“Is he supposed to be nice?”
Just a quickie to cover the first episode of this new Jack Thorne drama on Channel 4, and I’ll review the series as a whole once all four episodes have aired. National Treasure takes its inspiration directly from Operation Yewtree and its revelations about the nefarious activities of veteran TV personages, to give us an exploration into how such a scandal could unfold, sweeping up everyone in its path and uncovering a painstakingly hidden past.
Robbie Coltrane takes the role of Paul Finchley, one half of a much-loved TV comedy duo, whose world is rocked by a historical accusation of rape. Placed under investigation by the police, his personal life is shaken, not least his marriage to Julie Walters and his shaky relationship with recovering addict daughter Andrea Riseborough. And once the news conveniently slips into the media, his professional life is also called into question as the number of accusations multiplies. Continue reading “TV Review: National Treasure, Episode 1”
“They’ve set up a new unit”
Series 1, and particularly episode 1, of Luther has to rank as one of my favourite bits of television in recent years, so it was great news to hear that a second season had been commissioned. But given that my main enjoyment came from the ladies of the show, it was perhaps unsurprising that my enjoyment didn’t quite reach the same level. Taking place months after Series 1 finished, rebel detective John Luther has now joined the Serious and Serial Crimes division after some time off following the shocking events of the season finale. There, he continues to deal with the worst of human nature and utilising his own inimitable approach to catching these criminals.
For our purposes here on a Ruth Wilson level, there’s no denying that the character of Alice really has run its natural course and so it feels like a bit of a cheat having her be the first face we see just to recap the events of the series 1 finale. She reappears a couple of times after that but not in any meaningful way for the main story, so it’s a bit of a letdown. And Saskia Reeves’ Rose is not given the farewell she deserves as Luther’s former boss which feels a real shame, the impact of his repeated actions on her life and career could have been something rather interesting to explore. Continue reading “DVD Review: Luther Series 2”
“There’s always going to be an Amala, or the little boy or the fourteen-year-old or the thirty-five-year-old or the elderly lady or the dying man…”
Though Stella Feehily’s Bang Bang Bang is set in the same part of the world as Lynn Nottage’s Ruined – the Democratic Republic of Congo – the focus of this play is less on the state of affairs in the civil war-torn country but rather delving behind the scenes of the charities, journalists and NGOs out there in Africa, looking at how it affects the lives of the humanitarian workers who go out there. Feehily did huge amounts of meticulous research for this play, interviewing a wide range of stakeholders from the international aid business.
As often happens in such cases, there is the slight sense that Feehily has tried to cram in as much of what she has uncovered into the play as issue follows issue and the shocking scene that opens the show is explained through flashbacks and its aftermath subsequently probed. Experienced Sadhbh and newbie Mathilde set out on a harrowing mission to investigate tales of war crimes and end up in differing situations: Sadhbh, already testing the boundaries of her relationship by returning here as her boyfriend back in London shell-shocked from his own experiences as an aid worker wants her to give it up, accepts an invitation to tea with the warlord himself and finds an opposing account of events, and Mathilde finds herself a distraction in the form of photographer Vin, but both women are never far from danger and their choices have massive implications in their perilous circumstances. Continue reading “Review: Bang Bang Bang, Royal Court”
“Why are you wearing a tutu?”
As part of the Underbelly Festival on the South Bank, Edward Hall’s all-male company Propeller have revisited and shrunk their production of Shakespeare’s A Midsummer Night’s Dream down into a 1 hour, family-friendly version called Pocket Dream. A company of six bring the customary Propeller rough-and-tumble physicality to the production which is matched by the approach to the text, which has been adapted and condensed by Roger Warren but remains utterly recognisable. Everything has been trimmed down, save the Rude Mechanicals’ play which is mostly all there, only Theseus and Hippolyta have been given the axe and even they make a delightful surprise appearance at the end of the show.
The men were all identically and androgynously dressed in white and a toy box placed centre-stage from which all the accoutrements to create the various characters were produced: pyjamas tops and nightdresses for the lovers, feathery, glittery cloaks, tutus and collars for the fairies and workmen outfits for the Mechanicals. Just two umpires’ chairs on the circular playing space were needed for them to create their magic. And magic it was, with frequently laugh-out-loud funny sections mixed in with poetic moments, demonstrating a deep understanding of how to make Shakespeare really sing and connect with an audience. Their anarchic spirit was still in evidence too with a few moments of meta-theatre sprinkled in too, the above-mentioned quote being the best, blink-and-miss-it instance of that. Continue reading “Review: Pocket Dream, Propeller at the Underbelly Festival”
“There are times when justice is too big a risk”
Anne Carson’s version of Elektra is the latest play to take up residence in the Maria studio upstairs at the Young Vic. Allegedly having written 123 plays, only 7 of Greek playwright Sophocles’ works still remain, yet they remain ever popular: soon to open at the National Theatre, Moira Buffini’s Welcome to Thebes also takes much from his writing. However, this Elektra is doing things a little differently: no press night, no previews, just opening to its audience, oh and all tickets are completely free (though advance booking is strongly recommended!)
Carrie Cracknell’s debut as Associate Director at the Young Vic is a joint effort with Headlong and so it should come as little surprise that it is an inventive fusion of movement, music and text, creating haunting dreamscapes and evocative imagery that really capture the overwhelming aura of grief permeating this play. The whole play is darkly lit with varying shades of gloom and this allows for some eerie dream sequences to be played out with masked dancers at the start, setting the tone for a haunting exploration of grief and what it will drive people to. Continue reading “Review: Elektra, Young Vic”
“I feel like my soul has been bathed in acid”
You know there is a problem when a phrase like the above resonates strongly with you during a play… After a successful take on events post-Macbeth in Dunsinane comes Dennis Kelly’s The Gods Weep which is very heavily inspired by Kurosawa’s film Ran, which was in turn was influenced by King Lear. Admittedly this was a first preview, but at close to four hours long, and full of chaotic fighting, much blood, dead cats and squirrels and an inordinate amount of swearing, this had the amazing effect of making me actually want to watch paint dry instead: it’s not only the gods who will be weeping by the end of this run.
Replacing the feudal kingdoms of Lear/Ran with its modern-day equivalent, a multi-national corporation, the CEO Colm decides that after a lifetime of building an empire through brutal and savage means, it is time to relinquish power to his two subordinates. However in doing so, he unleashes a bloody power struggle between the two rivals with truly devastating consequences and ramifications which force Colm to face up to a lifetime of questionable decisions. Continue reading “Review: The Gods Weep, RSC at Hampstead Theatre”