Oof, the start of the downfall…Series 9 of Spooks turns into the Lucas North show with terrible ramifications
“Do you know how I knew it was true? Because for the first time you made sense”
It couldn’t last, two strong series of Spooks back-to-back were undone by the horrors of Series 9. And it needn’t have been this way, it opens with a great 10 minutes. Ros;s funeral! A proposal! Harry as an assassin! Ruth getting called “that dogged, brilliant bitch”! But new head writers Jonathan Brackley and Sam Vincent then have the trickier task of reconstructing a new team, and don’t quite nail it with Sophia Myles’ Beth and Max Brown’s Dimitri only ever appearing in shades of beige.
Worse though, is the shifting of the entire season’s narrative onto Richard Armitage’s Lucas who – dun dun dur – is actually someone else called John Bateman, whose torturously wrangled personal history is dragged out through the presence of Iain Glen’s Vaughan. Undoing all the good work that Armitage had done in building the fascinating ambiguities of Lucas North, the entire John Bateman storyline was a huge mis-step and ultimately indulges Spooks at its worst.
Never better than turning Harry down, she’s a vital steadying presence in a show that badly needs it. Continue reading “Lockdown TV Review: Spooks Series 9”
I remain unconvinced we should be rewarding classical roles over the breadth of the theatre out there but hey ho, it’s not my award! A good selection of performances nominated here nonetheless – and Gill feels a worthy winner.
Bally Gill for Romeo in Romeo and Juliet at the RSC
Hannah Morrish for Octavia in Antony and Cleopatra at the National Theatre
Luke Newberry for Malcolm in Macbeth at the RSC
Daniel Burke for Diomed in Troilus and Cressida at RSC
Heledd Gwynn for Katharine and Dauphin in Henry V by Shakespeare at the Tobacco Factory
Tyrone Huntley for Lysander in A Midsummer Night’s Dream at the Watermill, Newbury
Martins Imhangbe for Bagot and Aumerle in Richard II at the Almeida
Toheeb Jimoh for Demetrius in A Midsummer Night’s Dream at the Crucible
Aaron Pierre for Cassio in Othello at Shakespeare’s Globe
Ellora Torchia for Emilia in Two Noble Kinsmen at Shakespeare’s Globe
Helena Wilson for Mariana in Measure for Measure at the Donmar Warehouse
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 Series 1 / The Good Fight Series 2”
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
“How do you enter a man’s world when you’ve got a vagina?”
The Bush Theatre may have closed its door as it undergoes a year-long renovation project to improve its accessibility and sustainability but in the meantime, it is stretching out its branches locally. And first up is Melissa Bubnic’s Boys Will Be Boys, playing a few minutes further down the Uxbridge Road at Bush Hall, an atmospheric Edwardian dance hall which has served time as a WWII soup kitchen and a bingo hall before transforming into an established music and cabaret venue.
Such an illustrious history seems ideal for this Headlong co-production, which blends in its own elements of cabaret and choreography alongside brilliant pianist Jennifer Whyte’s musical accompaniment. Which makes for a fascinating backdrop for Bubnic’s play about women in the City in which all the roles are played by women. So there’s women playing women, women playing men, and women playing women playing men at their own game. Continue reading “Review: Boys Will Be Boys, Bush Hall”
“Some people say that heroes are born and some that they’re made”
As Da Vinci’s Demons draws to a close and Game of Thrones fans have to wait until the end of April for Season 6 to start, ITV step into the big-budget historical fantasy genre with their 12-part serialisation of Beowulf: Return to the Shieldlands. Created by James Dormer, Tim Haines and Katie Newman, Beowulf is based on the epic Old English poem set in the Dark Ages in Northumbria but spins its own fantasy world out of the source material, something that looks promising on the evidence of this first episode.
With any new series, there’s a certain amount of setting up to be done in the first episode and Dormer’s writing does well to weave plenty of exposition into the story without weighing it down too much. After seeing his father killed by a fearsome beast which he then slaughters, the young Beowulf is adopted by the local thane Hrothgar. This is shown in a brief prologue as as the show starts proper, we’ve skipped a couple of decades ahead where Beowulf, long estranged from his family, returns to the frontier town of Herot to mourn Hrothgar’s passing. Continue reading “TV Review: Beowulf: Return to the Shieldlands Episode 1”