James Graham’s Quiz makes a marvellous leap from stage to screen
“People still want to gather as a nation, to experience something big together”
Not a huge amount to say about the TV adaptation of James Graham’s Quiz, a show I enjoyed in the West End, not least because of its interactive elements (even if we lost). It bloomed in the televisual treatment, losing a little of its structural intricacy but gaining a narrative through-line that really worked, the explosive arrival of Helen McCrory’s QC making it worth the while. And the story remains as intriguing as ever, though just as free from doubt for me.
They totally did it, right – the Ingrams may have been stitched up in court by the tinkered-with evidence (and credit to Matthew Mcfadyen and Sian Clifford for two excellent performances) – but they totally did it. Fun to see cameos like Paul Bazeley’s Lionel from Legal and Maggie Service’s Kerry the Floor Manager, and original cast members like Sarah Woodward and Keir Charle too.
Years and Years sees Russell T Davies take on dystopian near-future sci-fi to startling effect
“We’re not stupid, we’re not poor, we’re not lacking. I’m sorry, but we’re clever. We can think of something, surely.”
What if…? What if…? What Brexit happens, what if Trump is voted in again and fires a nuclear bomb towards China, what if global warming happens today and not tomorrow, what if Lee from Steps is the most successful one…? Such is the world of Years and Years, Russell T Davies’ latest TV venture, a six-part drama that dares to ask what if it is already too late.
He uses the Lyons family as a prism to explore what the next 15 years of human history might look like, as technological advances make leaps and bounds alongside the political and social upheaval that strikes at the very heart of this sprawing middle-class Manchester-based family. It’s a daring piece of drama, full of Davies’ typically big heart and bold emotional colours and I have to say I rather loved it. Continue reading “TV Review: Years and Years”
An anti-war polemic in verse? Square Rounds has no right to be as good as it is at the Finborough Theatre!
“When I pioneered the process I had in mind
Only benefits and blessings for mankind”
You spend so much effort and labour and time
When trying to make all your words somehow rhyme
So how you would write a whole play that does so
Is downright impressive, that’s something you know
Espec’lly since Square Rounds is not so dramatic
But more of an anti-war talk, so dogmatic
Though new life is brought by a d’rector called Jimmy
Whose insight and forethought makes ev’rything shimmy
It’s unlike most other things you can now see
And its all-female cast will just fill you with glee
But Finborough and Haddock are hard words to rhyme
So I think this format has now done its time Continue reading “Review: Square Rounds, Finborough Theatre”
“You are the chief executive officer of the human race”
It was quite interesting to rewatch Series 8 of Doctor Who, one which I hadn’t revisited at all since it originally aired, as my memories thereof were not at all positive. And whilst disappointments remained – Robin Hood, 2D cartoons, the treeees! – there was also much to enjoy that I’d forgotten about. The smash-and-grab of Time Heist, the simplicity of ghost story Listen, and the ominous darkness of the finale.
I’m still in two minds about Peter Capaldi’s Twelve though, I want to like him so much more than I do, and I think you do get the sense of him feeling his way into his irascible take on the role. Jenna Coleman’s Clara benefits from being released from the yoke of impossibility to move to the forefront of several episodes and if she’s still a little hard to warm to, that finale really is superbly done. And then there’s Michelle Gomez, stealing the whole damn thing magnificently! Continue reading “Countdown to new Who: Doctor Who Series 8”
“I wasted time, and now doth time waste me”
I am aware that I’m flying in the face of received wisdom here but I really wasn’t a fan of the RSC’s Richard II. The announcement of David Tennant in the leading role ensured its sell-out success (regardless of the actual strength of the production) and its transfer to the Barbican after its initial run in Stratford-upon-Avon likewise proved to be the quickest of sellers. Its critical notices have been close to superlative too, so the level of expectation was certainly high.
But for all of this, I found Gregory Doran’s production to be largely quite dull, it hardly ever provoked excitement or even piqued my interest in the slow-moving telling of its tale of regime change and the corrosive effects of absolute monarchy on the individual. The inferences of a Christ-like demeanour to this King are heavily played and Tennant laps this up, irascible and irritable throughout and increasingly given to thoughts of his own divinity. Intentional perhaps, but hard to like. Continue reading “Review: Richard II, Barbican”
“The triple pillar of the world transformed into a strumpet’s fool”
After playing the role herself in 1974 for the RSC, Janet Suzman returns to Antony and Cleopatra but this time as its director and has pulled off one of the canniest casting coups of the year in persuading Kim Cattrall to return to the city of her birth to head up the cast alongside Jeffery Kissoon at the Liverpool Playhouse. The ultimate tale of the trouble caused when the personal and the political are so inextricably entwined as Cleopatra and Mark Antony tumble into a passionate affair regardless of the fact that their infatuation threatens to destroy the world around them.
Feisty yet graceful, powerful yet passionate, Cattrall’s portrayal is simply superb. A highly intelligent woman, one can see the calculations behind her eyes as she weighs up each decision that will affect her so hugely but she also plays the comedy well and her touching vulnerability when seized by thoughts of love is beautiful: the recollection of their salad days is exceptional. Kissoon’s Antony is clearly a relic of a passing age, moody and tinged with madness from the outset. His battles come from his uncertainty at his place in this world as much as they do from his doomed affair and so he is a more shambolic leader. Continue reading “Review: Antony & Cleopatra, Liverpool Playhouse”