with the quality it scarcely deserves. Continue reading “Review: Love in Idleness, Menier Chocolate Factory”
“I haven’t got long Mum, tell me something nice”
Whilst sitting through Paul Andrew Williams’ play Ticking, I was constantly reminded of a Madonna lyric, ‘time goes by, so slowly’. Though under 90 minutes in length and played out in real-time, Williams’ self-directed drama stretches time unforgivably in a way not seen since the Donmar’s interminable Moonlight – had it been easier to leave my seat without walking right across the stage in this bijou studio, I would have done so.
Simon is on death row in a Chinese prison, having been found guilty of murder, and has one last hour to spend with his parents. But he’s no tear-stained victim, he’s a thoroughly obnoxious rich kid and has opted to use this time to work through his long-held problems with his mother and particularly his father, shattering the illusions of the past but also any inkling whatsoever that this is a character we should care anything for (as of course we’re meant to do once the twist eventually unfolds). Continue reading “Review: Ticking, Trafalgar Studios 2”
“I will not allow a woman’s nature to be more unconstant than a man’s”
This was actually my first interaction with Persuasion, the novel has languished on my bookshelf for years and I’ve never seen an adaptation before, so it was an interesting experience to take the story in for the first time with this ITV adaptation starring Sally Hawkins and Rupert Penry-Jones. Simon Burke’s adaptation condenses Austen’s work right down to 90 minutes, which means a lot may well have been lost, but it also made a great introduction for a novice.
After an engagement with Captain Frederick Wentworth eight years ago which crumbled in the face of her family’s disapproval, Anne Elliot finds herself on the shelf at 27. When her father and sister’s lavish lifestyle requires a downsizing of their household, life seems set to change for good as their beloved Kellynch Hall has to be let out to tenants. But the world is a small place and the connections that emerge between her sister’s household where she goes to stay and the new tenants, the Crofts, ensure that the past is not so easily left behind. Continue reading “DVD Review: Persuasion (2007)”
At what point does a short film stop being a short film?
Hereafter comes in at just over half an hour so I’m not sure exactly where it stands but no matter what you want to call it, there is no denying it is a rather nifty bit of sci-fi. Set in a grim version of the near future, a figure called The Ghost is haunting the minds and actions of people, driving them to murder and suicide, and it is up to The Guardians to stop it if they can. Becoming a Guardian is a perilous business but resourceful orphan Katcher is shortlisted for the process, which turns out to be brutal beyond belief and made more dangerous by the ever-approaching Ghost. Continue reading “Short Film Review #32”
“Eminently practical and yet appropriate as always”
I’ve been experimenting with a few DVD reviews over the past weeks –theatrical ones, charity shop bargain ones and I’ve been longing to revisit film versions of several shows that I’ve seen recently. In some cases, I knew the show before seeing the film, but in others, my first contact was on celluloid (or whatever it is they use these days) and Sweeney Todd: The Demon Barber of Fleet Street was one of these. I actually saw it at the BFI when it was first released, with a Q+A with Tim Burton at the end of it (which was rather cringe-worthy with every question starting with ‘I love your films…’, ‘I love your work…’, ; ‘I love your socks…’). I came out of the film having rather loved it but it was only this autumn that I finally got round to seeing it on the stage at Chichester in a sensational production which has finally announced its transfer to the Adelphi from March next year.
As to be expected, it is an overtly Burton-esque piece of work with its desaturated palette allowing the red of the blood to pop even more than usual and the focus being on psychologically disturbed character. Frequent collaborators Johnny Depp and Helena Bonham-Carter take on the lead roles of Sweeney Todd and Mrs Lovett and though neither of their voices are particularly strong, especially when up against Sondheim’s challenging score, Burton manages to make that much less of an issue than one might have thought. There’s a brooding intensity to the whole affair, a sense of drained weariness which subsequently finds strength in the vocal frailties. Alan Rickman makes a perfect Judge Turpin, his sonorous malevolence a highlight of the film especially in the ‘Pretty Women’ duet; Timothy Spall’s Turpin makes a strong impact too as does Sacha Baron Cohen’s would-be manipulator Signor Pirelli. Continue reading “DVD Review: Sweeney Todd: The Demon Barber of Fleet Street”