The best TV show of the year? Definitely so far…Michaela Coel’s I May Destroy You is just superb
“Just look in the mirror, you know what I mean? It’s really uncomfortable and unnerving for everyone”
Has ‘the grey area’ ever seemed so interesting? Probing into the complexities of real life and fully embracing the fact that there are rarely ever any simple answers, Michaela Coel’s I May Destroy You has felt like a real breath of bracingly fresh air.
Sexual consent for straights and gays, dealing with trauma on a personal and institutional level, the perils of buying into social media hype, portraying the scale of casual sex and drug use whilst acknowledging its inherent pitfalls, examining how we bury memories from both the recent and distant past and that’s just scratching the surface. Continue reading “TV Review: I May Destroy You”
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 superlative Michaela Coel looks to have absolutely nailed with new TV show I May Destroy You
“How did last night end?”
I mean we knew I May Destroy You would be good but damn, it’s really good. Even on the evidence of episodes 1 & 2 which have just been released by the BBC, Michaela Coel – whose credits here include executive producer, co-director, star, and writer – looks set to thoroughly invigorate our TV screens as she breathlessly tackles, well, pretty much the whole of contemporary society.
At the top of it, I May Destroy You is a drama about consent, though it is immediately clear that Coel’s canvas and the scope of her ambition is much larger than that. It blends just as much comedy as tragedy into its playfully inventive structure. And though the hook is Coel’s Arabella – a 30-something London-based writer – trying to piece together the memories of a night where her drink was spiked and she was sexually assaulted, there’s so much more about the lives of young Black British people filled out along the way. Continue reading “TV Review: I May Destroy You, Episodes 1 & 2”
One of the best plays, and productions, of last year, An Octoroon makes a hop, skip and a leap from Orange Tree to the National Theatre
“Black playwright? I can’t even wipe my ass without someone trying to accuse me of deconstructing the race problem in America”
An Octoroon transfers to the National Theatre from a hugely successful run at the Orange Tree last year and sells out entirely way in advance. And yet it is Wilde and Pinter who are getting seasons in the West End…time to shake up the orthodoxy I think, even while accepting its a big step from the Dorfman to Shaftesbury Avenue.
Rather than wrestle with Branden Jacobs-Jenkins’ complex writing and Ned Bennett’s layered production once again, I’m just going to point you to the fact that I named Ken Nwosu’s performance as my favourite of the year, and I ranked the show as the sixth best of the year (out of 346). My original review can be found here, I’m looking forward to seeing a hopefully more diverse range of responses this time round.
Running time: 2 hours 40 minutes (with interval)
Photo: Helen Murray
An Octoroon is booking at the National Theatre until 18th July – currently sold out but returns and Friday Rush available
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”
“I invented matinées bitches, look it up!”
You wouldn’t have put money on Richmond’s Orange Tree Theatre becoming the destination for some of London’s more radical theatre leanings but with Branden Jacobs-Jenkins’ An Octoroon, it has done it once again. Less of a surprise is that it is director Ned Bennett at the helm again, reuniting with Pomona collaborators Georgia Lowe (design) and Elliot Griggs (lighting) to provide a headfuck of a production out of a headfuck of a play.
I could talk about the plot, about how Jacobs-Jenkins has adapted Dion Boucicault’s 1859 racially dubious play The Octoroon, but that wouldn’t do this any justice really. For this is a piece of theatre less concerned with narrative drive, with characters that move from point A to point B, but more of a thought experiment, challenging audiences to consider our attitudes toward race, both in how it is portrayed on contemporary stages and how we deal with the legacy of a wealth of drama approaching the issue in a completely different day and age.
Continue reading “Review: An Octoroon, Orange Tree”
“This is something I can’t ignore”
Typical really, the first series of Scott & Bailey that I actually get to watch live on air and it’s the first one that disappointed me. I caught up quickly with the first three over the last few weeks so that I would be up to speed with Series 4 but all in all, I didn’t feel like it was up to the standard. No real overarching story emerged across the eight episodes and without the heightened drama that would have added, this just felt like a retread of some of the same old plot points.
An ill-advised affair with a colleague, a promotion not taken due to personal circumstances, Janet’s kids playing up, tough but tender relations with Gill…it does feel like we’ve been here before. And though there are new twists, none of them really took flight – Rachel’s step up to sergeant never really foregrounded, a hint of romance for Janet left until the very end. The individual cases that came up maintained the usual level of interest but something was lacking in the end. Continue reading “TV Review: Scott and Bailey Series 4”
“I did not come here for a political diatribe”
I have a friend who has a mortal fear of the embarrassment she would suffer if she were to die on the toilet (yeah, I know!) but the manner of playwright Ödön von Horváth’s death is so bizarrely random, killed by a falling tree branch on the way to see Snow White and the Seven Dwarves at the cinema, that I think I’d take it (although I’d want to be on the way to an art-house film rather than The Green Lantern – pretentious to the end ;-)) In which convoluted way leads us to the Southwark Playhouse who are putting on his 1933 play Faith, Hope and Charity. It has been translated by Christopher Hampton who also did the English version for the Almeida’s Judgment Day, my only other von Horváth experience.
The main premise of the story is of how the working class individual can struggle to make ends meet for a lifetime yet still be lost in and crushed by a social system that cares nothing for them. Saleswoman Elisabeth is such a person: fined for selling lingerie without a permit which she can’t afford to buy because she hasn’t got a job, she borrows money to pay the fine and borrows some more to get the permit, but her economy with the truth – after all who would lend money to a petty criminal – gets her into even more trouble as she struggles to keep life and love on track. Continue reading “Review: Faith Hope and Charity, Southwark Playhouse”