“Do not blaspheme! Do not blaspheme!”
To mark Series 10 of Doctor Who starting on BBC1 next week, I’ve been counting down the weeks with a rewatch of all 9 of the previous series of new Who. And now we’re within touching distance, I’m counting down the days talking about each one. For once though, I’m going to keep these posts (relatively) short and sweet, following the below format.
With just the one series to judge him on, and that series being the very first when everyone was still finding their feet, Christopher Eccleston’s Nine often gets a bit of a raw deal. And some of his zany moments are undoubtedly really quite awkward to watch but for me, they’re easily outweighed by the emotional weight of his more serious work, especially when hinting at the considerable darkness of the events of his recent past that had left him so haunted. A solid re-entry back into the televisual world. Continue reading “Countdown to new Who: Doctor Who Series 1”
“Through the forest have I gone”
The impressive ruins of Stafford Castle make a grand setting for the Stafford Festival Shakespeare, now in its 23rd year, and for this year’s production of A Midsummer Night’s Dream, successfully transported to a Victorian England of colonial conquest, starched manners and a healthy dose of Gilbert and Sullivan. An open air stage, with covered seating on three sides, expands up the grassy slope to the castle itself and is used highly effectively, whether for a royal procession to make a strong impact or a torch-bearing fairy horde to swarm over the hillside, a constant reminder that so much of this story is about the strange happenings that will ensue if you end up in a mysterious forest on Midsummer eve.
Peter Rowe’s choice to set this in the Victorian era is an effective choice and one which works well across all the earthbound levels of the play. It makes a convincing case for the quarrelling quartet of lovers – Craig Fletcher (so very good in last year’s Boy Meets Boy) and Eamonn O’Dwyer all prim posturing and carefully rolled-up sleeves as Lysander and Demetrius, Jennifer Greenwood a spirited Hermia and a confident Georgina White coming close to stealing the show as an expressively comical Helena. And the Rude Mechanicals, led by Eric Potts’ bumptious Bottom, become a group of G&S-playing minstrels, the silliness of light opera suiting them perfectly as they build up to an extended musical version of Pyramus and Thisbe, which has to be one of the funnier treatments it has ever received. Continue reading “Review: A Midsummer Night’s Dream, Stafford Castle”