Bodyguard reaches a thrilling climax that is sure to disappoint some but left me on the edge of my seat
“I wanted to know who did it, I don’t know who did it”
Except we do finally know who did it. Jed Mercurio’s Bodyguard – an unexpected massive hit and a reminder that the appointment-to-view model is far from over – reached its climax tonight in typically high-tension style, confounding expectations to the end and dashing the dreams of many a conspiracy theorist to boot. Seriously, so glad that Julia Montague remained dead (at least until a sequel is announced and we have to go through this whole farrago again).
And though it is bound to have its detractors, I have to say I found it all hugely entertaining. If it just wasn’t realistic enough for you, then WTF are you doing watching dramas? If you’re getting swept up in locations in this fictionalised version of London not being where they are in real life, turn the damn thing off! Its not for everyone, that’s absolutely fine, but you don’t have to drag everyone else down with your misery. Continue reading “TV Review: Bodyguard Series 1”
There’s always a new or different way to do things, no matter how ¯\_(ツ)_/¯ London-based commentators get, and so the news of Europe’s first ever pop-up Shakespearean Theatre – SHAKESPEARE’S ROSE THEATRE – feels like a good thing to me. Taking up residence in York this summer, the Rose looks set to replicate something of the Globe experience, groundlings and all, for a whole new audience.
The 10-week season will consist of four plays, performed in repertory by two companies of actors
- A tragedy – Macbeth
- A comedy – A Midsummer Night’s Dream
- A tragic love story – Romeo and Juliet
- A history – Richard III
Romeo and Juliet and Richard III will be directed by the award-winning Lindsay Posner, while York Theatre Royal’s Olivier Award-winning Artistic Director Damian Cruden will direct Macbeth, and Associate Director Juliet Forster will be putting her stamp on A Midsummer Night’s Dream.
And particularly pleasing to see is that even in this setting which might be perceived as traditional as it gets, there’s a playfulness to the approach to the plays (from Cruden and Forster at least). Antony Bunsee and Amanda Ryan play Theseus and Hippolyta but in a bit of a switch, will also play Titania and Oberon respectively. There’s a female Puck too, plus Amy Lennox as Hermia which leaves me in no doubt as to which of these will be my priority to see! Continue reading “News: Cast and creative team announced for Shakespeare’s Rose Theatre in York”
“Why, saw you anything more wonderful?”
Robert Hastie’s opening salvo as the new Artistic Director of Sheffield Theatres might not immediately quicken the pulse as we’ve hardly been lacking for productions of Julius Caesar. But it is soon apparent that this is a canny director at work, making his mark on the Crucible Theatre and how its space is used, on our notions of how Shakespeare is traditionally interpreted, establishing what looks like exciting times ahead for Sheffield.
With designer Ben Stones, Hastie opens out the stage into a space of transformative and unpredictable power – the modern political arena is evoked with its UN-style chambers and mod-cons but it is just as much the powder-keg of changeable public opinion. And the way in which the two intersect, feed into each other, thus feels as informed by hatemongering Sun or Daily Mail headline-grabbing antics as it does by the words of a sixteenth century writer. Continue reading “Review: Julius Caesar, Crucible”
Full casting has been announced for Robert Hastie’s upcoming production of Julius Caesar at Sheffield Crucible, his first at the helm, and it looks like an absolute doozie. Not only has he brought back former artistic director Samuel West and tempted definitive-fave-of-this-blog Elliot Cowan back to the stage, Hastie is continuing his commitment to gender parity by recruiting a company of eight men and eight women and sharing out the roles how he damn well wants.
So the show features Samuel West in the role of Brutus, alongside Jonathan Hyde as Julius Caesar. Zoe Waites will play Cassius, Elliot Cowan will play Mark Antony and Chipo Chung will star as Portia/Octavius. The cast is completed by Lisa Caruccio Came (Calpurnia), Pandora Colin (Casca), Robert Goodale (Lepidus), Alison Halstead (Metellus), Mark Holgate (Cinna), Arthur Hughes (Lucius), Robinah Kironde (Popilus, Clitus), Lily Nichol (Soothsayer), Royce Pierreson (Ligarius, Dardanius), Abigail Thaw (Trebonius) and Paul Tinto (Artemidorus, Pindarus).
In case you’ve forgotten, Hastie directed Michelle Terry in the title role in last year’s Henry V at Regent’s Park Open Air Theatre, and Sheffield is clearly very lucky to have him leading one of the country’s leading theatrical institutions. Julius Caesar runs at Sheffield Crucible from 23 May to 10 June, with previews from 17 May, and I’ll definitely be making my way northwards for this.
“I suppose we should start by reading it”
Atonement was only Joe Wright’s second film but crikey it’s a good’un. Following on from Pride and Prejudice with another literary adaptation was a bold move, especially in taking on such a modern classic as Ian McEwan’s 2001 Booker Prize nominee but with Christopher Hampton on script duties and Wright’s visionary eye at the helm, Atonement is a deliciously gorgeous piece of art.
From Kiera Knightley’s iconic green dress to that epic Dunkirk tracking shot, from a three-fold Briony (Saoirse Ronan, Romola Garai, Vanessa Redgrave) to narrative daring that enriches the whole piece, Atonement is a sumptuous and assured film that has lost none of its charge nearly ten years on. Wright is blessed with a top-notch cast to be sure, but it is his flair that characterises the film’s brilliance. Continue reading “DVD Review: Atonement (2007)”
“Are you one of those? They’re everywhere in Brighton aren’t they.
‘Yeah, not so many in Halifax though, cos of the weather’”
I really enjoyed the opening half of new BBC police drama Cuffs and so whacked up a review of those four episodes whilst they were still watchable on the iPlayer. The show has now finished its run, 8 episodes being the default setting for a ‘long’ series here in the UK, and whilst it may have lost a little of the fast-paced energy that characterised its arrival, its bevy of boisterous characters ensured I was fully engaged right through to the end of the last episode.
With such a large ensemble making up the South Sussex team, Cuffs did sometimes struggle in giving each of them a fair crack of the whip. For me, it was Amanda Abbington’s Jo who got the shortest end of the stick, too much of her screen-time, especially early on, being taken up with the fallout of her illicit affair instead of showing her as the more than capable police officer we finally saw in the latter episodes. Continue reading “TV Review: Cuffs Episodes 5-8”
“Sum up my faults, I pray”
It feels a bit of a shame that one of the centrepieces of the RSC’s Roaring Girls season is a play that doesn’t manage gender parity in its cast, even with some cross-gender casting. This may speak of the nature of Jacobean Theatre, for it is Webster’s The White Devil of which we speak here, but Maria Aberg’s reputation precedes her and so it was a little disappointing to see that the opportunity hasn’t been seized here – if not now, then when?
And though I’d heard such great things about this production, I couldn’t help but feel a little disappointed here. Part of lies in the play itself – I can’t deny that I just don’t really like it and though it is updated to the debauchery of the 1980s Rome club scene here, the messy chaos of the pursuit of naked self-interest that proves Aberg’s main focus dominates too much and often to the detriment of the storytelling. Continue reading “Review: The White Devil, Swan”
“Praising what is lost makes the remembrance dear”
Whether considered a problem play or no, the fact that All’s Well That Ends Well is performed relatively infrequently is testament to the inherent difficulties of the play. Helena’s relentless pursuit of a man who does not love her, her determination to have them betrothed, the way she later inveigles her way into his bed, the story is an uneasy tale to take in a world of more enlightened sexual politics and though Nancy Meckler’s production for the RSC, here in Newcastle for a week, shines a fantastical light on the play (although not as successfully as the National’s excellent Grimm-like version from 2009) I think the issue around its uncommon revival is more careful avoidance rather than criminal neglect.
Joanna Horton is good as the poor physician’s daughter who is adopted by the Countess of Rousillon yet finds herself falling in love with her ‘brother’, Alex Waldmann as a Prince Harry-inspired Bertram who soon heads abroad pretty sharpish. She follows him to the French court, winning the favour of the King by utilising her father’s knowledge and persuading him to offer Bertram’s unwilling hand in marriage as reward. Again he flees (this time to the battlefield) and again she follows, determined to get her man even if it means tricking him into bed and as one is meant to assume with the ginger Prince, combat has a maturing effect meaning that he allegedly becomes quite the catch and her doggedness is thus rewarded. Continue reading “Review: All’s Well That Ends Well, RSC at Theatre Royal Newcastle”
“I am that he, that poor unfortunate he”
As You Like It is one of those plays that I find hard to get too excited about since I feel like I’ve seen it a hundred times. And Maria Aberg’s production for the RSC came with the additional baggage of over-enthusiastic acclaim from certain quarters that usually leave me sceptical but when in Newcastle the same week as the RSC… As suspected, the Laura Marling soundtrack riled me, its folks stylings seeming somewhat faux for a reason I can’t really articulate without resorting to calling it smug. But in Pippa Nixon, it has a truly excellent Rosalind.
Set in a Glastonbury-inspired Forest of Arden, Nixon is startling as a genuinely androgynous figure once transformed, making the scenes with Alex Waldmann’s Orlando a thrilling experience in its gender-questioning ardour. And she’s a compelling presence throughout whether battling her fierce father or coaching her would-be lover in the school of romance. It all builds into a touching finale of nuptial bliss, which eventually wore down most of my scepticism, but I’m not entirely convinced that the setting works so well elsewhere. Continue reading “Review: As You Like It, RSC at Theatre Royal Newcastle”
“Brevity is the soul of wit”
I can’t say I wasn’t warned… Work has seen me up in the north-east for a few days this month and so coinciding with the RSC’s short residency at the Theatre Royal in Newcastle which sees one of their ensembles putting on the three shows from their bit of the summer season. And I’d been told that their Hamlet was a difficult beast but I wasn’t quite prepared for quite how awful I would find it.
David Farr’s modern(ish) take eschews star casting for the integrity of this ensemble, giving Jonathan Slinger the opportunity to take on this most celebrated of roles, but it is a chance they take so thoroughly by the horns with Slinger’s determination to put his own stamp thereon, it never feels real or organic, just a strained effort to be different. And at 3 hours 40 minutes, it is a lot to bear. Continue reading “Review: Hamlet, RSC at Theatre Royal Newcastle”