Series 11 of Doctor Who comes to an end and it’s a big yes from me – a hugely successful refresh for this beloved series
“I have to lay down the rules if someone’s new”
From the opening episode, I knew that Series 11 of Doctor Who was going to do it for me. New head writer and executive producer Chris Chibnall’s reset was most obvious in the casting of Jodie Whittaker as the Thirteenth Doctor but it was his other changes – namely a real widening of the pool of writers and a pronounced shift in tone – that really defined the shape of this new Doctor Who.
For all its sci-fi nature, that shape was decidedly human. The tragic death of Sharon D Clarke’s Grace was a defining moment in that opening episode, providing the trigger for this TARDIS crew to come together. And rather beautifully, the series really allowed for a full exploration of everyone’s different grief at her passing, culminating in the brutal power of Ed Hime’s ninth episode It Takes You Away.
And pivoting away from the oft-times densely packed complexity of the show’s mythology, the storytelling pointed less at grand alien threats but rather to the foibles of human nature – the enemy within. The racism of Rosa, written by Malorie Blackman with Chibnall, Vinay Patel’s exploration of the British colonial legacy around Partition in Demons of the Punjab, this was science-fiction as its most powerful, commenting powerfully on contemporary society (and naturally provoking the kind of outrage you’d expect). Continue reading “TV Review: Doctor Who Series 11”
“How does this end Simon?”
In some ways, you can’t blame ’em for trying to replicate the extraordinary success of the first series of Doctor Foster, quality drama that fast became a rare appointment-to-view fixture with a rare return to weekly instalments. And given that writer Mike Bartlett is known for his prolific nature, that a second series quickly came into the offing was no great surprise.
But it can be hard to recapture the magic and though all of the key players have returned – most notably warring ex-couple Suranne Jones’ Gemma and Bertie Carvel’s Simon – this set of five episodes has really suffered from a lack of raison d’être. Waves of vicious revenge percolate throughout but with no discernible driving narrative beyond that, it proved far less engaging. Continue reading “TV Review: Doctor Foster Series 2”
“I ain’t on oith and I ain’t in Heaven, get me? I’m in de middel tryin’ to seperate em, takin all de woist punches from bot’ of ’em”
Fans of Bertie Carvel have certainly been rewarded with his recent burst of activity – he starred in Bakkhai at the Almeida, had a major role in BBC drama Doctor Foster and now returns to the theatre to lead this revival of Eugene O’Neill’s play The Hairy Ape. The play is described as a classic expressionist masterpiece and whilst that might be overstating things ever so slightly, it does give a useful pointer to the heightened theatricality of the drama and of Richard Jones’ production. My 4 star review for Cheap Theatre Tickets can be read here.
Running time: 95 minutes (without interval)
Photos: Manuel Harlan
Booking until 21st November
“I bet you’d rather be at Mamma Mia”
Sarah Daniels’ new play for the Arcola opens with a cracking sequence that pokes fun at stereotypical theatregoers and set the scene intriguingly for what is to come. There’s something wonderfully subversive about Julia’s stand-up routine, especially before its true purpose really manifests itself, the forthrightness with which she muses about female sexuality has a delicious edge (although I’ll never hear ‘snack box’ the same way again) and it is almost a shame that there isn’t more of this taboo-busting chat alongside the outrageous liberties she later takes in taking inspiration from her work and life to make people laugh.
For we soon find out that she is a therapist and we get to eavesdrop on two of her regular patients as they work through the issues plaguing them. Waitrose shopper Teresa is struggling with the realities of having adopted two troubled children, five star builder Dave is plagued with depression after the birth of his baby daughter, and even Julia herself is coming to terms with meeting the daughter she gave up for adoption long ago. As is often the way in plays such as these, the stories of these three are interlinked in ways they can’t even imagine and Daniels teases out the reveals with real skill, ensuring the level of Between Us never flags. Continue reading “Review: Between Us, Arcola”
“There is nothing either good or bad, but thinking makes it so”
The Young Vic continues to be allergic to the idea of people just using the main entrance into the auditorium to take their seats: people who have booked for Hamlet have been advised to turn up 30 minutes early in order to take in the ‘pre-show journey’. But whereas withGovernment Inspector and Beauty Queen of Leenane, it was just being guided a different way within the building, here we are guided out of the theatre and taken round the back entrance to wind our way through the corridors backstage past some rooms which have been dressed up with non-responsive cast members sitting around before reaching the seats, it adds very little to the experience (aside from getting us wet on the way there) and ultimately seems a pointless exercise. The most remarkable thing about this section was that the gym had a massive sign that talked about rules for ‘Excercise’: someone at the Young Vic needs to get their spell-checker switched on.
But to the play, labelled one of the theatrical events of the year as it features the return to the stage of Michael Sheen in what is Jerusalem director Ian Rickson’s Shakespearean debut. And as is often the case with such an oft-performed classic, an interpretation has been imposed upon the material to try and cast it in a different, and newly revelatory way. Once the seating area has been located, the uniformed orderlies, utilitarian grey carpet and circle of plastic chairs hint at what is to be revealed, as a ghostly prologue with Hamlet gazing on his father’s coffin before it is lowered into the ground, leads into the opening scene which takes place as if in a therapy session. For as it turns out, Elsinore is, I think, a mental asylum in the late 1970s and so the play takes on a new perspective on madness. I say new, I mean it borrows heavily from One Flew Over The Cuckoo’s Nest. Continue reading “Review: Hamlet, Young Vic”
Featuring 450 characters played by 27 actors with not a word spoken during its 100 minutes running time, The Hour We Knew Nothing Of Each Other is certainly an eyebrow-raiser and an experience, but is it really theatre? I’m still not sure. A Peter Handke play, although presented here by Meredith Oakes in a new translation which has caused a fair bit of mirth considering there’s no talking, so perhaps a new ‘interpretation’ might have been a better way of describing it?
In terms of what happens, well a lot passes by on stage but equally nothing actually happens. People walk, run, skip, jump, limp across the stage in various guises, some dressed as recognisable figures, most just regularly clad, and tiny little stories are played out during their journeys from one side of the stage to other. Life, death, tragedy, sex and lots of comedy are on display here and it is fitfully awe-inspiringly good, especially when there’s the stronger narrative arc that engages the attention, like the terrorist attack towards the end. Continue reading “Review: The Hour We Knew Nothing Of Each Other, National Theatre”