Series 2 of Liar shifts the focus from rape to murder but does little to raise this from bog-standard thriller territory
“Sometimes bad things happen and we just have to deal with them”
Was the world calling out for a second season of Liar? When the first apparently did such great numbers for ITV, it seems the decision was inevitable but it has taken more than two years for it to arrive and I’m not sure that it carries the same level of impetus with it – I don’t imagine ratings will have held up to anywhere near the same degree.
That first series did show much promise, complicating a rape story by presenting a he said/she said narrative that asked some big questions. But midway through, Liar tipped its hand and ended up as a bog-standard thriller and it is in that same spirit that it continues here. A bit of story-telling trickery allows for Ioan Gruffudd’s Andrew to return alongside Joanne Froggatt as Laura but I have to say I really wasn’t gripped. Continue reading “TV Review: Liar Series 2”
It’s all change at Thames House as Series 3 of Spooks sees the original core team leave the security service one way or another
“We cannot have another Tom Quinn”
I’d forgotten just monumental this series of Spooks was, as first Matthew MacFadyen’s Tom took his leave after getting a conscience, then Keeley Hawes’ Zoe was shunted off to Chile to evade justice and then David Oyelowo’s Danny shuffled off this mortal coil thanks to bloody Fiona and an annoyed Iraqi terrorist. Rupert Penry-Jones was drafted in as Adam, a friendly MI6 type who fits the Tom mould perfectly, though we could have done without his wife (more of that anon).
But even besides all the personnel shifting, the writing is shit-hot in this season, especially when the focus is on the morality of security service actions. Targeted assassinations on North Sea ferries, honeytrapping members of the Turkish mafia, these are meaty issues with some real consequences for all concerned.
Now firmly established in the team, attention turns to her trying to get some, in the most Ruth-like possible way, ie stalking someone illegally and sharing a carbonara with a traitorous ex-colleague, this is prime Ruth territory. Continue reading “Lockdown TV Review: Spooks Series 3”
by Brian Friel
Previews from 22 May, Press night 30 May, on sale until 7 July with further performances to be announced
Owen, the prodigal son, returns to rural Donegal from Dublin. With him are two British army officers. Their ambition is to create a map of the area, replacing the Gaelic names with English. It is an administrative act with radical consequences.
Brian Friel’s modern classic is a powerful account of nationhood, which sees the turbulent relationship between England and Ireland play out in one quiet community. Cast includes Dermot Crowley, Aoife Duffin, Adetomiwa Edun, Michelle Fox, Ciarán Hinds,Laurence Kinlan, Colin Morgan, Seamus O’Hara, Judith Roddy and Rufus Wright.
Directed by Ian Rickson, with design by Rae Smith, lighting design by Neil Austin and music by Stephen Warbeck and sound design by Ian Dickinson.
Part of the Travelex Season with hundreds of tickets for every performance available at £15. Continue reading “New casting announced for 2018 National Theatre season”
In sad news, the death of Sir Peter Hall, one of the great names in British theatre, has been announced today. Sir Peter died on 11 September at University College Hospital, at the age of 86, surrounded by his family.
As the below statement from the National Theatre reminds us, his achievements were unparalleled, his devotion to the arts undoubtable. And in this selection of photos from some of his productions for the NT, his was a rare artistic vision indeed.
Continue reading “Sir Peter Hall: 1930-2017 – a photo retrospective”
“So, because you can’t believe it’s true, logically it’s false”
So the second and final part of Series 4 of Luther is done and well, it’s hard not to feel a little shortchanged. There’s been chatter about a movie and given that we only got 2 hours of screentime here, it’s hard to see why creator Neil Cross and star Idris Elba opted for a single two-parter split over two weeks as opposed the fiercer energy that a feature-length epic would surely have borne.
Episode 1 aired last week and did a decent job of pulling us back into the world of DCI John Luther, delving back into the show’s mythology and the tangled web of his own past but also moving forward with the dastardly exploits of a new serial killer, which proved to be the main hook for Luther’s return from semi-retirement. Part Two continues the blend, as John Heffernan’s marvellously malevolent cannabalistic killer continues his rampage and Luther deals with the past impinging severely on his present. Continue reading “TV Review: Luther (Series 4, Episode 2)”
“What do we do with something like this?”
It doesn’t quite seem right, calling this a new series of Luther when it is just two episodes, but the return of Idris Elba’s maverick DCI is something to be celebrated nonetheless. Neil Cross’ two-parter finds John Luther on a leave of absence from the Met (as opposed to having jacked it all in as we might have thought), sequestered in a coastal cottage hideaway and still reckoning with the loss of his cop partner DS Ripley after the events of the last series. Almost straightaway though, the show runs into the problems that mark the whole episode.
the first ever episode way back when). They’re both new to the franchise (though weirdly not unfamiliar to Luther) but as there’s so little time, we have to assume an instant familiarity with them, and with the circumstances of Alice’s death and a new serial killer who is eating his way through East London. Continue reading “TV Review: Luther (Series 4, Episode 1)”
“You wouldn’t see Harold Pinter pushing vans down the street”
It is more than 15 years since Maggie Smith starred in Alan Bennett’s The Lady in the Van in the West End but one can only imagine that the intervening years have deepened and enriched her performance as in this cinematic version, directed by Nicholas Hytner, she is just fantastic. The titular lady is Miss Shepherd, a cantankerous homeless woman who sets up shop on a Camden street in her junk-filled camper van and strikes up an unlikely friendship with Bennett, in whose driveway she eventually convinces him to let her park.
This happened in real life to Bennett, she spent 15 or so years there in the end, and amping up the realism, the film was shot on location in the real street but it is also a highly theatrical version of events. Alex Jennings plays two iterations of Bennett, one the somewhat timid man, the other the acutely observational writer inside, and they often argue with each other, disagreeing on whether things happened a certain way, and debating his various reasons for letting Miss Shepherd so totally into his life. Continue reading “Film Review: The Lady in the Van”
“It seems every man has had enough of me”
Starting quite literally with the Fall of Man, Carol Ann Duffy’s contemporary verse adaptation of medieval morality play Everyman sees Rufus Norris direct his first production since taking up the reins of Artistic Director at the National Theatre and finds him in a rather provocative mood. Through 100 minutes of boldly imagined drama, it’s hard not to feel that there’s an element of grabbing this institution by the lapels and giving it a good old shake. Not so much in establishing a definitive vision for the future per se but more in establishing just how wide its parameters will be.
Norris and designer Ian MacNeil work cleverly within the constraints of the Travelex budget to provide impactful moments with – variously – Tal Rosner’s video wall, a powerful wind machine, William Lyons’ music which combines shawms with Sharon D Clarke most effectively and bags of rubbish. Javier De Frutos makes a significant contribution too as choreographer and movement director, the wordless opening sequence of a coke-and-Donna-Summer-fuelled birthday party makes for a bold beginning. Continue reading “Review: Everyman, National Theatre”
“That’s what we do, we destroy lives…but it’s on your behalf, because you like to read about it”
It’s not quite Beyoncé releasing her latest album without prior notice but it’s not far off. Richard Bean’s new play for the National was something of an open secret even if its specifics were unknown but still, announcing it with five days’ notice and no previews is a pretty bold move. What Great Britain has going for it though is a right-up-to-the-minute immediacy as Bean responds with speed to the scandals that have engulfed certain sections of the tabloid media in recent times and a court case that may or may not have just reached a verdict…
We’re in a satirical, pseudo-recognisable world – a ratings-hungry red-top (called The Free Press) is owned by a foreign-born media mogul who wants to buy a television station (an Irishman called Paschal O’Leary if you will) and has a fiercely ambitious news editor at its helm (a blonde woman called Paige Britain, she didn’t say she was “vindicated” so I have no idea who she was meant to be…). Manipulating their way to a position of huge influence with both Police and Parliament under their thumb, it seems nothing could go wrong. That is, until a little thing called phone hacking breaks into the national consciousness. Continue reading “Review: Great Britain, National Theatre”