“Time will tell, it always does”
Phew, the Doctor Who rewatch comes to an end with the most recent series, another that I hadn’t seen any of since it originally aired. And again it was one of highs and lows, a frustrating sense of pick and mix that never settles. So from the astonishing bravura of the (practically) solo performance in Heaven Sent to kid-friendly quirks of the sonic sunglasses and guitar playing, Capaldi took us from the sublime to the silly. Fortunately there was more of the former than the latter (although it is interesting that my memory had it the other way round).
Part of it comes down to knowing in advance how the hybrid arc plays out (disappointingly) and a little perspective makes Clara’s departure(s) a little less galling. This way, one can just enjoy the episodes for what they are, free from the weight of the attempted mythologising. The Doctor raging against the futility of war, the wisdom (or otherwise) of forgiveness, the repercussions of diving in to help others without thinking through the consequences…it is often excellent stuff. It’s also nice to see Who employ its first openly transgender actor (Bethany Black) and a deaf actor playing a deaf character (Sophie Stone). Continue reading “Countdown to new Who: Doctor Who Series 9”
“Donna Noble has left the library. Donna Noble has been saved”
And here we are, my favourite series of Doctor Who. So much huge wonderfulness and even its less good moments are still more than halfway decent. Key to the series’ success is Catherine Tate’s Donna Noble – gobby and one-dimensional in her introductory episode the Christmas special The Runaway Bride, her character journey throughout this season is magisterially constructed, a true awakening of self (with thankfully no romantic inclinations towards our Time Lord) and one given unbearable poignancy due to its frustratingly tragic end.
It’s also one of the best constructed series in terms of its over-arching season arc, its warnings and clues layered meaningfully into several stories and building into a momentous and properly climactic finale, which lands just about the right level of grandiosity. There’s also the first companion-lite episode (the superbly creepy Midnight) to go with the Doctor-lite one (the achingly beautiful dystopian Turn Left); a typically brilliant Moffat double-header in Silence in the Library and Forest of the Dead with gorgeous work from Alex Kingston as the soon-to-be-hugely-significant River Song; and if the return of Rose undoes some of the emotional impact of the Series 2 finale, Billie Piper’s work is spikily powerful. These are episodes I can, and have, watched over and over again.
Continue reading “Countdown to new Who: Doctor Who Series 4”
“In other words, you have no idea what you’re condemning”
London has long thrived on its paranormal industry – spooky tours, famous cemeteries, Jack the Ripper and his ilk and now in its theatres, a double helping of Ghosts, albeit of Ibsen’s variety. Richard Eyre will direct his own version for the Almeida which opens next week but sneaking ahead is Stephen Unwin’s adaptation, also self-directed, for the Rose Theatre, Kingston. A co-production with English Touring Theatre, it marks the twentieth anniversary of that company but perhaps more significantly, it will be Unwin’s final production at the Rose where he has served as Artistic Director for six years.
He has a clear affinity for the Norwegian playwright – Ghosts is the second translation Unwin has written and the seventh of his plays that he has directed and upping the authenticity ante, the look of the show has taken direct inspiration from the stage designs of Edvard Munch, who designed a production in Berlin in 1906 and which have never been seen since. And the result is an extremely classy piece of theatre, one which coils up the intensity of its acting for an incendiary final act but sometimes feels like it is taking an age to get there. Continue reading “Review: Ghosts, Rose Theatre Kingston”
“A man may see how this world goes with no eyes”
A double bill of Shakespeare is something that not even I would undertake lightly but as an opportunity to visit the newly opened Royal Shakespeare Theatre in Stratford-upon-Avon, it was something I couldn’t resist: King Lear in the afternoon for the first time and a revisit of Romeo & Juliet in the evening. Typically, the old maxim about not booking shows to see particular actors came and bit me on the posterior with a depressing predictability, as the main reason for seeing this King Lear was in order to see Kathryn Hunter’s Fool, but as she unexpectedly withdrew from the ensemble at the beginning of the year, the role is now being covered by Sophie Russell.
This was only my second ever Lear, Derek Jacobi’s at the Donmar being the first and whilst I enjoyed seeing that with fresh eyes and not knowing the story, it was nice to watch this one with a little more comprehension of exactly what was going on! Though I was still a little perplexed by the mix of time periods covered in the costumes, the courtiers in classical garb but the outside world seemed to be inspired by the First World War, a mixture that was a little too haphazard for my liking. But overall, it did actually combine to quite epic effect, led by Greg Hicks’ powerful turn as Lear. I got more of a sense of a man going mad from Hicks, as opposed to the fragility, even possible onset of senility, of Jacobi’s interpretation, with his viciousness towards Goneril being particularly shocking in a way I didn’t remember so much. Continue reading “Review: King Lear, Royal Shakespeare Theatre”
“Though I am not naturally honest, I am so sometimes by chance”
Sometimes quite a difficult play to pull off due to the disparate nature of its two main strands, The Winter’s Tale remains a popular choice for the RSC and this production, part of the Roundhouse season, was originally seen in Stratford in 2009. Starting off in the highly ordered Sicilia, Leontes rules with a tight discipline, ill-equipped to deal with the warm emotion of his wife Hermione. Playing the genial hostess to their friend Polixenes, King of Bohemia, rouses a terrible jealousy in Leontes though and charging them with adultery, he sets in train a terrible set of events that hugely alter his life. Much of the second half takes place 16 years later in Bohemia with events much advanced, but we eventually return to Sicilia to revisit Leontes and his court for the final denouement.
David Farr’s production is superbly mounted and works as a timely reminder that even the greatest of men can be undone by a moment of frailty and the echoing impact of the emotions and decisions of those in power throughout the rest of society. It is one of Shakespeare’s most impressionistic plays, there’s perhaps more suspension of disbelief necessary than usual in here, but it works as a tale of human nature and the rewards for those who are faithful and loyal throughout and this production manages to balance the two sides well, provoking huge emotional depths especially in a beautiful rendition of the ending but also raising spirits and laughs aplenty. Continue reading “Review: The Winter’s Tale, RSC at the Roundhouse”