“Some things are worth getting your heart broken for”
David Tennant’s opening season took the template of the opening series and ran with it, Russell T Davies’ vision finding its ideal mate in the Scottish actor. The typically adventurous sweep was tempered with a more tender vision, which considerably upped our emotional investment (previous companions returning, romantic connections whether past or present).
Bringing back the Cybermen was an interesting move, as was the introduction of the notion of parallel worlds (and how important that became…). And if the series-long motif of Torchwood didn’t really pay off, especially not when one considers what Torchwood the show became, the finale to Doomsday is pretty close to perfection. Continue reading “Countdown to new Who: Doctor Who Series 2”
“Cantankerous I’ve never been”
Joel Hopkins’ The Love Punch was a film that worked far better than one might have expected, a lovely surprise in the cinema back in 2014, so I’ve been looking forward to catching up with his earlier 2008 movie Last Chance Harvey. And once again I was caught unawares, even as I knew that I would probably like it, I had no idea I would love it so completely.
Dustin Hoffman’s Harvey is a washed-up US jingle-writer, finding himself on the fringes of his daughter’s London wedding in place of a beloved stepfather; Emma Thompson’s Kate has found life has passed her by, still single and struggling with an overbearing mother. That the two will end up together somehow is never in doubt but the joy of Hopkins’ film is in making the journey so beautifully, emotionally real. Continue reading “DVD Review: Last Chance Harvey”
“The wheel will turn. The wheel always turns. The wheel will turn around again.”
One of the joys of a boxset is that they can be watched over and over again so when I equated the joy of seeing all three of The James Plays on the same day as below
I kind of knew in the back of my mind that I would be trying my damnedest to get to the second of the two three-show-days in order to get that experience again whilst the opportunity was there.
And since I’m clearly in credit with the theatrical karma gods at the moment, a ticket made its way into my grateful hands and I was able to go through the whole 10 and a half hour rollercoaster ride through this vibrantly realised cross-section of under-explored Scottish history. As ever, it was great to be able to revisit such interesting plays – original reviews can be read here James I – The Key Will Keep The Lock, James II – Day of The Innocents and James III – The True Mirror – especially now there’s a little more distance from the Scottish referendum which coloured much of the coverage of the plays. There isn’t too much more to say about them aside from I hope they are absorbed into the theatrical culture and emerge again soon somehow, somewhere.
Rachelle Ann Go + Mark Baustista – How Did You Know
Continuing to explore the work of the Here Lies Love company, I love the fact that Mark Bautista is a bona fide pop star in the Philippines and this duet is with Rachelle Ann Go who can herself be found in London in Miss Saigon.
Continue reading “Saturday afternoon music treats”
“Scotland herself doesn’t know what kind of nation she is half the time but I’ve learned that there’s no sense being frightened of what you don’t know”
If the world of James III – The True Mirror is what Scottish independence might have actually looked like, then I reckon the Yeses might have had it. Pithy remark aside, the costume work is spectacular here, conjuring up a modern classic look for the Scots that is to die for and which also serves as a visual cue into this production, the final of Rona Munro’s James Plays which abandons its medieval setting for this notional updating. Seeing it as the final part of the marathon trilogy day, it was a brilliant shift in tone and the pre-show entertainment (simply not to be missed) just adds to the sparkling invention as pop songs get the ceilidh treatment from Alasdair MacRae.
Though the play may be entitled James III, the reality is that this slice of the Stewart monarchy was indubitably shared with his wife Margaret of Denmark. The third king of his name was a capricious fellow indeed, the self-confessed “sparkle before the dark”, a rebellious dandy concerned far more with the trappings of monarchy than the minutiae of ruling, most amusingly evidenced by his procurement of a choir to accompany him at all times. By contrast, his pragmatic wife (“from a rational nation with reasonable people” lest you forget!) looks after the treasury, pets the furrowed brow of the privy council and generally rules the roost. Of course she does, she’s Sarah Lund! Continue reading “Review: James III – The True Mirror (plus overview of the trilogy), National Theatre”
“I am the King of Scots. In 18 years I never forgot that”
The first of The James Plays – a co-production between the National Theatre of Scotland, the Edinburgh International Festival and the National Theatre (of Great Britain) – James I – The Key Will Keep The Lock sets the tone for this Scottish history trilogy brilliantly. Rona Munro guides us in with the recognisable figure of Henry V of England but then unleashing upon us the little-known and little-explored early Stewart kings and the maelstrom of conflict that was the Scottish court.
The reason we meet Henry V (a wonderfully belligerent Jamie Sives) is that for 18 years he kept James Stewart a prisoner, humiliating him at every opportunity, and it is only after Henry’s death that James was able to negotiate a release to return to his own kingdom, albeit one that barely recognised or wanted him. From these inauspicious beginnings, we then see how he sets about ruling with an iron fist, finding that the only way to dominate the murderous noblemen is join right in the skulduggery. Continue reading “Review: James I – The Key Will Keep The Lock, National Theatre”
ET IN MOTORCADIA EGO! from Tim Plester on Vimeo.
The ‘other’ 50th anniversary of the weekend was of the assassination of JFK and released with impeccable timing, Et in Motorcadia Ego! tips the hat to the huge place that that event occupied in popular culture. Written and directed by Tim Plester (and adapted from his own full-length play), it takes the form of a spontaneous dream-poem and performed by the intensely magnetic Kieran Bew, it is something spectacular. Plester’s camera loves the bearded Bew, but mixes shots of his recital with flashes of dream-like imagery to create something visually stunning and combined with the viscerally rich poetry, this is definitely recommended. Continue reading “Short Film Review #29”
Sonja Phillips’ The Knickerman is a bit of a bonkers 1970s fest but hugely entertaining with it. Featuring some of the most epic denim flares you’ll ever see, the women of a sleepy village in Lincolnshire have their life changed when a handsome knicker salesman arrives on the market. Told through the eyes of a little girl who is transfixed by the “miracle” he claims to give women through their knickers, it’s a relaxed film , almost with the feel of an Instagram filter in its 70s glaze and from Jamie Sives’ charismatic lothario to the likes of Saskia Reeves and Annette Badland as the women who make regular visits to his stall, it’s a charmingly lovely piece of storytelling.
Continue reading “Short Film Review #19”
Directed by Richard Wilson and starring Artistic Director Daniel Evans, the regional premiere of Alexei Kaye Campbell’s The Pride takes place in the small Studio at Sheffield. The play looks at love and relationships in both modern day-ish 2008 and in 1958, contrasting the two eras to see how attitudes to gay identity and also sexual freedom of all kinds have changed, and how the experiences of an older generation have influenced the decisions we make now. This is done with a trio of characters: Philip, Oliver and Sylvia and a structure that constantly jumps back and forth between the two times and not always in chronological order, so that the two stories become one overarching narrative about the necessity of knowing and loving yourself before you can truly love others.
Dramatically speaking, the 1958 strand is the more intriguing: layers of Rattigan-esque repression make these scenes crackle with the unspoken. Sylvia and Philip are rather unhappily unmarried and when she introduces her colleague Oliver, it becomes clear to us why as the sexual chemistry sparks between them. As Philip struggles to come to terms with his repressed feelings and Sylvia comes to a growing awareness of why he is acting like he is, this story is pursued to its heartbreaking end with all three actors giving stunning performances. Jay Simpson also does sterling work in a number of small roles across both time periods. Continue reading “Review: The Pride – Studio, Sheffield”