Series 2 of Top Boy- Summerhouse is, quite frankly, exceptional
“I don’t wanna go to Ramsgate”
The first series of Top Boy surprised me at just how good it was, making a mockery of my earlier decision that it wasn’t my kind of thing. So I launched straight into the second series (now labelled Top Boy- Summerhouse on Netflix), unprepared for how harrowing it would get. It may have taken two years for it to be created but boy it was worth the wait.
Ronan Bennett’s series picks up one year later with Dushane’s (Ashley Walters_ status at the head of the Summerhouse estate as equally precarious and secure as ever, forever dependent on the next big drug delivery. But the Albanians have got their own plans, former besty Sully is setting up his own rival crew and the police have just dug up a body – eep! Continue reading “TV Review: Top Boy – Summerhouse (Series 2)”
“The hot whore of celebrity”
Jon Snow is dead. Isn’t he? I suspect there’ll be a twist in the tail as far as the newly started sixth series of Game of Thrones is concerned but for the meantime, Kit Harington is alive and kicking his way through this raucous reinvention of Christopher Marlowe’s Doctor Faustus for The Jamie Lloyd Theatre Company.
My 3 star review for Cheap Theatre Tickets can be read here. And my little preview piece from a couple of weeks ago is here.
Running time: 2 hours 20 minutes (with interval)
Photo: Marc Brenner
Booking until 25th June
“Hell is within”
(As are production spoilers)
As Jamie Lloyd’s Doctor Faustus is currently previewing but doesn’t open officially until 25th April, I’d get in trouble with the Devil herself (and possibly Mary Berry) for publishing a full review. So here’s a little amuse-bouche for you Continue reading “(P)review: Doctor Faustus, Duke of York’s”
“Who threw all the pickles down the stairs?”
They say write about what you know but when your childhood memories of 1950s Derby recall nothing so much as 1970s sitcom humour, I’m not sure that Michael Kirk’s Hatched ‘n’ Dispatched isn’t the exception to the rule. Co-written with Gemma Page and directed by Kirk himself, the show is a self-described “mucky romp through the morals, memories and music of the 1950s” but whilst it has an undeniable comic edge that fitfully breaks through to genuine humour, too often it is laboured and criminally inconsistent.
Bouncing from sex farce to serious drama, domestic violence rubbing shoulders with domestic comedy, the play never settles into a groove and crucially, it lacks credibility once matters start to darken and we’re meant to take things more earnestly. Which kind of flies in the face of much of the acting – Wendi Peters is delightfully battle-axed as matriarch Dorothy-Mavis, who won’t let anything her feckless family does get in the way of her social climbing but there’s little sense of depth to the character, an emotional underpinning that would justify this later shift. Continue reading “Review: Hatched ‘n’ Dispatched, Park”
“I don’t know where you came from or who you belong to, but I do know that no-one wants to claim you, no-one wants you to belong to them”
‘As above, so below’ so the saying goes, but in this case the opposite is true as the Royal Court upstairs follows the Hampstead Theatre downstairs in putting on a play which deals with the death of a young British soldier and its impact on the family left behind. But where Nick Payne’s Lay Down Your Cross focused on the parent-child dynamic, Hayley Squires’ Vera Vera Vera looks at how contemporaries are affected – the siblings and cousins left to mourn their loved ones and reassess their own lives in the light of tragedy. This play continues the Young Writers Festival which started with Goodbye to all That and as she originally trained as an actor, this is Squires’ first full-length play.
She moves forward and back between two scenarios in present-day Kent: a pair of schoolkids make tentative steps to progressing their friendship into something more and three months later, a brother and sister prepare for the funeral of their younger brother, killed in combat in Afghanistan. Tom Piper’s design utilises the same central structure from Goodbye to all That which he also did, but this time around the edges are covered in grass and the Kentish countryside is suggested on the walls. Jo McInnes’ direction also harks back to that first production in keeping the cast visible on the staging area even when not involved in the scenes, but pushes it a little further by having some spiky non-verbal interactions between them during the scene changes – a little thing but most effective. Continue reading “Review: Vera Vera Vera, Royal Court”