The best TV show you haven’t heard about? Harlots just might be it!
“When the time comes, I hope your quim splits”
I suppose that it is good that we have so many more options for good television to be made these days. The flipside to that is that it can be harder to keep track of it all. Harlots is fricking fantastic, a hugely enjoyable and high quality drama but airing on ITV Encore (and Hulu in the US), it has languished in the doldrums of the unfairly unheralded.
A glance at the castlist shows you how much of a waste this is. Samantha Morton and Lesley Manville at the head, Jessica Brown Findlay, Hugh Skinner and Dorothy Atkinson among the supporting, Fenella Woolgar, Danny Sapani and Kate Fleetwood popping up now and again too. This is luxury stuff and yet criminally few know about it. Continue reading “TV Review: Harlots Series 1”
“It’s quite different after you’ve grown up”
The hills are alive, with the sound of questions. Like, why. The UK’s first fully live musical theatre television broadcast saw ITV produce Rodgers and Hammerstein’s The Sound of Music though the result was a curious experiment that fell uneasily between two stools. Lacking the crucial energy that propels the best live theatre (which comes from an audience too), the production values (though often impressive) naturally fell short of the opportunities of filmed work
Which ultimately begs the question, what’s the point. Is the UK hankering for a new production of the show? It’s hardly as if we’re lacking for productions popping up regularly in theatres across the land. Is it showcasing the best of British musical theatre talent? In that case why cast someone like Strictly winner and former Eastender Kara Tointon as Maria and shunt the likes of Julie Atherton (one of the most outstanding performers we have, bar none) into the nun ensemble. Continue reading “TV Review: The Sound of Music Live”
“Why must we go over and over the woes of the past?”
There’s something a little unfortunate about labelling your version of Aeschylus’ The Oresteia as “a radical reinvention” when Robert Icke’s extraordinary reinterpretation of the same source material for the Almeida has now successfully transferred to the West End. Nevertheless, Rory Mullarkey’s adaptation for Shakespeare’s Globe also emerges as something rather arresting, not least in director Adele Thomas’ canny use of creatives pushing well outside the visual (and aural) aesthetic normally associated with this venue.
Hannah Clark’s design pulls on a wide range of influences to provide a wealth of striking images – niche cinema like Angelopolous’ The Travelling Players (the almost shifty looking Chorus) and Jodorowsky’s Holy Mountain (Clytemnestra’s magnificent posturing) mix with contemporary security uniforms (the opening messenger) and traditional Greek costumery as we know it (Agamemnon’s battle-dress). Along with Mira Calix’s diverse (including electronics) score, it’s an eclectic mix to be sure but one that pays off to create an out-of-time strangeness which really suits the production.
Mullarkey’s textual adaptation is also an unwieldly collation of disparate elements, poetic rhythm slips into modern-day colloquialisms, epic speeches slides into operatic sung passages. The shifts may be a little jarring at times but again the cumulative effect is rather impressive. The three acts follow the woes of the House of Atreus – Agamemnon sees the war veteran suffer at the vengeful hands of his wife Clytemnestra for sacrificing their daughter, The Libation Bearers sees her suffer at the hands of her son for killing his dad and The Eumenides pops him on trial and established trial by jury, as you do.
Continue reading “Review: The Oresteia, Shakespeare’s Globe”
“Which is the wiser here, Justice or Iniquity?”
You don’t get many Measure for Measures for the pound, in the grand scheme, so Outgoing Artistic Director Dominic Dromgoole probably thought he was onto a winner in choosing it to be part of his final summer season and indeed the last play he’ll direct as AD. But these things come in threes and we’ve been blessed with two other major productions – Cheek by Jowl’s Russian-language version shook the rafters of the Barbican earlier this year and Joe Hill-Gibbons promises to do the same at the Young Vic with Romola Garai in the Autumn.
But no matter, we can be assured of diverse interpretations – for the first two at least – and Dromgoole’s version for the Globe does precisely what he does best, unfussily traditional productions blessed with a striking clarity (best evidenced by his superlative 2013 A Midsummer Night’s Dream). Here, we get to see Mariah Gale, one of our finest young Shakespeareans, deliver a stunning account of one of Shakespeare’s more complex female characters in Isabella and we also bear witness to Dominic Rowan ascending to the leading man status (with which he has arguably merely flirted before) as Vincentio. Continue reading “Review: Measure for Measure, Shakespeare’s Globe”
“Must I bite?”
Marking the final entry in the Globe to Globe festival is the UK with this production of Henry V which reunites Jamie Parker with the role of Prince Hal that he played in 2010’s Henry IV Part I and II. The boy has now become king and the play covers his attempt to reconquer the English gains in France, most notably at the battle of Agincourt, and his growth into a leader who can inspire men to follow their duty to their country. Parker clearly has a close affinity to this character and it was a clever move to wait a couple of years before taking on this particular part as he is able to bring even more clear-spoken gravitas, colour and detail to this very human king.
Around him though, is a production by Dominic Dromgoole which errs very strongly towards the broadest crowd-pleasing comedy it can manage. Bríd Brennan’s beautifully versed Chorus and Olivia Ross’ poised Princess Katherine impressed as did the multi-part antics of Chris Starkie and Beruce Khan (additionally stepping in as understudy for an indisposed Matthew Flynn). But too often, the overreliance on the comic tone just fell flat for me. The Pistol, Bardolph et al antics were as bawdy as they have ever been, which ended up undermining their darker side (is the treatment of the French soldier really a subject of comedy?) and the tragedy of their fates (Boy is particularly hard done by). Continue reading “Review: Henry V, Shakespeare’s Globe”
“What should it be that they so shriek abroad”
After Twelfth Night, the Shakespeare on 3 radio season continues with Romeo and Juliet with the same company, plus a few additions, taking on the Bard’s work again. Whereas there’s a nice sense of continuity about it, it’s an odd choice as there’s another play, The Tempest, to complete the season which uses a different cast. And it is also a slightly difficult choice in the limitations it imposes on the casting, although this may just be a personal thing as it took a long time for me accept the idea of Trystan Gravelle, an actor I really like, as the teenage Romeo.
His voice is so melodiously identifiable that I completely failed at convincing myself I was listening to Romeo rather than Gravelle, and even if you’re not familiar with him, I’m pretty sure he just sounds too old and experienced for the role. Paired with Vanessa Kirby as Juliet, whose voice I struggled to warm to in Twelfth Night, it made for an ignominious beginning despite the evocative sound design of the piece. But something eventually clicked after about an hour, whether it was my preconception finally dying down or the production finding another gear or some combination of both, and from their post-coital glow of tenderness I completely bought into them as a couple. Continue reading “Review: Romeo and Juliet, Shakespeare on 3”
“Oh had I but followed the arts”
Joining in the veritable orgy of Bard love that is currently going on, the BBC’s Shakespeare Unlocked season has a wide-ranging programme of features, not least three radio productions of his plays by the Drama on 3 team, two of which are cross-cast from the same company which was full of names I like and was keen to hear. First up was Sally Avens’ Twelfth Night, probably most notable for casting David Tennant as Malvolio.
I haven’t ever just listened to a Shakespeare play before, and though I wasn’t doubting the poetry of Shakespeare’s words, I did wonder what effect removing the visual, and Twelfth Night is a very visual play, would have on the whole. Knowing the play fairly well was both a blessing and a curse in some ways – little was ever likely to surprise me and I had no sense of what this would be like for a first-time-listener, but that knowledge also meant I could relax a little rom trying to work out what was going on. And fortunately, a cast of great experience and talent meant that the thrusting of the language front and centre was a largely successful exercise. Continue reading “Review: Twelfth Night, Shakespeare on 3”
“If you now beheld them, your affections would become tender”
And so to The Tempest, the third and final radio adaptation (by Jeremy Mortimer here) in the Shakespeare on 3 season, though oddly not cross-cast with the other two so its place in the programme felt a little incongruous. And whether I’d had my fill of Shakespeare on radio or whether its my fatigue with this particular play or whether it just generally wasn’t that distinctive, I found this a bit of a slog.
It wasn’t bad per se, just never particularly engaging for me, and consequently I’ve haven’t much to say about it (for once). The incidental music that plays throughout the show was specially written (and also performed by) The Devil’s Violin Company and adds an interesting additional texture, but when the most interesting thing I can think to say about a Shakespeare production is about the music, then something is wrong.
“I never miss an opportunity to go unnoticed”
I love me some wartime drama especially when it involves the role of women, TV films like Housewife 49 and plays like The Firewatchers fill my heart with joy, and so the 15 minute drama for this week (formerly the Women’s Hour drama) fell very much into my field of interest, with an added twist of alternate history in the mix. Ed Harris’ The Resistance of Mrs Brown imagines a world where the British were defeated at Dunkirk and a Nazi Military Administration has been set up in London. Joan Brown works as a tea lady for the new powers-that-be and is determined to keep her head down, especially after the death of her husband, but when she advertises for a new lodger, she is contacted by the Resistance who want to use her unique position to help strike a blow against the Nazis.
Amanda Root’s delicate clipped tones make a beautifully unwilling heroine out of Mrs Brown, who is pushed along by the forthright Mrs Crace, a delightfully matter-of-fact Adjoa Andoh and Simon Bubb’s Wode who try their best to cajole her into going along with their plans, and using her as a narrator is an inspired choice by director Jonquil Panting as we’re constantly reminded of her reticent fragility which ends up responding beautifully to the challenges that are presented to her. Whether its her daughter, her boss or the men she serves tea to who come to know her a little, she is pulled one way or another until she finally gains the confidence to stand up for what she truly believes in and consequently makes decisions according to her own conscience. Continue reading “Review The Resistance of Mrs Brown, Radio 4”