With the loss of its original core cast and the destabilising presence of Martine McCutcheon, Series 4 of Spooks struggles to find its feet
“You’re up against the British state…who do you think is going to win that particular battle?”
This season of Spooks struggles quite badly amidst all the upheaval of Series 3 in which in the entire original team departed Thames House. Tom’s identikit replacement Adam does well enough but somehow, something goes terribly wrong with the introduction of his wife and fellow spy Fiona (Olga Sosnovska). They sadly lack chemistry and their domestic drama just doesn’t translate well into the business of saving the country on a weekly basis.
The tone is set by the randomly chaotic energy of Martine McCutcheon’s guest spot in the opener two-parter and from then on, as we cover people smuggling, the rise of far right political movements, cultists and the ethics of releasing terrorist suspects, the series jerks along rather, Raza Jaffrey’s Danny-a-like isn’t given anywhere near enough to do and the snaffling of Miranda Raison’s Jo off the street is as bizarre an advert for recruitment as any.
It’s a pretty low-key series for Ruth – hints of her passion for Harry come through whether in romantic feeling or rebelling against him a bit. She comes into her own in the final episode with the revelation of a step-brother who killed himself but has never been mentioned before putting her in the line of fire but all in all she deserves better. Continue reading “Lockdown TV Review: Spooks Series 4”
On the two viewings I’ve managed so far, I’m pretty sure Mamma Mia! Here We Go Again is the epoch-defining film that we don’t deserve but which we sorely need
“When you’re gone
How can I even try to go on?”
I was lucky enough to see an early screening of Mamma Mia! Here We Go Again last week and I thought it was fricking fantastic. But as the occasion fuelled by an afternoon tea that was heavy on the bubbles and the raucous atmosphere of a stagey audience and not quite bold enough to stick by the courage of my convictions, I opted to wait until seeing the film a second time before officially declaring my opinion.
And I have to say I really do think this is a superb film. The sequel that no-one really knew they wanted, whipped together in under 12 months once the green light had been given, that somehow manages to do everything you expect it to, and but better, and infinitely more moving than it has any right to be. I knew I’d shed a tear or three of joy but there was more than one moment where I was just sobbing, so rich is the emotion here. And that’s only fitting considering the bittersweet melancholy that is ABBA’s true calling card, rather than the cheesiness they are famed for. Continue reading “Film Review: Mamma Mia! Here We Go Again (2018)”
“What can you say to a black man on the subject of race?”
The Bee Gees once sang ‘it’s only words’ and that was my abiding sentiment as I left the Hampstead Theatre after seeing David Mamet’s Race
. Circumstance conspired to prevent me from seeing this on the press night and I allowed myself to be convinced to try again to see it, but it was one of those instances where fate should have been allowed to play out. Even over its short running time, Race rarely feels like a piece of coherent drama spoken by fully-fleshed characters but rather a collection of ideas strung together and placed into mouthpieces.
Its subject is right there in the title, centred on the debate in a lawyer’s office about whether to take on a politically charged case of alleged rape involving a (presciently Strauss-Kahn-like) powerful man. The case is deemed problematic by the defendant being a black woman, the accused a white man, and it is further complicated by the inter-racial dynamics of this law firm. Throw in some gender politics and the rich/poor divide and the scene is set for some coruscating debate on some eternally pressing issues, but Mamet fudges it completely.
A pre-set defeatist tone about anything to do with race neuters much of the argument made within. And there is a lot of it right from the off – the playwright’s customary sharpness with his dialogue is present and expertly performed in Terry Johnson’s production – but a weariness soon sets in as fiery cynicism and manipulative self-interest means there’s less debate and more pronouncement, this is one iceberg with no hidden depths.
Clarke Peters and Jasper Britton as the lawyers neatly suggest a lengthy shared history despite the sketchy characterisation and Nina Toussaint-White works well as the enigmatic newcomer to the firm who, as is becoming a little too predictable with Mamet, has a game-changing secret up her sleeve. Daish’s accused rapist though never feels like a real person, no realism at all to his situation and so there’s just not enough power to underline the noise of this play which is ultimately all just confrontational bluster.
Running time: 80 minutes (with interval)
Booking until 29th June
Maintaining its recent history of strong female-centred drama, the Donmar’s latest production is A Streetcar Named Desire and the star name this time round is Rachel Weisz, although she is ably supported by some strong upcoming talent. Not being a fan of old films, I had no idea of the story and I think this added considerably to my enjoyment.
It tells the story of Blanche DuBois, a figure with a tragic past, who turns up unannounced at her sister Stella’s apartment in 1940s New Orleans. The apartment is very small but Blanche’s personality is most certainly not, and so the pressures on Stella and her husband Stanley Kowalski build up, as they struggle to wade through Blanche’s smokescreens and ascertain the real reasons for the unexpected visit. Continue reading “Review: A Streetcar Named Desire, Donmar”