Episodes, in order of preference
World Enough and Time
The Doctor Falls
The Eaters of Light
Empress of Mars
The Pyramid at the End of the World
The Lie of the Land
Top 5 guest spots
1 David Suchet’s Landlord was as perfectly written a character as befits one of our more superior actors
2 Regular readers will know I’m a big fan of Kieran Bew and his astronaut in Oxygen was no exception
3 Nicholas Burns‘ malevolent Sutcliffe was a delightfully Dickensian villain
4 Another theatrical delight of mine is Anthony Calf, impressive as the pseudo-Victorian Godsacre
5 Rebecca Benson’s young Pict impressively led The Eaters of Light from the front, a perfect vessel for Rona Munro’s vision
Michelle Gomez’s Missy has been a brilliant breath of fresh air and whilst her decision to follow Moffat and Capaldi out the door is understandable, it isn’t any less disappointing. And perhaps the timey-wimeyness of the circumstances around her passing mean that maybe this isn’t the last we see of her…
Most wasted guest actor
I don’t what I expected from the reliably excellent Samantha Spiro in Doctor Who but I didn’t get it from her part in The Doctor Falls.
Gay agenda rating
With Bill onboard, A+!
“She’s like an emotional terrorist”
Truth be told I hadn’t intended to see Gloria, my own little act of protest at the Hampstead’s continuing gender imbalance – six shows straight on their main stage both written and directed by men. But the delights of An Octoroon introduced me to the writing of Branden Jacobs-Jenkins and he definitely feels like a playwright with a lot to say so I sucked it up and went to Swiss Cottage for a cheeky preview, ironically the location for the Women Centre Stage festival late last year.
Gloria sets out as a dark office comedy, shady and sharp as it navigates the ruthless ambition of a pool of young(ish) editorial assistants in the Manhattan offices of a national magazine. It’s a scathing satire of the journalism industry and the way it has evolved, or not as the case may be – time was that a foot on the bottom of the ladder meant you could reasonably expect to get to the top but times change, cubicle warfare has intensified, and in this uncertain modern world, you’ve gotta do what you’ve gotta do. Continue reading “Review: Gloria, Hampstead”
“Speak to me in your mother-tongue and I will let you go”
In a land where truth and reconciliation tried to salve the considerable wounds of Apartheid in a multi-ethnic society (with no less than eleven official languages), it is little wonder that race relations in contemporary South Africa remain complex and challenging. And it is this subject, and his own personal experiences thereof, that writer Mongiwekhaya has turned for his play I See You, a product of the Royal Court’s international new writing development and a co-production with the Market Theatre Johannesburg where it will play next.
I See You, or Ngiyakubona in Zulu, or Ek Sien Jou in Afrikaans, or Ndiyakubona in Xhosa, to give it its full title, follows the events of a traumatic Friday night in Johannesburg where the conflict is even more multi-faceted, refracted through generational tension as well as ethnic. Teenagers Ben and Skinn are hooking up at a party but their revels are interrupted by police sergeant Buthelezi, a man having a terrible night with his marriage collapsing around him and far from inclined to just let this case slide as he whisks Ben away to mete out some punishment. Continue reading “Review: I See You, Royal Court”
“You’re curious, that’s why you’re here”
The personal connections that one can easily build up in a city such as London are so wide-ranging that the riots of 2011 would most likely have affected us all in some particular way or other. For me, as a former resident of Hackney Downs, it was the sight of an innocuous convenience store being looted that really got me, it was a shop I’d passed every day from which I’d picked up many a bottle of Diet Coke or a lottery ticket and to see it being gutted felt very much not in tune with what Mark Duggan’s death should have stood for.
So I was fascinated to see that Alecky Blythe’s new play Little Revolution was focusing on this very shop and the community action that arose from its ransacking. Though 2011’s London Road saw her break through to mainstream success, Blythe has long been a proponent of verbatim theatre, by which she records interviews with real people at the heart of a certain issue and constructs a play out of their exact words – accents, inflections, verbal tics and all. Continue reading “Review: Little Revolution, Almeida”
Elevator Pitch is a brilliantly ingenious short which manages to pack in a huge amount into its couple of minutes, layer upon layer builds up as the fourth wall is continually smashed by an intern trying to make a pitch to a film producer. Highly recommended. Continue reading “Short Film Review #45”
A real work of art this. Johnny Daukes’ Wonder
has much of the multi-stranded, deeply emotional feel of one of my favourite films Lantana
and is just beautifully made. Set in London with the odd excursion to the picturesque Dorset coast, a set of disparate lives are shown to us – a couple about to separate, another one tired of their long relationship, a family grieving, a jealous lover wanting to trust his boyfriend. Daukes spares us too much dialogue and focuses instead on gorgeous shots and an evocative, self-penned score, making this a deserved success.
Continue reading “Short Film Review #44”