A cracking cast can’t quite make sense of a modern updating of The Country Wife at Chichester’s Minerva Theatre
“What is wit in a wife good for, but to make a man a cuckold?”
How many productions does it take for a playwright to have a moment? We could be on the cusp of a Wycherley wave, with the second production of The Country Wife to arrive this year (the first being at the Southwark Playhouse in April).
But though this Restoration writer is proving popular, directors seem unable not to tinker with his work – that production was set in the 1920s and Jonathan Munby here moves it even further to the present day, casting new light but also dimming its intent. Continue reading “Review: The Country Wife, Minerva”
“Anyone tells you you’re not a good mother, you can tell them to shove it up their arse”
Coming from the same creative team as the extraordinary Appropriate Adult, it is no surprise that the first episode of new BBC two-parter The Moorside was a superlative hour of TV, leaving me eagerly awaiting the second instalment next week (just like the good old days, none of your stripping a show across consecutive days here). And as they did by looking at the deeds of Fred and Rosemary West through the experience of the social worker drafted in to assist him, the 2008 case of missing Dewsbury schoolgirl Shannon Matthews is retold here largely through the eyes of Julie Bushby, a friend of Shannon’s mother, who was instrumental in leading the community effort to find the young girl.
Where Appropriate Adult excelled was in its first-rate casting, securing the services of Emily Watson, Dominic West and a truly fearsome Monica Dolan to lend the work real gravitas. And if The Moorside doesn’t necessarily have an Oscar nominee in its company, it has a no less sensational trio at its core (all with sterling theatrical credits too). Sheridan Smith is the highest profile as Julie Bushby but Gemma Whelan (Game of Thrones’ Yara Greyjoy) more than matches her with a frankly terrifying performance of blankness curdling into disturbing strangeness as Shannon’s mother Karen. And following on from her recent high profile turn in Sherlock, Siân Brooke also excels as her increasingly sceptical friend Natalie. Continue reading “TV Review: The Moorside Episode 1”
“I am yours. Do what you want with me”
It is clearly the moment for Thérèse Raquin– a stage adaptation in Bath (and touring to Malvern and Cambridge), the Finborough’s musical version transferring to the Park Theatre, and a film of the story also hitting our cinemas recently. Émile Zola’s 1867 novel heralded a new world of naturalism in literature in its focus on mood rather than character and has remained an enduring classic, hence this confluence of versions now and a cheeky trip to the penultimate show of the run at the gorgeous Theatre Royal Bath.
Reflecting Zola’s intent, Jonathan Munby’s direction is highly theatrical and brings a powerful lyricism to the stage, bringing in Ann Yee to provide a fluid movement style that is near-balletic and which captures the yearning spirit perfectly – in a world where so much is unsaid, body language becomes ever more eloquent. And Helen Edmundson’s version emphasises Thérèse’s elemental connection to the water and the fevered eroticism that takes her over, unutterably disrupting her world as sex, murder and self-destruction come a-knocking to liven up her dull life forcibly married to her cousin in the Parisian backstreets. Continue reading “Review: Thérèse Raquin, Theatre Royal Bath”