If female-fronted lawyer shows are your bag (and why wouldn’t they be!), the twin joys of The Split and The Good Fight have marvellous to behold
“Kill all the lawyers”
If I’m completely honest, Abi Morgan’s The Split did leave me a tad disappointed as it veered away from its legal beginnings to something considerably more soapy over its six episodes. The personal lives of the Defoe clan well and truly took over at the expense of any of the cases they were looking after and even if that family includes Nicola Walker, Annabel Scholey and Deborah Findlay, it’s still a bit of a shame that it ended up so schlocky. Continue reading “TV Review: The Split / The Good Fight”
A contemporary adaptation of King Lear does little to prove its worth on BBC Two
“Some villain hath done me wrong”
A belated visit to this Bank Holiday TV offering and one I should probably have left alone. I’m not the biggest fan of King Lear, nor of Anthony Hopkins if I’m honest. But the notion of a contemporary adaptation and a deluxe level of supporting casting was enough of a draw for me to give it a try.
A co-production between the BBC and Amazon, this Lear has been adapted and directed by Richard Eyre. Trimmed down to a scant couple of hours and located in a contemporary England, it clearly has its eye on new audiences as much as your Shakespearean buff, and I’d be intrigued to know how the former reacted. Continue reading “TV Review: King Lear, BBC Two”
All hail the return of Nicola Walker to our TV screens in new Abi Morgan drama The Split
“Divorce shouldn’t be easy”
Just a quickie to cover the first episode of this new legal drama which looks extremely promising, not least because of a swooningly wonderful cast. The aforementioned Nicola Walker, Annabel Scholey and Fiona Button as sisters, the ever-marvellous Deborah Findlay as their fearsome mother, people like Stephen Tompkinson and Meera Syal as clients, hunky Dutchmen like Barry Atsma looming on the sidelines, and the likes of Rudi Dharmalingam and Kobna Holdbrook-Smith also on the fringes.
Photograph: Mark Johnson/BBC/Sister Pictures
“There’s more to this magical life than the love of the ladies”
It has been impossible to ignore the reception of Ivo van Hove’s Obsession, the slight sense of glee (from some) at being able to dole out a critical drubbing to the feted director. And so I went into the Barbican with a slight sense of defensiveness – I’m only human after all – albeit with the knowledge that no-one is infallible. And whilst Obsession isn’t necessarily van Hove at his best (and lord know we’ve been spoiled there), it still makes for a fascinating piece of theatre.
Based on Luchino Visconti’s 1943 film, adapted by Jan Peter Gerrits and crucially, having its English version written by Simon Stephens, this is an altogether more abstract and expressionist affair than perhaps some were expecting. A tale of sex and murder, whose muscularity and moodiness sprawls over the vast stage with stylish languour, there’s a brooding beauty to the intensity here, captured excellently by two striking lead performances from Jude Law and Halina Reijn. Continue reading “Review: Obsession, Barbican”
“Demons run when a good man goes to war”
And here it is, the point at which I stopped loving new Doctor Who, even in a series that has two of the best episodes it has done, and the first series that I haven’t ever rewatched in its entirety. I do enjoy Matt Smith’s Eleven immensely but the writing across this season – which was split into two for transmission – was just fatally erratic for me. Alongside the innovative work from Neil Gaiman in The Doctor’s Wife and Steve Thompson in The Girl Who Waited, two contrasting but superlative pieces of writing, stories such as The Curse of the Black Spot and Night Terrors took the show to a less sophisticated place – (or do I really mean that I started to feel that this version of Doctor Who wasn’t necessarily aimed at me…?)
Even the big finales (for there were two, one for each half) fell a little flat. The premonition that the Doctor would “fall so much further” than ever before in A Good Man Goes to War raised expectations only to be dashed by an overloaded episode with little emotional heft aside from the River Song reveal, and The Wedding of River Song suffered from the general over-use of the characters dying-but-not-really-dying trope (poor Arthur Darvill…). That said, the high points of the series are so very good – the striking US-set opening double-bill, the Doctor finally meeting the TARDIS, and brain-scratching sci-fi with real heart. Frustratingly inconsistent. Continue reading “Countdown to new Who: Doctor Who Series 6”
An amusing tidbit from Paul Chahidi’s Twitter takeover for the Donmar Warehouse, promoting his show Limehouse and the commitment its actors have to the art of the warm-up.
“I’ve never felt at home”
With Hedda Gabler, the ever prolific Ivo van Hove is making his National Theatre debut, so you can forgive him returning to a production which he has launched twice before – with the exceptional Dutch actress Halina Reijn in Amsterdam and with Elizabeth Marvel in New York. This time however, he’s working with a new version of Ibsen’s play by Patrick Marber and has the equally extraordinary talents of Ruth Wilson leading his company. And as with his revelatory A View From The Bridge, this is a contemporary reworking of a classic that will frustrate some with its froideur but left me gasping at its gut-wrenching rawness.
As ever, van Hove’s spatial intelligence lends itself to a re-appreciation of the theatrical space in which he’s working. He’s invited audiences onstage at the Barbican, and backstage too and here in the Lyttelton, the wings are closed off by Jan Versweyveld’s gallery-like white box and so characters make their entrances and exits through the same doors that we use – Judge Brack even arrives via the rear stalls at one point. And van Hove keeps things off-kilter onstage too, often pushing the action out to the far edges, focusing the eye on unexpected details like the eloquent sweep of Hedda’s back, the tapping foot of a nervy ever-watching Berthe. Continue reading “Review: Hedda Gabler, National”
“We’re not doing in fucking tights, with whatever those fucking old jock-strap things are called that they wear”
NOW – in the Wings on a World Stage is a behind-the-scenes look at the final instalment of the Bridge Project, a transatlantic theatrical enterprise that saw a partnership between the Old Vic, London, the Brooklyn Academy of Music, New York and Neal Street Production. Over each of its three years, a single Anglo-American company was brought together to perform classic plays, culminating in a production of Richard III that toured the world for over 200 years.
Led by Kevin Spacey’s Tricky Dicky (very much Frank Underwood in the making) and director Sam Mendes in their first collaboration since the Oscar winning American Beauty, NOW… is still very much a company piece, giving us a glimpse into life on the road not just for the actors but also for all the creatives, it’s fascinating to see the challenges that faced the associate director Bruce Guthrie and his stage management team as this substantial production moved from city to city. Continue reading “DVD Review: NOW – in the Wings on a World Stage”
“This after all has been a very careful election”
A fascinating experiment from James Graham and Josie Rourke, The Vote was a “play for theatre and television” which after two weeks of performances at the Donmar Warehouse – for which you had to enter a ballot for tickets – aired live on More4 at the very moment that it was set, the night of the UK general election. I wasn’t one of the lucky few in the ballot and am rarely inclined to dayseat (though I know several people who managed it) so I’ve only just got around to catching up with it on All4 (formerly 4OD) where it is on for another couple of weeks.
I’m glad I did get to see it as it is very funny and pulled together an extraordinary cast, the vast majority of whom spend mere moments onstage. Graham’s play focuses on the trials and tribulations of a South London polling station in the 90 minutes before voting closes and though there’s a farcical plot that holds the play together in the larger sense, the real joy comes in the microstories of the various voters who come in to exercise their democratic right as best they see fit. Drunks losing their polling cards, giddy lesbians brandishing selfie sticks, teenagers asking Siri who to vote for, all amusing slices of life are represented by a stellar cast who seem to be having just as much as the audience. Continue reading “TV Review: The Vote, Donmar Warehouse via All4”
“Come, I’ll make you some lamb cutlets”
A friend recommended Red Enters The Eye to me mainly because the too-long-absent-from-our-stages Siân Brooke was in it but she also knew it would be just my cup of tea, and she was right. Jane Rogers’ 2011 radio drama follows the story of Brooke’s idealistic Julie, a volunteer heading to a women’s refuge in Nigeria to teach sewing classes. From nervous beginnings as the strict manager Fran – Penny Downie donning an Aussie accent – outlines all the rules and regulations, Julie soon makes a huge success of the classes, revelling in their popularity, the way the women respond to her work and the potential opportunities that open up as they realise the marketability of these new-found skills.
But her untempered enthusiasm fails to take into account the gravity of the situation in which these women have found themselves, so that they were forced to seek refuge. Rogers carefully threads in a necessarily weighty level of detail about the various threats that women face in this part of the world, explaining also how the volatile socio-religious situation has a huge part to play in Nigeria. But it is never heavy-handed and instead emerges as a sensitive and thoughtful piece of drama which I’d heartily recommend. Brooke is excellent as the breathlessly naïve volunteer, Downie grimly pragmatic as Fran and there’s also great work from Adjoa Andoh as her partner and Demi Oyediran as Sarah, one of the women in the refuge.
Written by Alistair McGowan, Three Pieces in the Shape of a Pear
also sees him taking on the lead role of French composer Eric Satie. Probably best known for his Gymnopedies, Satie was actually one more innovative than one might have given him credit for, pushing creative boundaries and challenging the establishment. But he was an eccentric figure with it and McGowan has focused on the three most pivotal people in his life and how they were able to see through his peculiarities and peccadilloes to the man within, even if only for a brief while.
It’s an engaging, if somewhat slight, piece of writing, but one which is full of genuine affection and respect for its subject. From the seemingly ridiculous quirks – at one point, he will only eat purely white food – comes the beginnings of an artistic movement, from hopeless infatuation with a singer comes a fruitful creative partnership. McGowan bubbles gently as the composer and swirling around him Nathaniel Parker’s friendly rival Debussy, Imogen Stubbs’ Suzanne and Charlotte Page’s Paulette are all charming as the significant trio.
And last up was Rachel Joyce’s Feather
, recommended to me as Claire Price formed part of the voice cast. A delicately beautiful tale narrated by Maisie Cowell’s Fern, it’s an acutely observed child’s-eye view of the separation of a couple and the tug of war that ensures over their daughter. It’s a disarmingly effective technique of probing human behaviour as each parent starts to bring a new partner into their life whilst sussing out what is going on with their ex, all the while Fern finds herself in the middle, collecting enough feathers so that she can make the biggest wish in her life.
She believes in magic you see, and that feathers can grant you wishes, but Joyce’s drama is rooted entirely in the messiness of real life, the pain of broken homes and broken relationships and the difficulties in starting over again. It’s beautifully acted by Cowell, heart-breakingly so at times, and Claire Price and Jot Davies as the warring exes, trying not to manipulate their daughter ‘too’ much are both strong, along with Shaun Dooley as the kindly Finn, who offers hope to both mother and child.