The first couple of episodes of Julian Fellowes’ latest TV series Belgravia are quite frankly an embarrassment
“How strange that we should be having a ball when we are on the brink of war”
Who knows what hold Julian Fellowes has over the British cultural industries as once again, another major commission comes through for this painfully lazy of writers. I should have resisted Belgravia but with a cast that includes Harriet Walter, Tara Fitzgerald and Saskia Reeves, not to mention Penny Layden and Adam James, curiosity got the better of me and by the crin, I wish it hadn’t. Lucy Mangan puts it scathingly well in her review for the Guardian and I couldn’t have put it any better. Avoid like the, well, plague.
Sam Mendes’ 1917 is undoubtedly an technically excellent film but the focus on format ends up detracting from the depth of the storytelling
“You’ll be wanking again in no time!
There’s no doubting the technical audacity of Sam Mendes’ 1917. With its ostensibly one-shot, real-time structure (with necessary caveats that it is neither), it is a bravura piece of film-making that elevates this movie from just your average Oscar-baity war flick (cf Dunkirk).
It is clearly a labour of love for Mendes, who directed, co-wrote (with Krysty Wilson-Cairns) and produced 1917, and whose grandfather’s own war experiences inspired the film. And its driving force, following 2 British soldiers tasked with delivering a vital message beyond enemy lines. Continue reading “Film Review: 1917 (2019)”
I can’t help but think Humans might have run its course as a uniquely intelligent and British sci-fi drama
“…the coming together of man and machine. You can change the course of history…”
I’ve enjoyed where Humans has taken us thus far, and the beginning of a third series seemed promising. But as I got to the end of this season and twist after twist pointed at where the story might well continue, it felt like I might have reached my expiration date with the show.
The human/synth baby that Mattie is carrying, Niska’s transformation into ur-Niska, V’s survival…it’s hard not to feel that any of these feel far less interesting than where Humans are trod thus far in its carefully balanced but uniquely British brand of sci-fi. Continue reading “TV Review: Humans Series 3”
Series 11 of Doctor Who comes to an end and it’s a big yes from me – a hugely successful refresh for this beloved series
“I have to lay down the rules if someone’s new”
From the opening episode, I knew that Series 11 of Doctor Who was going to do it for me. New head writer and executive producer Chris Chibnall’s reset was most obvious in the casting of Jodie Whittaker as the Thirteenth Doctor but it was his other changes – namely a real widening of the pool of writers and a pronounced shift in tone – that really defined the shape of this new Doctor Who.
For all its sci-fi nature, that shape was decidedly human. The tragic death of Sharon D Clarke’s Grace was a defining moment in that opening episode, providing the trigger for this TARDIS crew to come together. And rather beautifully, the series really allowed for a full exploration of everyone’s different grief at her passing, culminating in the brutal power of Ed Hime’s ninth episode It Takes You Away.
And pivoting away from the oft-times densely packed complexity of the show’s mythology, the storytelling pointed less at grand alien threats but rather to the foibles of human nature – the enemy within. The racism of Rosa, written by Malorie Blackman with Chibnall, Vinay Patel’s exploration of the British colonial legacy around Partition in Demons of the Punjab, this was science-fiction as its most powerful, commenting powerfully on contemporary society (and naturally provoking the kind of outrage you’d expect). Continue reading “TV Review: Doctor Who Series 11”
“What did you expect?”
After a hugely successful run at the Old Vic, Girl From The North Country transfers to the Noël Coward with the majority of its cast and all of its melancholy soul intact. Seeing Sheila Atim transform ‘Tight Connection To My Heart’ into the most heartfelt of laments was one of my highlights of 2017 and seeing it once again made me feel like it could easily be one of the highlights of 2018 as well.
Her performance is symptomatic of what makes this show so fantastic. The secret weapon in Conor McPherson’s production is the arrangement of the Bob Dylan songs by Simon Hale, an interpretative masterstroke which weaves the music into the very fabric of these people’s lives. (Though whether that makes this a musical remains anyone’s guess.)
Continue reading “Re-review: Girl From The North Country, Noël Coward”
“There’s something I’ve got to do tonight”
I’m going to call it taking one for the team. Faced with the prospect of Girl From The North Country disappearing into the ether (albeit having left an excellent cast recording behind), I took the plunge and booked myself back into the Old Vic in the show’s final week. So of course, a West End transfer has now been announced, which is great news for something which (spoilers) is likely to figure highly in my end-of-year round-up. It will open at the Noël Coward Theatre in December (casting news still to be announced though) and will be well worth the trip.
Running time: 2 hours 30 minutes (with interval)
Booking until 7th October
The pure quality of the Original London Cast Recording of Girl From The North Country means it is almost as good as the show itself
“And I wait for them to interrupt
Me drinkin’ from my broken cup”
The very notion of a Bob Dylan musical was one about which I couldn’t help but be sceptical but the Old Vic’s Girl From The North Country completely confounded me, emerging as a powerfully moving piece of musical theatre (even if it is determined to label itself a play with songs). And whether that success had been predicted or not, we have been given the gift of a cast recording to tide us over while we queue for returns and/or pray for a West End transfer.
For myself, I’d argue that Bob Dylan songs are best sung by other people anyway, so I should have maybe clocked that this show would be right up my street. And it remains the case here – listening to the original of ‘Tight Connection to My Heart’ suggests nothing of the transcendent beauty that Sheila Atim’s interpretation lends it, the spine-tingling ache in her voice supported with skill and sensitivity by some perfectly arranged backing vocals from the ensemble. Continue reading “Album Review: Girl From The North Country (Original London Cast Recording)”
“Everything’s a little upside down
As a matter of fact the wheels have stopped”
I’m no great fan of Bob Dylan, heretical as it may be to certain elements of the theatre clique. But I don’t mind his songs when they’re sung by other people, so a musical featuring his work seems just the ticket. Or is it a musical? Girl From The North Country comes attached with that most tiresome of sobriquets, ‘a new play by Conor McPherson with music and lyrics by Bob Dylan’, as if musical is a dirty word.
Semantics to one side though, I absolutely adored this. Within a couple of songs I had already made a mental note to work out who to invite when I go again; within three, I had decided who was going to get next year’s Olivier for Best Actress in a Musical (Sheila Atim); by the interval, I was texting all and sundry to get themselves booked in whilst half-decent seats are still available. And all to see a Bob Dylan musical!
Continue reading “Review: Girl From The North Country, Old Vic”