In which the rollercoaster of quality rockets sky-high again, Series 7 of Spooks ranks as one of my favourites
“I want my team to know why I acted the way I did”
The introduction of series-long plots didn’t necessarily work first time round for Spooks but in Series 7, the magic certainly happens to produce one of the best seasons across its decade-long life. Perhaps the reduced episode order from 10 to 8 helped to refine the effectiveness of the storytelling, recognising that it was Adam’s time to go definitely worked and finally made the right kind of room for Ros to rise, and giving Gemma Jones this material was an absolute masterstroke.
Undoing the silly fakeouts of Ros and Jo’s ‘deaths’ right from the off, the introduction of Richard Armitage’s Lucas North also works well, his time in Russian captivity casting a nice shade of doubt over his presence in the team, a marked difference to the alpha males of Tom and Adam. And the ongoing Sugarhorse mystery is skillfully wound throughout the whole season, coiling ever-tighter until the hammer blows of a properly fierce finale.
She’s just a distant memory at this point – Harry really is such a fuckboy. Continue reading “Lockdown TV Review: Spooks Series 7”
Rather fittingly, my first ever visit to the magnificent feat of civil engineering that is Cardiff’s Wales Millennium Centre was for new musical Tiger Bay (Y Sioe Gerdd). And not just any musical, one based in and on the very area where it is playing, the docklands of Tiger Bay at the turn of the century, when the industrial revolution sent shudders through every level of society. Socio-political unrest not being known for getting the crowds in though, book-writer Michael Williams has fashioned a multi-stranded narrative with truly epic ambitions.
So there’s coal men fighting to improve working conditions, African immigrant labour complicating the picture by undercutting them, racism emerging as an ugly thorn, child labour being abused, suffragettes agitating for the vote, and the richest man in the world (the Third Marquess of Bute) who has turned to crystal balls to try and find his missing son. What emerges is a prototype vision for a multicultural society in all its myriad complexities and inequalities, connected in an all-too-human way by circumstance and some stonking great choruses. Continue reading “Review: Tiger Bay, Wales Millennium Centre”
“The sage shall play the knave tonight,
The maid shall misbehave tonight”
Howard Goodall’s fruitful relationship with the National Youth Music Theatre has long been a mutually beneficial one and it was they who premiered The Kissing-Dance, his musical adaptation of Oliver Goldsmith’s She Stoops To Conquer back in 1998. What is truly remarkable is just who happened to be in that year-group – Sheridan Smith, Gina Beck, Simon Thomas, Alex Hassell, Michael Jibson…the list goes on. And 10 years on, they gathered once again to record Howard Goodall’s score.
The show received its professional premiere at the Jermyn Street Theatre in 2011 and in a neat twist, saw Gina Beck reprise the very same role of the headstrong Kate Hardcastle and Ian Virgo also return to the cast but graduating from scallywag Tony Lumpkin to impecunious but irresistible Charles Marlow. And having that familiarity with the score meant it was a delight to go back and delve into its melodic wonderment once again. It is recognisably Goodall to be sure but with a distinct pastoral bent to it which has a pleasingly differentiating effect. Continue reading “Album Review: The Kissing Dance or She Stoops To Conquer (2008 Cast)”
“I concluded from your airs and manners that you were bred in Tufnell Park”
The Kissing-Dance is a Howard Goodall musical with lyrics and book by Charles Hart which is based on the 18th Century Oliver Goldsmith classic comedy She Stoops To Conquer. Set over one long night in Nonesuch, somewhere in the English countryside on All Fools’ Eve, it’s a story of comic misunderstandings as a London suitor is fooled into believing his prospective father-in-law’s house is an inn by the cheeky Tony Lumpkin, causing his intended to test his honour with her own scheme to foil her mother’s plans for her, whilst other secret affairs are revealed, missing family jewels cause consternation and general mayhem ensues until the sun finally rises again.
Following on from the well-received but prematurely-closed Love Story, The Kissing-Dance reveals a slightly more playful side to Goodall’s composing, embracing an English pastoral influence which allied to the wit of much of Hart’s lyrics, makes this really quite a sprightly affair. There are moments that feel almost like Gilbert & Sullivan, especially in the multi-layered finale to Act 1 with its many counterpointed melodies creating a harmonious delight. It wasn’t always so successful though, the title song feeling a little out of place with the rest of the show and not helped by being sung by the servants oddly, a small thing but still a bump in an otherwise smooth ride. Continue reading “Review: The Kissing-Dance, Jermyn Street”