“Demons run when a good man goes to war”
And here it is, the point at which I stopped loving new Doctor Who, even in a series that has two of the best episodes it has done, and the first series that I haven’t ever rewatched in its entirety. I do enjoy Matt Smith’s Eleven immensely but the writing across this season – which was split into two for transmission – was just fatally erratic for me. Alongside the innovative work from Neil Gaiman in The Doctor’s Wife and Steve Thompson in The Girl Who Waited, two contrasting but superlative pieces of writing, stories such as The Curse of the Black Spot and Night Terrors took the show to a less sophisticated place – (or do I really mean that I started to feel that this version of Doctor Who wasn’t necessarily aimed at me…?)
Even the big finales (for there were two, one for each half) fell a little flat. The premonition that the Doctor would “fall so much further” than ever before in A Good Man Goes to War raised expectations only to be dashed by an overloaded episode with little emotional heft aside from the River Song reveal, and The Wedding of River Song suffered from the general over-use of the characters dying-but-not-really-dying trope (poor Arthur Darvill…). That said, the high points of the series are so very good – the striking US-set opening double-bill, the Doctor finally meeting the TARDIS, and brain-scratching sci-fi with real heart. Frustratingly inconsistent. Continue reading “Countdown to new Who: Doctor Who Series 6”
|(C) Helen Maybanks
For me, one of the more pleasing recent success stories in theatreland has been the enduring success of Matilda The Musical. The cut-throat world of the West End has claimed many a high profile victim but the Royal Shakespeare Company’s multi award-winning production has gone from strength to strength at the Cambridge Theatre, where it is currently booking until 17th December.
>With that in mind and appropriately enough for World Book Day, the show has announced that Lilian Hardy, Emma Moore and Éva-Marie Saffrey will join Abbie Vena the title role of Matilda from 14th March. And to mark the arrival of the show’s new young actresses, a video has been released today of the four girls learning acrobatic tricks, to add to their already immense skill set, with their fellow cast member Craige Els, who plays Miss Trunchbull.
And if you needed any further convincing to go and see the show, here’s my reviews of the original Stratford production, the original cast recording (available to buy here), the original West End run, the original Broadway cast recording, and my 2015 revisit to the Cambridge.
Production images – Manuel Harlan
“How long was it supposed to go on – this mother thing?”
On the one hand, it’s rather flipping marvellous to see a play that places multiple older female characters at its heart, continuing the stirring efforts of Indhu Rubasingham’s artistic directorship at the Tricycle Theatre to continue to broaden the scope of the stories it tells, far beyond the white male dominance we often see on our stages. And its themes of individual expression versus maternal love fit neatly into an emerging trend that we’ve seen in contemporary plays I’ve really loved like Love Love Love and The Last of the Haussmans.
On the other hand, I’m not too sure that I really liked April De Angelis’ After Electra, a Theatre Royal Plymouth production directed here by Prince Caspian himself Samuel West. It has a sparky beginning as uncompromising artist Virgie decides to celebrate her 81st birthday with family and friends by declaring that she’s going to take her own life while she’s still compos mentis enough for it to be her decision. Notions of what longer life expectancy really means and how that impacts on familial relationships suggest something intriguing lurking in Michael Taylor’s handsomely appointed set. Continue reading “Review: After Electra, Tricycle”
“A lot of folks say they like what I did but they don’t like the way I did it”
There’s much to admire about the Old Vic’s lavish production of Tennessee Williams’ Sweet Bird of Youth, but ultimately I found little to really love as its three hours meander their way through its uneventful beginnings to a far-from-revelatory conclusion. Its big selling point is the return of Kim Cattrall to our stage, playing fading Hollywood star Alexandra Del Lago who is in hiding in a Florida hotel after a disastrous movie premiere which was designed to be a grand comeback. Helping her over her trauma is a handsome gigolo named Chance who fancies himself as an actor but finding himself in his hometown, has to deal with the demons of his past.
The play feels scuppered from the start by the lengthy two-hander which dominates the opening. Cattrall is excellent, if a little too luminous to really convince as a past-it star, as Del Lago rails against the movie system that has made her who she is and can yet still spit her out at the merest hint of failure. The problem lies with the character of Chance, Williams’ predilection for martyrish tendencies not backed up with anywhere near enough depth of character to make us care for someone intended to be a tragic hero. Seth Numrich does well in layering in as much nuance as he can but never really convinces as far as the chemistry between the pair goes, a near-fatal mis-step for me and one from which the play never recovered.
Continue reading “Review: Sweet Bird of Youth, Old Vic”