I’ve loved these deep dives into Tristram Kenton’s photo archive on the Guardian and with this selection from the Royal Court, there’s a lovely reminder of so many great productions (plus some that got away):
Photos: Tristram Kenton
“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”
“I’ve seen many things, my friend. But you’re right. Nothing’s quite as wonderful as the things you see”
So as David Tennant’s Ten regenerates into Matt Smith’s Eleven, Doctor Who also changed showrunner/lead writer/executive producer/oddjob man as Steven Moffat took over the reins from Russell T Davies. The pressure was on both to deliver – the relatively unknown Smith had low expectations, Moffat had sky-high ones due to his much-garlanded writing – and I don’t think you can argue that they didn’t. Smith revealed an impossibly ancient soul to his youthful frame with a Doctor unafraid to be as angrily dark as hyper-actively quirky. And Moffat constructed a complex series, introducing the depths of new companion Amy Pond slowly, and building to a multi-stranded timey-wimey finale that makes the head hurt just to think about it.
Elsewhere, the overused Daleks returned in multicoloured format, the Weeping Angels were much more successfully reprised in a stonking double-header, the Silurians also came back, and Arthur Darvill’s Rory grew in stature to become an effective second companion as opposed to a third wheel. Oh, and Helen McCrory stole the show, but then you knew I’d say that didn’t you 😉 Continue reading “Countdown to new Who: Doctor Who Series 5”
“Of course I have disposable income, I rent in Zone 4”
It’s black and white – no means no. That should be enough right? Except all too often, sadly it isn’t, and the many different ways in which this is true form the bedrock of Consent, Nina Raine’s new play for the National Theatre, co-produced with Out of Joint. From the multitude of ways in which consent can be exploited by the legal profession in the public sphere, to the brutal, personal intimacy of how it impacts on a disintegrating marriage, Raine plays interestingly and intelligently with shades of grey.
Barristers Ed and Tim are on opposing sides of a rape case and there’s little love lost between them personally either, as the perennially single Tim is a long-term friend of his wife Kitty, who is trying to set him up with another pal, actress Zara (played by the wonderful Daisy Haggard). And as Ed and Tim do battle around the finer points of Gayle’s case – she alleges she was raped on the day of her sister’s funeral – with their focus on legally outmanoeuvring the other rather than on the victim, a twist that puts all their private lives under the microscope shifts their perspective entirely. Continue reading “Review: Consent, National”
Mountains of info was released by the National Theatre about their plans for 2017-18 at this morning’s press conference, so much that I’m still digesting the half of it. Particular stand-outs on the first sift though, are
- Ivo van Hove’s return (after his Hedda Gabler) with a world premiere adaptation of Network, with no less than Heisenberg himself, Bryan Cranston making his UK stage debut
- The cast of Nina Raine’s Consent including Priyanga Burford, Pip Carter, Ben Chaplin, Heather Craney, Daisy Haggard, Adam James and Anna Maxwell Martin.
- The glorious Amadeus returning in the new year, Michael Longhurst’s stellar production wisely keeping its two leads of Lucian Msamati and Adam Gillen intact
- The Headlong co-production of DC Moore’s Common will see Anne-Marie Duff return to the South Bank along with Trevor Fox.
- And Duff is clearly in for the long haul, as she’ll also appear in Macbeth with Rory Kinnear, a taster of which we saw at the Shakespeare Live event
- Cast and creatives for Yaël Farber’s Salomé have been announced too. It is designed by Susan Hilferty with lighting design by Tim Lutkin, music and sound by Adam Cork, movement direction by Ami Shulman, fight direction by Kate Waters and dramaturgy by Drew Lichtenberg. Cast includes Philip Arditti, Paul Chahidi, Ramzi Choukair, Uriel Emil, Olwen Fouéré, Roseanna Frascona, Aidan Kelly, Yasmin Levy, Theo T J Lowe, Isabella Niloufar, Lubana al Quntar, Raad Rawi and Stanley Townsend.More, much more, information after the jump.
Continue reading “News: so much goodness at the National Theatre 2017-18”
“If we drill down into the numbers, you’ve got a solid popularity arc here”
On the seventh day of Christmas, Black Mirror gave to me…a Hollywood makeover courtesy of Netflix
In what could be seen as a rather ironic move, Black Mirror found itself the subject of a bidding war, the result of which was its third series of 12 episodes, later split into 2 series of 6, was commissioned by Netflix and shown exclusively there, Channel 4 losing out and protesting about such behaviour until they did the exact same thing to the BBC with the Great British Bake-Off that is…
There’s no defined order to the six episodes, that’s the nature of an anthology series, but there’s no mistaking the order Netflix want you to watch them in, leading with Nosedive, the episode featuring a Hollywood star in Bryce Dallas Howard. Directed by Joe Wright, it also deviates a little from standard practice by having a teleplay written by Michael Schur and Rashida Jones from an idea by Charlie Brooker, rather than Brooker himself like the majority of the other episodes. Continue reading “12 Days of Christmas – Black Mirror 3:1”
Best Supporting Actress in a Play
Daisy Haggard, You For Me For You
There’s no way to describe Haggard’s performance that could do justice to just how accomplished it is. Ostensibly just gibberish, the precise nature of the gobbledygook becomes apparent as her speech slowly modulates into increasingly recognisable English. And all the while as she’s speaking what is essentially another language, she never forgets to extract every exquisite comic detail – just brilliant.
Honourable mention: T’Nia Miller, Eclipsed
As with Wright for Best Actress, it’s a tad invidious to separate out the ensemble of what was my favourite play of the year but the extra dimension that she brought to the show, adding the thoughtful complexity of class division to the mix was an absolute highlight.
Priyanga Burford, The Effect
Estella Daniels, Octagon
Rosalind Eleazor, Plaques and Tangles
Sally Rogers, Hangmen
Adjoa Andoh, A Wolf in Snakeskin Shoes; Zawe Ashton, Splendour; Hélène Devos, Glazen Speelgoed; Ellie Piercey, As You Like It (Globe)
Best Supporting Actress in a Musical
Emma Williams, Mrs Henderson Presents
An actress who deserves to be much better known than she currently is, her latest superlative turn in a British musical might just be the one to push her through to the wider public consciousness, as deservedly so. At one point, a single sustained note from her brought tears to my eyes in seconds.
Honourable mention: Amy Lennox, Kinky Boots
This was probably the closest run of these choices as I loved Lennox’s haplessly quirky turn as Lauren is the very definition of a scene-stealer, none more so than in the glorious ‘The History of Wrong Guys’.
Anita Dobson, Follies
Anna Francolini, wonder.land
Lauren Samuels, Bend It Like Beckham
Lorna Want, Beautiful – The Carole King Musical
Liza Goddard, The Smallest Show on Earth; Preeya Kalidas, Bend It Like Beckham; Anastacia McClesky, Close to You; Victoria Serra, Grand Hotel
“Perhaps a flock of cranes will appear soon, winging their way from Pyongyang”
One can imagine co-stars Kwong Loke and Andrew Leung at a Christmas party or somesuch, making conversation with someone else who asks them who they are playing in the Royal Court show they’re both in. Loke would say ‘Doctor/Well/Rice Musician/Farm Hand/Disembodied Voice/Delivery Person/Neighbour/Teacher’ and Leung would say well I’m only a ‘Smuggler/Frog/Man In Bear Suit/Soldier/Clerk/Youngsup’ and the other person would nod politely and then say ‘but have you seen Hangmen‘.
This gives you something of a sense of the mystical scope of Mia Chung’s You For Me For You and the journeys that her protagonists, two North Korean sisters, take in her delicious confection of a play. Minhee and Junhee want nothing more than for the other to be strong and healthy but under the unblinking eye of Great Leader Kim Jong-Il, food and medicine and hope are scarce and so they decide to flee. But as they make the arduous journey to the border and are asked to make a huge sacrifice, the sisters are torn apart. Continue reading “Review: You For Me For You, Royal Court”