TV Review: Mum Series 2

A hugely successful return for Stefan Golaszewski’s BBC sitcom Mum, with world-beater Lesley Manville in brilliant form once again

“Three types of potato – are you out of your fucking mind?”

I’m not sure what we’ve done to deserve Stefan Golaszewski’s Mum but I’m sure as hell glad that we have it. The second series of this BBC sitcom has now drawn to a close and it is hard not to think that it isn’t one of the most magnificently perfect bits of television out there, surpassing even the heights of the superlative first season

Starring Lesley Manville and Sam Swainsbury as it does, it could well have been machine-tooled to appeal to my Venn diagram of all Venn diagrams. But Mum is so much more than my varying crushes, it is a supremely well-calibrated piece of heart-breaking and heart-warming writing that finds its humour in that most British of ways, through adversity. Cathy’s husband and Michael’s best friend may have died a year ago but their attempts to move on, to maybe explore their mutual, unspoken attraction are constantly frustrated by the clod-hopping presence of her extended family at every beat.   Continue reading “TV Review: Mum Series 2”

2018 Laurence Olivier Awards nominations

An interesting set of nominations have been announced for the 2018 Laurence Olivier Awards. Perhaps predictably, the headline grabbers are Hamilton with their record 13 nominations, and The Ferryman which received 8. I’m pleased to see Follies and Angels in America represent a strong showing for the National with 10 and 6 respectively, and also lovely to see Everybody’s Talking About Jamie close behind with 5. Beyond delighted for The Revlon Girl too, my play of the year.

Naturally, not everything can get nominated and for me, it was most disappointing to see Barber Shop Chronicles miss out on any recognition. And with Hamilton crowding out the musicals categories, there was sadly no room for The Grinning Man, Romantics Anonymous and The Secret Diary of Adrian Mole (although I’m unsure of the Menier’s eligibility with regards to SOLT). And I think Victoria Hamilton (Albion). Philip Quast (Follies) and Louis Maskell and Julian Bleach (The Grinning Man)  are entitled to be a bit miffed.

How do you feel about these nominations? And what do you think should have been nominated instead?

Continue reading “2018 Laurence Olivier Awards nominations”

Oscar Week Film Review: Phantom Thread

It may be Daniel Day-Lewis’ apparent last hurrah but Phantom Thread is all about Lesley Manville’s world-conquering excellence.

“No one gives a tinker’s fucking curse about Mrs. Vaughn’s satisfaction!”

Written and directed by Paul Thomas Anderson and nominated for 6 Academy Awards, a lot of the attention around Phantom Thread has been around Daniel Day-Lewis’ announcement that this would be his last film role. But for me (and for any right-thinking folk), the pleasure comes from a scene-stealing supporting role for Lesley Manville which has garnered her one of those nods. (Not sure if she’ll be attending the ceremony though or giving her understudy a brief moment in the sun.)

And it is an unexpectedly engaging and surprising film. Day-Lewis plays fashion designer Reynolds Woodcock whose rule on the world of 1950s London couture is slowly slipping due to the arrival of the New Wave. His audacious arrogance, sorry artistic temperament, is brought into question when he meets Belgian waitress Alma but when a romance sparks up between the pair, the result is a far from conventional affair which leaves its gender dynamics entirely shooketh. Continue reading “Oscar Week Film Review: Phantom Thread”

Review: Long Day’s Journey Into Night, Wyndham’s

“Who wants to see life as it is, if they can help it?”

Between scoring an Oscar nomination for Phantom Thread, returning to TV screens in superlative sitcom Mum and conquering one of the almighty stage roles written for a woman in Long Day’s Journey Into Night, it is safe to say that Lesley Manville is having a ‘moment’ as a potential queen of all media, and a well-deserved one at that – she is the kind of rare talent that is genuinely due this kind of adulation.

Richard Eyre’s production of Eugene O’Neill’s classic play was first seen at the Bristol Old Vic in 2016 (have a gander at m’review here) and it transfers to the Wyndham’s pretty much intact – Manville and Jeremy Irons leading the cast once again as the troubled Mary and Joseph Tyrone, with Rory Keenan and Matthew Beard stepping in as their sons. The returning Jessica Regan rounds out the cast as housemaid Kathleen. Continue reading “Review: Long Day’s Journey Into Night, Wyndham’s”

Round-up of news, treats and other interesting things

You go away for a week, hoping they’ll put any exciting news on hold but no, there were headlines aplenty…

Michelle Terry being revealed as Emma Rice’s successor as Artistic Director of the Globe. I think this is a brave and inspired choice, for Terry is a deeply intelligent actor (Tribes, Light Shining in Buckinghamshire, Cleansed) and a superb Shakespearean at that (A Midsummer Night’s Dream, As You Like It, The Comedy of Errors).

Rice seemed to consider Shakespeare a puzzle that needed unlocking for (new) audiences but you were left wondering if there was a touch of square peg round hole syndrome in the way the plays were manhandled. It is tempting to think that Terry will be a smoother fit whilst maintaining a sense of adventurousness (she played Henry V after all) although this is, of course, pure conjecture. Still, exciting times ahead.


Bristol Old Vic’s production of Long Day’s Journey Into Night, featuring a superlative performance from Lesley Manville alongside Jeremy Irons, has at long last announced its transfer into the West End. It was one of my highlights from last year and takes up residence in the Wyndham’s from 27th January until 8th April.

As with Alan Ayckbourn, my lack of desire to see Oscar Wilde plays on the stage is often tested by casting decisions that I find hard to resist. Adding Anne Reid to Eve Best in A Woman of No Importance is one of those decisions.


The Bush Theatre are having a busy time of it. Not only is Jon Gilchrsit stepping down as Executive Director, they’ve announced casting for two of their upcoming productions.

Ramona Tells Jim
Written by Sophie Wu
Directed by Mel Hillyard
Designed by Lucy Sierra
Cast includes: Ruby Bentall (Ramona), Joe Bannister (Jim) and Amy Lennox (Pocahontas).

A Bush Theatre and Sheffield Theatres co-production
Of Kith and Kin
Written by Chris Thompson
Directed by Robert Hastie
Designed by James Perkins
Cast includes: Joanna Bacon (Lydia and Carrie), Donna Berlin (Arabelle), James Lance (Daniel), Chetna Pandya (Priya) and Joshua Silver (Oliver).


Get a look here at the cast for The Unknown Island, a world premiere directed by the Gate’s new Artistic Director Ellen McDougall and adapted by Ellen and Clare Slater (Literary Manager, Donmar Warehouse) from Jose Saramago’s short story The Tale of The Unknown Island.

The Unknown Island is a play about getting stuck, about trying to escape, about shooting for the moon, about going further than the furthest thing. This is a play about finding something you didn’t think you needed.

The Gate welcomes back Jon Foster (Idomeneus, Trojan Women) and introduce Thalissa Teixera (Othello, Shakespeare’s Globe and Yerma, Young Vic), Hannah Ringham (co-founder of SHUNT) and Zubin Varla (War Horse, National Theatre and Twelfth Night, Donmar Warehouse).


And to round things off, the ever-lovely Amy Booth-Steel doing something lovely to the song ‘Despacito’ on a ukelele.

TV Review: Mum

“I feel as sad as the sisters of Lazarus”

A number of the reviews of the first episode of Mum (here’s mine) were cautiously optimistic but commented that Stefan Golaszewski’s writing wasn’t really funny enough for a sitcom, or up to his previous TV show Him and Her. I hope that people persisted with it though, for it emerged as a simply beautiful piece of television, closer to a drama in the end than an outright comedy, and all the more affecting and effective for it.

In some ways, it’s not that surprising that it wasn’t a canned laughter kind of show – an actor of the stature of Lesley Manville, with her nearly 40 years of collaboration with Mike Leigh, wouldn’t do that, would she (I guess My Family being the exception here…). Instead, what we got was a subtle meditation on how life continues after bereavement, working through the stages of grief and minutiae of life over the course of that tricky first year. Plus Manville ate a large crisp in one go, now you don’t get that kind of quality just anywhere! Continue reading “TV Review: Mum”

TV Review: Mum, Episode 1

“Sorry if this isn’t the sort of thing to say at a funeral”

In terms of the Venn diagram of my favourite things, you really could not get more precise than putting Lesley Manville on screen and then following that up with a shot of Sam Swainsbury in his boxer shorts. No, I’m not recounting a dream, this is the actual opening sequence of the first episode of new BBC2 sitcom Mum, directed by Richard Laxton (who worked with Manville most recently in River) – safe to say I’m hooked.

Written by Stefan Golaszewski, probably best known for Him and Her, Mum looks set to be a gently observational comedy rather than a straight-up sitcom. This first episode focused on Manville’s Cathy preparing for the day of her husband’s funeral, dealing with the influx of visitors to her house including her son’s new girlfriend, her brother and his snobbish wife, her ageing in-laws and an old family friend. Continue reading “TV Review: Mum, Episode 1”

Review: Long Day’s Journey Into Night, Bristol Old Vic

“One day I found I could no longer call my soul my own”


There’s a lot of activity planned around the celebration of Bristol Old Vic’s 250th Anniversary but it is hard to imagine it being bettered than this stunning production of Long Day’s Journey Into Night. Eugene O’Neill’s emotionally gruelling autobiographical masterpiece of a play sees director Richard Eyre reunited with Lesley Manville whose last collaboration was the superlative Ghosts which was reason enough to visit Bristol, even before the small matter of Jeremy Irons being cast against her.
And so it turned out that, along with Rob Howell’s exceptional set design, is was Manville with the magic here. She plays Mary Tyrone, the matriarch of a family blighted both by the curse of addiction and an inability to talk about anything important. Her demon is morphine, her older son’s is alcohol and her younger son is seriously ill with tuberculosis but such is the rod of iron with which father James rules the roost, that these uncomfortable truths are rarely, if at all, confronted.

It is a deeply moving play and in such assured hands as it is here, it is a most affecting production. Aching with deep-seated disappointments that come from as much love as rage, their confrontations ultimately as affectionate as angry, their inability to prevent the past from shaping their present becomes a fateful crutch over the passage of a long summer’s day. Irons makes James a cantankerous patriarchal figure raging against the very stasis he imposes on his household and Manville’s glorious Mary responds by sinking into the deepest denial, her final ‘triumph’ of revealing her secret one of the most heartbreaking things you will ever see.
There’s sterling support from Hadley Fraser and Billy Howle as the sons, trapped in a perpetual adolescence by the overbearing parental presence in their lives but reacting in different ways, unable to look forward to a future that seems so uncertain. And Howell’s set is simply gorgeous – encapsulating all the claustrophobia of their domestic prison but morphing into an abstract version of the world beyond through its glass walls and in the shimmering hues of Peter Mumford’s astutely textured lighting. With extraordinary productions such as these, you can imagine Bristol Old Vic continuing for another 250 years, at least!

Running time: 3 hours 15 minutes (with interval)
Photo: Hugo Glendinning
Booking until 23rd April

DVD Review: Romeo & Juliet (2013)

“For never was a story of more woe
Than this of Juliet and her Romeo” 

It takes a special sort of person to substantively rewrite the dialogue of Romeo and Juliet yet Julian Fellowes still took it on himself to declare Shakespeare’s writing as too impenetrable for da kidz and so replaced it with his own cod-Elizabethan script. It’s a baffling decision – the sheer wrongheadedness aside – as since the narrative of the play remains the same, and the story remains set in vaguely age-appropriate times, nothing intelligent has been done with the adaptation to mark it out as a worthy enterprise.

It’s not helped by a fatally miscast Hailee Steinfeld as Juliet, underpowered in her delivery of the text and mismatched with Douglas Booth’s Romeo, there is precisely zero chemistry between these “star cross’d lovers”. There’s always something a bit tricky about how to play the ages of these two (Juliet is meant to be 13…) but as long as they’re cast well together, it works. Here though, they are not, there’s never any danger of believing that they’ve tumbled hard and fast in love (Steinfeld being 15 would make that illegal of course!) and director Carlo Carlei is clearly at fault along with his casting directors.  Continue reading “DVD Review: Romeo & Juliet (2013)”

20 shows to look forward to in 2016

2016 is nearly upon and for once, I’ve hardly anything booked for the coming year and what I do have tickets for, I’m hardly that inspired by (the Garrick season has been ruined by the awfulness of the rear stalls seats, and I only got Harry Potter and the Cursed Child tickets due to FOMO). Not for the first time, I’m intending to see less theatre next year but I do have my eyes on a good few productions in the West End, fringe and beyond. Continue reading “20 shows to look forward to in 2016”