Marking the month in which he would have turned 90, the Guardian delves into the Harold Pinter chapter of Tristram Kenton’s photo archive:
Photos: Tristram Kenton
Series 3 of The Crown sees new actors in across the board but Olivia Colman is sadly no Claire Foy. Helena Bonham Carters rock though
“Sometimes duty requires one to put personal feelings…
Doing little to dispel rumours that she isn’t a Time Lord, The Crown takes its cues from Doctor Who as Series 3 sees the Queen regenerate from Claire Foy to Olivia Colman. And not just that, the whole cast of main players has been replaced as this new company will take us through the next couple of series. It’s a clever move, considering the spain of history that the show takes but it is also a little sad to lose such excellent performances as Vanessa Kirby’s Princess Margaret, Victoria Hamilton’s Queen Mum, Alex Jennings and Lia Williams as Edward and Wallis and of course, Foy’s exceptional work.
Series 3 then, takes us from 1964 to 1977, featuring such notable events as the Aberfan tragedy, the moon landing and the arrival of Camilla in Charles’ life. And with its many millions and pick of the white acting talent in this country, it remains eminently watchable. That said, something has shifted for me and it just doesn’t feel as effective as the first two seasons. A large element of this is the way series creator and main writer Peter Morgan has structured the show, choosing to maintain a massive ensemble of recurring characters but keeping the focus, and turnover, of episodes relentlessly tight. Continue reading “TV Review: The Crown Series 3”
The Crown returns with Olivia Colman and Tobias Menzies at the helm, and Helena Bonham Carter stealing the show
“Everyone at the Post Office is delighted with the new profile”
Gotta get those hits…who knows how far behind I am, given I’m 9 hours ahead of the UK at the moment, but I thought I’d jot down my initial thoughts on the first three episodes of series 3 of The Crown (all written by Peter Morgan and directed by Benjamin Caron), as Netflix kindly offered them up as holiday entertainment. (And since I’m away, I’ve been a little insulated from all the Prince Andrew drama, which from over here almost feels like a random bit of guerilla marketing).
- I wonder if I have a little hangover from just how good Claire Foy was, but I’m 100% feeling Olivia Colman in the role yet. She doesn’t seem quite as subsumed into the character, in the way that Foy’s every minutely detailed movement seemed to be. That said, there’s some scorching moments when Jason Watkins’ Harold Wilson dares to suggest her response to the Aberfan tragedy is lacking.
- The excellent Tobias Menzies hasn’t really had enough screen time yet to have his Prince Philip make an impact, though I’ve every faith.
- The casting of Helena Bonham Carter as Princess Margaret is inspired, the extravagance of the character is perfectly suited to her but she’s bringing a real depth at the same time.
- And I have to say I miss Matthew Goode’s hugely erotic insouciance as Antony Armstrong-Jones, Ben Daniels’ much more wearied take hasn’t quite ticked my boxes yet.
Elsewhere, the headlong rush through the years means that we’re doomed to the smallest contributions from some excellent actors – Samuel West’s Anthony Blunt and Angus Wright’s MI5 bod were gone too soon, though I live in hope of more from Penny Downie’s Duchess of Gloucester, Aden Gillett as Richard Crossman and Sinéad Matthews as Marcia Williams (seriously, her accent is a thing of pure beauty).
And given the budget is allegedly in the many millions, it certainly looks a treat once again. From glistening palatial lushness to agonisingly destroyed villages, these are fully realised worlds no matter how short a space of time we end up spending in them. Caron’s direction also makes room for a more uncomplicated cinematic as well though, choosing iconic visual to close out each episode – the regal silhouette, juxtapositions of Margarets old and new, the children playing. This is a Crown that has lost none of its lustre.
Photo: Sophie Mutevelian
Hugh Grant delivers a career best performance in the hugely enjoyable A Very English Scandal. Just don’t mention your National Insurance card.
“Tell him not to talk. And not to write to my mother describing acts of anal sex under any circumstances whatsoever”
I don’t think I’ve ever been chilled quite so much by the end credits of anything like A Very English Scandal. You know, that bit when you find out what happened next to the people who you’ve just been watching. It helps of course that I knew nothing about the 1970s Jeremy Thorpe affair on which it was based but still, never have 11 dogs and a missing NI card seemed so ominous.
Written by Russell T Davies, adapted from John Preston’s book, and directed by Stephen Frears, A Very English Scandal is a complete breath of fresh air. Perhaps surprisingly for a true-life tale of sex, politics and attempted murder, it has a quirky, almost jolly tone that is hugely enjoyable, deftly comic as it negotiates the would-be Machiavellian moves of a politician desperate to save his skin. Continue reading “TV Review: A Very English Scandal”
“The objective of this session is not to conduct a show trial. We want to learn some lessons.”
There’s a rather lazy trope around ‘unlikely subjects’ for a musical which accompany any show that deviates from the apparent norm. Yet given that the Best New Musical Olivier award winners over the past few decades have covered Argentinian politics, Scouse twins, confused animals, missionaries in Africa and post-Impressionist painters, I’m not entirely sure what counts for normal here!
The latest show to use musical theatre to tackle an ‘unexpected’ topic is Committee… (A New Musical), written by Hadley Fraser and Josie Rourke with music by Tom Deering. To take its full name, The Public Administration and Constitutional Affairs Committee Takes Oral Evidence on Whitehall’s Relationship with Kids Company, it uses Parliamentary transcripts to interrogate the public inquiry into the 2015 collapse of the children’s charity along with the millions of taxpayer money it had been given. Continue reading “Review: Committee… (A New Musical), Donmar Warehouse”
“I feel so absolutely stumped on the floor”
Proving that not even Kenneth Branagh is infallible when it comes to Shakespearean adaptations, this musical version of Love’s Labour’s Lost sees him really come a cropper. Relocating the story to 1939 on the eve of the Second World War and swapping out three-quarters of Shakespeare’s text for a handful of Cole Porter songs to evoke the feel of a classic Golden Age musical, it is a curiously insubstantial enterprise and at its worst, somewhat smug.
It doesn’t help that the play itself ain’t a classic, as evidenced by the rarity with which it is produced but still, the approach here just doesn’t work. There’s a game cast of actors who are clearly up for it but their every weakness in singing and dancing is left exposed, there’s a paucity of triple threats here which just leaves you wondering why bother? And when you see the amazing moves of Adrian Lester or the sweet tones of Alessandro Nivola’s voice, you get hints of what might have been. Continue reading “DVD Review: Love’s Labour’s Lost (2000)”
“There was a motivation…”
This is a curious thing – a drama-documentary of legendary mystery writer Agatha Christie which utilises a double flashback structure to form a kind of biopic of her life, but one with an additional focus on her mysterious disappearance over several days after a particularly traumatic, though unexplained, experience. Anna Massey plays Christie late in life, at a party celebrating the 10th anniversary of The Mousetrap’s West End run, where she fields questions from journalists about her life, the answers to which are played out in flashback. Olivia Williams takes on the younger role who is meeting with a psychiatrist to try and explain her experiences, which are also replayed to us, through the delicate probing of her psyche.
It is all elegantly done in this BBC adaptation, written and directed by Richard Curson Smith, covering the key points of her life – a happy childhood devastated by the loss of her father, the freedom of becoming a volunteer nurse and then pharmacist during the Great War, the beginnings of her career as a writer – but with little real insight or inspiration in what it is saying. The scenes around her disappearance have more meat to them but again fail to really click as the build-up to the grand reveal of what caused it falls rather flat in the final analysis. The split narrative adds nothing and instead subtract substantially from the pace of the film, continually frustrating as we switch fruitlessly between the two. Continue reading “DVD Review: Agatha Christie – A Life In Pictures”
“I’m so sick of this acting thing, it’s just not working out”
If Woody Allen’s Match Point had been set in the Hamptons as it was originally meant to be, I think I would really like this film but as it is, its relocation to London proves to be a constant distraction as this glossily cinematic version of my hometown is often ludicrous. Yes it is fiction and yes it is set in the world of the idly uber-rich with all their casual trips to Ralph Lauren and chauffeured cars but as with James Bond surfing down the escalators on the tube in Skyfall it’s the little things that draw the attention.
From the unrelenting RP accents to scarcely believable dialogue in the “London Police”, the revelation that being “born in Belgravia” is the key to a lifetime of cultural invitations and the insistence on only showing postcard-pretty shots of London, Match Point has little anchoring in the real world and especially not in the city where it is now set. Putting aside the unlikelihood of shop workers being able to afford cabs home everyday and even worse, neighbours actually talking to each other in a friendly manner, it’s all just so superficial. Continue reading “DVD Review: Match Point”
“How do you know you are God?”
‘Simple. When I pray to Him, I find I am talking to myself.’”
When a revival of a play is prefaced by “rarely-seen”, it’s hard not to assume that there’s often good reason for that and so it felt with Peter Barnes’ The Ruling Class. As a piece of drama, it feels dated and heavy handed, its formerly satirical edges altogether too manic and blunted. But as a piece of theatre, it has a peach of a leading role for which Jamie Lloyd has renewed his Trafalgar Transformed relationship with James McAvoy, who delivers it with an often breathtaking stage presence.
His 14th Earl of Gurney is a paranoid schizophrenic aristo called Jack who thinks he is Jesus and inherits the family pile after his father’s suicide, much to the consternation of his relatives. But even as they plot with a psychiatrist to get him shut away, Jack finds his way to (relative) sanity and locates a new target for his considerable energies – the House of Lords. That it is the aristocracy bearing the brunt of much of Barnes’ bite makes it clearer to see why the play has languished rather, its class-based pointedness showing its age. Continue reading “Review: The Ruling Class, Trafalgar Studios”
“Laws are like sausages, it’s better not to see them being made”
‘Released after fifteen years in prison, trapped in a bureaucratic maze, petty criminal Wilhelm Voigt wanders 1910 Berlin in desperate, hazardous pursuit of identity papers. Luck changes when he picks up an abandoned military uniform in a fancy-dress shop and finds the city ready to obey his every command. At the head of six soldiers, he marches to the Mayor’s office, cites corruption and confiscates the treasury with ease. But still what he craves is official recognition that he exists.’
It is probably cheating to use the official synopsis of a play wholesale like this but to be honest, I couldn’t care less after suffering the bloated self-satisfaction of The Captain of Köpenick at the National Theatre. An adaptation by Ron Hutchinson of a 1930s German satire by Carl Zuckmayer, it is a heavy-handed, ploddingly-laboured, fatally-misjudged confection which throws everything plus the kitchen sink into the Olivier but for shockingly low returns.
Running time: 2 hours 30 minutes (with interval)
Booking until 4th April