“First you must come with me and see what I’ve found”
The producers of The Grinning Man must have been really really happy when Hamilton announced that it was delaying its opening night so that it would fall into the same week as theirs. Fortunately, The Grinning Man gets in first and has a few days’ grace and it is also taking a little inspiration from the hit Broadway show in the way it is presenting its score. So where Lin-Manuel Miranda called in mates like Alicia Keys, Usher, Kelly Clarkson and The Roots for The Hamilton Mixtape, The Grinning Man has released a set of clips of West End stars and celebrities singing their own versions of some of the songs from the show.
It’s an intriguing move, especially as Tim Phillips and Marc Teitler’s score is not yet widely known, but it is also a fascinating one as the likes of Matt Lucas and Hannah Waddingham, Kelsey Grammer and Louise Dearman put their own stamp on some of the best tunes whilst never straying too far from the gothic darkness of the source material. Continue reading “Hear some of the songs from The Grinning Man, done rather differently”
Episodes, in order of preference
World Enough and Time
The Doctor Falls
The Eaters of Light
Empress of Mars
The Pyramid at the End of the World
The Lie of the Land
Top 5 guest spots
1 David Suchet’s Landlord was as perfectly written a character as befits one of our more superior actors
2 Regular readers will know I’m a big fan of Kieran Bew and his astronaut in Oxygen was no exception
3 Nicholas Burns‘ malevolent Sutcliffe was a delightfully Dickensian villain
4 Another theatrical delight of mine is Anthony Calf, impressive as the pseudo-Victorian Godsacre
5 Rebecca Benson’s young Pict impressively led The Eaters of Light from the front, a perfect vessel for Rona Munro’s vision
Michelle Gomez’s Missy has been a brilliant breath of fresh air and whilst her decision to follow Moffat and Capaldi out the door is understandable, it isn’t any less disappointing. And perhaps the timey-wimeyness of the circumstances around her passing mean that maybe this isn’t the last we see of her…
Most wasted guest actor
I don’t what I expected from the reliably excellent Samantha Spiro in Doctor Who but I didn’t get it from her part in The Doctor Falls.
Gay agenda rating
With Bill onboard, A+!
“Do you know any sci-fi?”
So here we are, the moment that the epic rewatch has been building up to – the start of Doctor Who’s tenth series, notable for being the final one for both Peter Capaldi’s Twelfth Doctor and showrunner Steven Moffat. And perhaps predictably, Episode One – The Pilot is a cracking piece of TV, a real return to form that hopefully will last across the entire series (I’m not holding my breath…) or at least the majority of it (that I feel more confident about).
Key to this is the arrival of Pearl Mackie’s new companion Bill, a welcome breath of real fresh air into the standard trope but more importantly, a distinct separation from what came just before. No offence to Jenna Coleman’s Clara but the character’s knowingness made it hard to ever warm to her and though on paper, the idea of her being more of an equal to the Doctor has legs, in reality it just became rather self-satisfyingly wearying. Continue reading “TV Review: Doctor Who Series 10 Episode 1 – The Pilot”
“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”
“What visions have I seen”
When the RSC announced their production of A Midsummer Night’s Dream, surtitling it ‘A Play for the Nation’ as it tours the UK, working with amateur theatre groups across the land, they probably weren’t expecting it to be a play for the nation because somebody would be putting on another production of it every couple of weeks. Or maybe they were, it is one of Shakespeare’s more popular plays – indeed it is among my favourites as the first I ever read – and so why wouldn’t Filter bring it back to the Lyric Hammersmith, the Reversed Shakespeare Company put their own spin on it, Emma Rice opened her tenure at the Globe with it, and the Southwark Playhouse open their own version of it with Go People early next week…
For those outside of the London theatre bubble though, the opportunity to see a televised version of the play, adapted by Russell T Davies’ gay agenda and directed by David Kerr, won’t have felt like overkill. And there was much to commend in a reimagining of the play which dabbled in just a fair few changes for the most part and then decided to rip up the rulebook in a jubilant final ten minutes that will doubtless seize the headlines and rile the purists among us but regardless, managed to remain unerringly faithful to exactly how you would imagine Davies’ Dream might play out (Flute/soldier fanfic please!). Continue reading “TV Review: Russell T Davies’ A Midsummer Night’s Dream”
“The story you’re about to hear as been told before, a lot”
Oh my giddy aunt, I wasn’t expecting that! Kelly Asbury’s computer-animated reworking of Romeo and Juliet (backed financially by Disney) takes us to the world of Verona Drive where elderly neighbours Mrs Montague and Mr Capulet spend their days bickering and sniping at each other whilst tending their equally impressive back gardens. And when their backs are turned, their garden gnomes come to life and play out the same conflict in miniature. Such is the world of Gnomeo and Juliet.
It is very much a family film so therefore this is very much an adaptation of the Bard and for me, it’s a rather entertaining one, if you’re seriously missing Mercutio then you’re seriously missing the point. James McAvoy’s effervescent blue-hat Gnomeo and Emily Blunt’s spirited red-hat Juliet make a highly charming couple, who fall for each other despite the enmity between their clans as typified by fierce back-alley lawnmower racing. But when things go too far – in a sequence that I actually found quite shocking, and moving – it seems that tragedy is destined to haunt this pair no matter what form they take. Continue reading “DVD Review: Gnomeo and Juliet”
“I’m going to stuff you, bear”
A rather unexpectedly lovely surprise from the end of last year whose key message of acceptance of foreigners feels ever more pertinent in the current circumstances. Paul King’s Paddington, based on Michael Bond’s classic creation, has that warm feel of a classic family film, full of set-pieces and humour and a deal of minor peril, but none so much as to really make you scared. Instead, there’s a glowing happiness that almost (sadly) feels as old-fashioned as a marmalade sandwich.
As if you didn’t know, Paddington comes from darkest Peru and a wittily filmed black and white prologue shows us how a British geographer called Montgomery Clyde befriended his family in the jungle, eventually leaving with a promise of a place to stay should they ever visit London. When circumstances conspire to leave Paddington alone on a railway platform in W2, he’s taken in by the Brown family and capers ensue. Continue reading “DVD Review: Paddington (2014)”
“My father said: ‘don’t panic, it’s a phase’
‘Phase one’ I said”
I did want to love Boy George’s Taboo, I really did, but something about it just holds me back. I felt that way when I saw it live and I felt it again when listening to the original London cast recording so there you have it.
“Solly Shimshillewitz? Why didn’t they just call you “Jewie-jew-jew-jew-jew” and be done with it?”
Not having seen the film of The Infidel before catching the musical adaptation at the Theatre Royal Stratford East, I quickly rectified that with a cheeky online rental on my new iPhone 6+ (plug!). Written by David Baddiel and directed by Josh Appignanesi, it was a moderate success in 2010 although watching it now, I was struck by how comparatively muted the humour was and impressed that Baddiel and co saw musical theatre as the best way to translate the story for the stage as it isn’t immediately obvious.
Omid Djalili takes on the role of Mahmud, the British Muslim whose life is turned upside down when he discovers that he is in fact adopted and is Jewish by birth to boot, and impresses in the everyman part of the role, emphasising the story’s point about how we all wear our beliefs differently but no less strongly. He’s a little more restrained than I was expecting though and Archie Panjabi, good as she is, feels miscast as his wife, their relationship improbably imbalanced and so lacking the deep-seated connection that ought to be holding them together even during the most strained times. Continue reading “DVD Review: The Infidel (2010)”
“It’s always the ones in the corner you have too worry about”
This film version of Thérèse Raquin was originally entitled Thérèse Raquin as it is based on Neal Bell’s stage adaptation but between presumed focus groups and a less than stellar premiere at the Toronto Film Festival, it was renamed Thérèse and in advance of its muted recent wider release, it changed again to In Secret. It is hard to see the logic of divorcing the title entirely from any connection with Zola as the generic replacement is hardly a big pull but who knows how the minds of Hollywood executives work.
As it is, I don’t think it would have made too much difference to the success of the film, as stellar performance from Jessica Lange aside, it is a fairly hokey take on the story which somewhat misses the mark. A young Thérèse gets a potted backstory as she’s left in the care of her aunt (Lange) by kindly parents and quickly morphs into a gamine Elizabeth Olsen who must play nursemaid and companion, and eventually wife, to her sickly cousin Camille (a brilliantly washed out Tom Felton).
Continue reading “Film Review: In Secret (or Thérèse) (or Thérèse Raquin)”