“Now is not the time for your Bronte Sisters-saurus act”
In what’s been a blistering start to the televisual year (Unforgotten, The Moorside), the second series of Paul Abbott’s No Offence is definitely up there, offering at least a little comic relief along with its deadly serious dark side. My views on episode 1 set the tone for the rest to come – the glorious return of the Friday Street team, led by Joanna Scanlan’s inimitable DI Viv Deering, having met their match in the arch-villain Nora Attah, a glorious performance from Rakie Ayola.
And typical of Abbott’s oeuvre, along with his co-writers, there’s a fantastic complexity to his characters. Attah may rule her gangland with a rod of iron, issuing icy reprisals against rivals who dare cross her path, but as subplots about FGM and sexual violence are threaded through the season, there’s strong hints about the harshness of the world that has shaped her. And that makes her the ideal counterpart for Deering’s anarchic policing style, our sympathies caught in the complex conflict between their respective shades of grey. Continue reading “TV Review: No Offence Series 2”
“A police presence is non-negotiable”
Paul Abbott’s No Offence returns for a most welcome second season after a quality Series 1 in mid-2015 added to the purple patch for police procedurals that we seem to be in. Abbott’s spin places us with the Manchester Metropolitan Police and in a world that is equally darkly comic and dramatic as the squad deal with the ramifications of the climax of that first series, as well as keeping an eye on the combustible gangland situation that looks set to involve our guys here.
And what guys – Joanna Scanlan’s almost impossibly charismatic DI Viv Deering as comically sharp as she is whip-smart, Elaine Cassidy’s pragmatic DC Dinah Kowalska and Alexandra Roach’s serious-minded DS Joy Freer underneath her, with Sarah Solemani’s ice-cold DCI Christine Lickberg joining them, providing scarcely wanted oversight and some juicy looking tension. The casual female focus (of the series at large) and refreshing body positivity (of this episode in particular) are just marvellous to behold. Continue reading “TV Review: No Offence Series 2 Episode 1”
“The king’s name is a tower of strength”
The Hollow Crown reaches its climax with a solid and occasionally very strong Richard III which once again shimmers with quality and hints of artistic innovation. And for all the lauding of Benedict Cumberbatch’s starring role, it is pleasing to see Dominic Cooke and Ben Power give Sophie Okonedo’s excoriating Margaret of Anjou her due as one of the real pleasures of running these plays together is to trace her complete arc (for she’s the only character to appear in them all) and root her enmity – alongside that of so many others – in something most palpable.
Cooke’s direction also benefits from loosening its representational restraints, Richard III’s monologues and asides make this a different type of play and Cooke responds with a series of interesting choices (though the surfeit of nervy finger-tapping was a touch too much for me) making great use of both gloomy interiors and hauntingly effective exteriors. Playing so many scenes in woodlands was an inspired decision as it leant a real eeriness to proceedings, whether Margaret or Richard bursting from the bushes to disrupt the private mourning of Elizabeth or Anne. Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 3. Richard III”
For many people, myself included, it is nigh on impossible to approach a film version of stage behemoth Les Misérables with a blank slate. It’s been a mainstay of the musical theatre world since its 1985 London debut – it is most likely the show I have seen the most times throughout my lifetime – and after celebrating its 25th anniversary with an extraordinarily good touring production, has been riding high with a revitalised energy. So Tom Hooper’s film has a lot to contend with in terms of preconceptions, expectations and long-ingrained ideas of how it should be done. And he has attacked it with gusto, aiming to reinvent notions of cinematic musicals by having his actors sing live to camera and bringing his inimitable close-up directorial style to bear thus creating a film which is epic in scale but largely intimate in focus.
In short, I liked it but I didn’t love it. I’m not so sure that Hooper’s take on the piece as a whole is entirely suited to the material, or rather my idea of how best it works. Claude-Michel Schönberg’s score has a sweeping grandeur which is already quasi-cinematic in its scope but Hooper never really embraces it fully as he works in his customary solo shots and close-ups into the numbers so well known as ensemble masterpieces. ‘At The End Of The Day’ and ‘One Day More’ both suffer this fate of being presented as individually sung segments stitched together but for me, the pieces never really added up to more than the sum of their parts to gain the substantial power that they possess on the stage. Continue reading “Film Review: Les Misérables”
“You will always be a vulgar slut”
The Beggar’s Opera written by John Gay in 1728 was the first example of the ballad opera, perhaps the forerunner to today’s jukebox musicals in folding in pre-existing tunes to a satirical narrative that poked fun at the ever-popular Italian operas that were all the rage. Gay set his play in amongst the lowlifes of society, our main protagonist Macheath is a highwayman and raging lothario and the slowly twisting plot follows his shenanigans as he gets married to Polly Peachum, despite having gotten Lucy Lockit pregnant, unaware that the parents of both are part of a corrupt justice system that would happily see him hang so that his reputed fortune would come to them. Lucy Bailey directs this production which takes place in the elegant Open Air Theatre in Regent’s Park.
The overall impact is somewhat underwhelming though, the score not really proving to be melodically distinct enough, nor the story witty or moving enough to really crackle with life. For 2 hours 40 minutes, there is very little to the plot and much of the running time is taken over by the 69 songs that are sung throughout the show. Though mostly sung well, these rarely progress the action but rather arrest the flow and as the vast majority of them fall neatly into the English folk ballad category, there’s a gnawing sense of repetition that sets in. And even when there is no singing, there’s little vibrancy or energy on stage, movement director Maxine Doyle of Punchdrunk has introduced a rather sluggish pace and Bailey’s direction does not draw out enough of the comedy from the productions or her performers. Continue reading “Review: The Beggar’s Opera, Open Air Theatre”
“Gentle my lord, sleek o’er your rugged looks; be bright and jovial among your guests to-night “
Opening the 2010 Kings and Rogues season at Shakespeare’s Globe on the South Bank is Lucy Bailey’s production of Macbeth. Fans of the Scottish play are being well-served this year: Cheek By Jowl may now have left the Barbican but you can catch them again in Brighton in May, the Open Air Theatre will be running a re-imagined for kids version in July or you can witness this decidedly less family-friendly production in the Globe.
Katrina Lindsay’s design has clearly taken the circular shape of the theatre into consideration and used the circles of hell in Dante’s Inferno as the main inspiration. The Yard is mostly covered with a canopy, with holes for the groundlings to poke their heads through, representing the frozen sinners trapped in the underworld, and it is also populated with the occasional bloodsoaked writhing tortured soul popping up. I can’t comment on how comfortable or otherwise it was, but there’s plenty of room outside of the canopy if you’re not too sure about it: it did look fun though. The weird sisters therefore are the guardians of this final Hell and flow in and out of there onto the stage, trying to drag as many people down with them. Continue reading “Review: Macbeth, Shakespeare’s Globe”